Modern cities face numerous difficult problems and troublesome issues. The saddest of them are poverty, poor environment and many more. In the following paper I have my purpose to discuss the urban planning issue of family values, ties and social network in the movie “Children of Heaven” by Majid Majidi. The way family copes with the rising problems shows that strong family ties and good relationships may help to overcome the most difficult troubles of urban life and even become really successful people.
The movie tells about the family values of a poor Iranian family. The main protagonists are brother and sister called Ali and Zahra. The film conflict is developing around the loose of the only pair of the sister’s shoes by Ali. Thus the girl has nothing to put on to go to school. This situation is a real test for their family bonds. The children understand they can expect no help from anywhere: their father gets small salary and their mother is very sick. So they decide to cope with this situation using their own recourses.
As the audience passes through a row of sad events shown in the movie it becomes clear that children have strong will and this leads them to success in their family relations and in surviving poverty. Zahra fights her bitterness; she is loyal to her brother Ali and does not reveal the secret of losing her shoes to the parents. She fights difficult situations from day to day. Ali is moved by his sister steadfastness and loyalty. He wants to help her to have new pair of shoes by all means possible. His gratitude for his sister’s loyalty motivates him to go through a row of serious tests. He helps his father to earn some extra money during weekend. When he learns about the opportunity to win the prize of pair of trainers for the third place at the championship of runners, he does his best to beg the teacher to let him to participate in the competition. Having no special uniform, footwear, training, he only thinks about his sister’s devotion. In this mental disposition he keeps on running, running and running. He is only concentrated on winning the third place. However, he is very disappointed to win the first place. On his return home Zahra meets him with hope. Her loyalty and devotion is shown in her eyes. When she sees Ali has no trainers she is frustrated. However, this is the point when the children’s father makes his contribution – he has bought new pair of nice pink shoes. The movie also shows a row of positive personalities who make their due contribution to the improving of the life of Ali and Zahra. Along with their father and mother who loyally work to support the family and do their best in their places, there many more kind people. Among them are the neighbors who help Zahra to catch the lost canvas shoe, the teacher who recommends Ali as a good pupil for the headmaster and asks to show mercy to him, the rich child who helps Ali and his father “to get the contract” for gardener works and the girl who supports Zahra to continue to be positive giving her the lost pen.
In conclusion, it is evident in the film the way family values and kind human relationships are vital in surviving the problem of modern urban life. There are many poor people in cities. However, those who have strong family ties and kind to others will be able to manage to overcome them and the experience of Ali and Zahra’s family reveals this important truth.
During the Renaissance period, scholars and theologians used various strategies to emphasize the importance of Christ’s life. Most of the artists at the time presented different paintings and images aimed at encouraging people to appreciate Christ’s existence on earth. The painting “Christ before Pilate” by Luca Giordano is one of these works of art.
Just like most of the Renaissance paintings, this artwork by Giordano examined the life of Christ in details. The painting gave the painter an opportunity to address a “conventional” subject without losing the existing Christian values. After a detailed analysis of this painting, the viewer observes that it had a unique meaning for its original audience. This paper offers a detailed analysis and critique of this painting by Luca Giordano.
Meaning of the Painting
The painting reminds the viewer about Christ’s mission and work on earth. Jesus was innocent because he only “advanced” God’s work on earth. Although Jesus was God’s son, the Jews condemned him and eventually crucified him. They crucified him because he was claiming to be the king. During the same time, Pilate always treated the Jews harshly and expected him to condemn Christ. However, Pontius Pilate washed his hand and allowed the crowd to crucify Christ.
By so doing, the painting goes further to place the blame on the Jews. As well, Pilate is blamable because he scarified Christ in order to avoid “personal problems” from the crowd (Stemp 56). The message intended to the original audience was to “stand for God’s words and laws” (Harris 58).
Examination and Setting of the Painting
Throughout the Reformation period, different artists used various “canonical scenes” to address the changing views and attitudes in the Jewish society. By so doing, the painters managed to refresh the “iconography” of Jesus’ life. As portrayed in this painting, Giordano paints Christ at the time he is before Pontius Pilate. The soldiers are in shock after seeing what Pilate has decided to do (Harris 73).
One of the soldiers holds Christ’s hair tightly. At the same time, Pontius Pilate is washing his hands as described in the Bible. The other soldiers are looking at the scene attentively. The painting also shows how Pilate commands the respect and authority. History shows clearly that he was the executor of criminals.
“Christ before Pilate” by Luca Giordano (1650-1655). Oil on panel.
This scene depicted in the painting appears to take place after Pilate has found no wrongdoings in Christ’s actions. The scene happens after Pilate has failed to secure atonement for Christ. This happens because the soldiers have refused to forgive him. This explains why Pilate decides to wash his hands. The soldiers appear to have “awful” thoughts and great expectations from the scene.
They are terrified and anxious because they are about to crucify Christ (Harris 87). Their facial expressions show that they are running out of patience. They are waiting eagerly for Pontius Pilate to permit them so that they can condemn and crucify Christ.
The scene depicted by Giordano also takes in the dark. Giordano’s painting reminds the viewer about Christ’s teachings before he was “presented” before Pilate. The painter has used this setting to make it meaningful and relevant to the targeted audience. The painter has based his work on the biblical story of Christ a few moments before the Jews crucify him.
Subject Matter
After looking at this image by Luca Giordano carefully, it is agreeable that it retells the story of Christ before the Jews crucify him. This makes the painting a meaningful Renaissance artwork. It also refreshes the iconography of Jesus and his life (Preziosi 29). The painting uses certain elements of art as a form of symbolism.
For instance, the use of “darkness” and “shadowy” images symbolize the uncertainty that awaits Christ. The presence of Pilate and Christ symbolizes the political and religious worlds respectively.
The other use of symbolism occurs in the “spear” and presence of the soldiers. The two symbolize the inevitable crucifixion of Christ. The act of washing hands by Pontius Pilate is also symbolic. In this scene, Pilate is telling the world that he is not guilty of Jesus’ execution.
The audience also observes that the painter takes the scene directly from a “real-life” event that took place in Judaea. This explains why the image is not a reference to any earlier work of art. However, it would be agreeable that certain artists painted similar works in an attempt to depict the scene as described in the Bible.
This piece of art by Luca Giordano is a masterpiece because it relates directly to political and religious ideas connected to Giordano’s contemporary world (D’Avella 63). For instance, the painting portrays the powers possessed by the Roman Empire and its “prefects”.
As well, the painting explores in details the wave of Protestantism that was taking place at the time. This explains why the painting encourages people to obey God’s laws and always be ready for the final judgment.
Formal Properties of the Painting
Giordano’s artwork is an “oil painting” on panel. The painter uses dull colors to “tell” the message. The painter has contrasted these colors to create a uniform torn. In order to present the intended message, Giordano uses the life of Christ as a critical historical “event” for the painting. The painter uses various shades of black, white, red, and brown colors.
The painting also portrays a smooth texture. The painter achieves contrast by the use of different color tones and shades (D’Avella 69). As well, the painter uses “lightness” and “darkness” to create contrast. The painter uses dark colors to depict a “shadowy” scene. This symbolizes a “sad” situation since Jesus is about to be crucified (Davies et al. 41).
The painter has used uses “light” and “darkness” to create a sense of emotion. The use of various color shades creates a unique tone. The approach helps to pass the intended message to the viewer. The painter also uses “space” to create perspective. This perspective also creates movement. The painter uses various colors and lighting technique to achieve “balance”.
This painter also achieves “balance” through the concept of composition (D’Avella 94). The audience gets the chance to view every “object” or “part” of this painting from Christ’s position. The relationship helps the audience get the intended message. The painter also uses perspective and space to create a three dimensional image.
The painter has also used the concept of darkness and lightness to create value. The created “value” advances the painting’s focal point. The color shades creates tint and hue. The darker parts and colors inform the viewer about the experience faced by Christ (Stemp 104). As well, the painter has used lines as a critical aspect of art.
The lines define the borders and shapes of every object on the piece of art. This approach has created emotion. The painter achieves this emotion by using “light” and “even” lines. The painter uses the lines to create shadows thus making the painting meaningful (Davies et al. 68).
The painting portrays certain attributes that were common during the Renaissance period. Some of these formal attributes include movement, composition, and color. The painter uses an “ideal balance” whereby Jesus is the focal point. This creates a sense of balance with Pilate is on one side and the soldiers on the other.
Both Pilate and the soldiers focus on Christ as he awaits crucifixion. The “impatience” and strength portrayed by “movement” presents a sense of energy. The soldiers are also close to each other. The message derived here is that they want to see everything and ensure Christ does not escape. The spear in the painting shows the soldier’s bitterness and anxiety to crucify Christ.
The painter uses the images of Pilate and Christ to send a new message to the audience (Harris 97). Christ was a great figure in Christianity. His crucifixion was inevitable as portrayed in the painting. The painting also shows a sense of “stillness” as every soldier watches keenly to see what might happen next. This stillness presents a sense of “movement”. This presents a true renaissance work while passing the message of Christ to the believers (Harris 97).
Conclusion
The approach used by the painter helps the audience reexamine God’s prophesies. Since the position of Christ in the church was clear at the time, the painting stressed the importance of taking God’s words seriously and keeping his commandments. The portrayal of Jesus, the Jews, and Pontius Pilate shows the conflicting interests between “earthly practices” and “heavenly goals”.
The image of Christ and use of appropriate color shades and texture encourages believers to trust God and be faithful always. This was the same message emphasized during the Renaissance period.
Works Cited
D’Avella, Anne. How to Write Art History. New York: Laurence King Publishing, 2006. Print.
Davies, Penelope, Walter Denny, Frima Hofritcher, Joseph Jacobs, Ann Roberts and David Simon. Janson’s History of Art: The Western Traditions. New York: Pearson, 2010. Print.
Harris, Ann. Seventeenth-Century Art and Architecture. New York: Pearson, 2008. Print.
Preziosi, Donald. The Art of Art History: A Critical Anthology. New York: Oxford University Press, 2009. Print.
Stemp, Richard. The Secret Language of the Renaissance: Decoding the Hidden Symbolism of Italian Art. New York: Duncan Baird, 2012. Print.
‘Boardwalk Empire’ is a television series program set in Atlantic City, New Jersey during the time when sale, manufacture and transportation of alcohol and its components were prohibited by the federal government. This was between the years 1920 to 1933. However, despite the ban, clandestine brewers and alcohol sale outlets were operating with the blessings of corrupt police officers and state officials who were extorting money from the owners of the business units. The show stars Steve Buscemi as Enock ‘Nucky’ Thompson who is a corrupt treasurer in the North Atlantic County in New Jersey, this position made him the most powerful political figure in his county and therefore he played a major role in deliberating on matters concerning his community.
As per the movie, this made him a much sought after politician in the region and he meets several ‘important’ figures in his work including mafia groups who ruled migrant communities at the time, politicians, security and federal agents. These people had to look for him because he aided them in ensuring that their businesses ran smoothly in the county.
In season 2, episode 2 titled ‘Ourselves Alone’, Nucky gets out of jail and detects major realignments and merges among various mafia heads for power. He finds that Commodore has emerged as the kingpin in the county with major defections happening in his favor, though Chalky is still serving his time in county jail. He immediately embarks on bringing up his business which had been grounded because of his absence helped by Margaret.
Several concepts or themes are highlighted in this episode of the show, the main one being violence. Other themes are race, corruption, ethnicity and moral decay. The 1920’s was considered as a confused decade because of the lifestyle that was characteristic at the time. With relative peace being achieved at the end of the First World War, the society especially the youth gained some level of freedom and they could easily voice their concerns. This era was characterized by increased drug and alcohol use by the masses; clubbing was the order of the day as various rock and musical groups came up to fuel these developments. All these led to moral degradation as illegal drug traders could easily do their trade with the knowledge of the police and federal agents who they bribed handsomely.
Concept definition and explications in the Movie (Season 2, Episode 2)
Race
Race is simply defined as a group of people in a specific geographical setting who share common genetically-passed features which distinguishes them from other groups. It is a group of people sharing common history or nationality. Boardwalk Empire is set in a cosmopolitan part of America where the migrant population had taken root and controlled clandestine businesses in the area. The mafias of New Jersey were natives of Italy and Sicily, they moved to America with their families to do their businesses.
Racial composition in a given geographical region is measured as a percentage of the total inhabitants. America is a multi-racial society composed of whites, African- Americans, Hispanics, and the Mexican community. All these divergent groups lead different lifestyles and demand total recognition from the government. The 2nd episode is a slower version compared to other episodes; the violence cools down though it’s still sporadic in some areas. The director takes this time to delve on the relationships among characters and their groupings within their racial groups.
Violence
Violence is the use of physical force to cause an injury on another person or a group of people. The mafia groups used violence as a symbol of dominance and control over their adversaries and they could kill to protect their businesses and families. The society in the early 1920’s saw the legalization of gun ownership by citizens for self defense and hunting but the criminals used it to finish their enemies.
Violence is measured by looking at the crime rates in a given area and comparing it with previous statistics. It is a symbol of discontent of a person with another individual or the authorities. In the context of the show, it is prevalent in cases where different groups are fighting for dominance and power over others.
Elements of the show relevant to violence
Jimmy took a trip to New York to meet his business associates, on arriving there; he takes out his frustration on a pair of well connected Mafia heads who were against his business advancements. In the 2nd episode, Chalky is still in county jail and he uses violence to exert his dominance over his assigned cellmate who proved hard to live with at the beginning because he considered him a ‘snitch’. Alderman George O’Neill, who was one of Nucky’s political associates and ward representative, was brutally murdered in season 2 by Eli who is Nucky’s younger brother and Atlantic County sheriff.
Corruption.
Corruption is the abuse of office or use of entrusted power for individual benefit. It takes different forms depending on the nature and positions of people who are involved in it. The simplest form of corruption is the taking and giving of bribes in order to evade a process, hasten a process, or allow an illegal business or trade to operate.
In Boardwalk Empire, Nucky who is the County treasurer is depicted as a corrupt state officer allowing illegal establishments to operate in his county at a fee. He also allows illegal federal businesses to run without the knowledge of the authorities. The life of a mafia is characterized by many crimes committed to enable smooth running of affairs and these murders are always protected and the culprits go scot free or given shorter jail terms because of their status in the society. Money given through bribes is used to protect their identities.
Corruption occurs as a result of a governance vacuum where public officers do not live up to their code of conduct and accept bribes to allow clandestine brewers like Jimmy to continue producing bootleg alcoholic drinks. It is measured by corruption index which is an indicator of the level of integrity among officials in any country or region.
Al Capone was known as a tax evader and whenever he had ‘a little difficulty with the taxman’, he could go and sort it out without going through the right channel.
Ethnicity
Ethnicity or ethnic affiliation is the affiliation to a particular group of people having or sharing common racial, religious, language, and certain other defining traits. Negative ethnicity can exist within a particular race or across two or more races. The mafia heads represented different regions in their homeland and their main duty was to keep their status high. This explained their fights and mergers with other mafia heads in order to be at the top of their bootleg businesses.
Ethnicity is not a bad concept but negative ethnicity is not allowed in modern democracies. Negative ethnicity is the tendency to favor a particular person over others because he or she belongs to your ethnic group. Elements of ethnicity are shown in the episode by highlighting the different lifestyles locals lead depending on where they come from. The Italians have closely knit families with the father being the head of family and businesses while the wives are not allowed to engage directly in business dealings. The Italians and other mafia groups are a religious lot mainly in the Roman Catholic Church.
Moral decay
Moral decay or decadence is the gradual decrease in the level of values in a given society. It is the impairment of standard living principles in any setting and in most circumstances fueled by the youth for example, indulgence in drugs, alcohol and violence. The society in New Jersey and the rest of America in the 1920’s was characterized by a decrease in the standards of good and acceptable behavior with corruption taking the place of good governance.
Moral decay is an easily noticed phenomenon in any given society and is as a result of laxity in laws, and, or general decrease in value levels. It is caused by poor parenting and infiltration of drugs and substances to the society. Lansky and Lucky are the ones that are involved in the heroin trade and they want Jimmy to join them. They import the heroin from South America and sell to vulnerable youth through their middlemen and distributors in the streets.
Conclusion
The society that lived in the 1920’s was existing under trying moments when America and the rest of the developing world were experiencing difficulties managing their population which was increasingly growing vertically and horizontally by rising immigration.
Apichatpong Weerasethakul’s Uncle Boonmee Who Can Recall His Past Lives stirred different emotions and still makes many viewers recall some film’s shots connected with life after death. This paper is going to unveil the subjects of phantoms presented in the film as the unveiling features of a dying man’s deathbad concerns. Significantly, the film is a masterful piece of art created to convey the life’s impermanence through spiritual forms and to showcase the ability of every viewer to relate and sympathize with the protagonist, although not everyone may agree with this one. The main idea conveyed here would be Uncle’s actual vision of the death itself. The essay will discuss that Uncle Boonmee was not afraid to die; moreover, he was presented to a unique opportunity to travel through lives of his own and through spaces. Please, see this subject unveiled through examination of different uncanny and queer spaces and figures appearing in the film, prompt number two.
Theme Background
This is a story of two last days of a man who is dying from a kidney disease and tries to find out why it is through recalling his life and assessing everything he has done. The plot seems to be entangled at first not until you understand Uncle Boonmee goes through the past life’s stories and ends up in a cave where his soul was first born. There were multiple questions arising in my head while watching the film. However, once it finished I understood the main criteria and the center point to assess this movie by – what is the meaning of life? Indeed, there are those scenes that merely make you terrified (sex with a catfish) or simply stumbled (the beast-like son) but what is important here is how Apichatpong Weerasethakul created those unreal and phantasmagorical spaces to win popularity and Palm d’Or.
The First Uncanny Creature Meaning
Remarkably, the director showcases Uncle Boonmee’s ability to interact with talking animals and otherworldly visitors but he is completely unable to rationalize their actual existence. This is what the film is outstanding for – presentation of ever-interesting and bothering-the-soul questions that we frequently allow to come up to the surface of our conscience. One of them is death. This masterpiece introduces us to the relations we are afraid to admit existence of – the ones between living and dead. I have come to this conclusion while watching these simple camera work and the lighting techniques that helped understand the queers even when it was a little confusing in the middle of the motion picture to understand the director’s intent. Interestingly, Weerasethakul’s work brings forward Uncle Boonmee’s wife as a symbol of a sick man’s uncompleted deeds; she passed away and now is appearing as a ghost. Here, the concept of the protagonist not being afraid to die comes ahead – the scene with a wife is very sympathetic and calming. We see this scene unveiling on his deathbed; I was deeply touched disregarding the weirdness of the situation. This scene occurs in order to show the significance of present life’s belongings in comparison to the reincarnating travels the protagonist has. He is a docile man who strives to find out anything about his beloved ones, including his son. Thus, the spiritual world gives him an opportunity to indulge into a loving and a gone-by-days’ atmosphere when hugging his wife. It has to be noticed that the surrounding supportive people who gathered together to take care of a dying man do not ignore the otherworldly creatures. On the contrary – they are highly religious folks, they pray, and pay tribute to God and spiritual world, thus they admit wife’s and son’s existence (who appears as an ape like creature). So, in order to prove my idea that the director tried to convey total calmness before death, it has o be said that Boonmee got what he wanted – he saw his son and wife and therefore, his life can now be ended peacefully. The entire episode of the wife appearing in Boonmee’s life is a sign of what every person can sympathize with. This is a level of understanding that anyone can acquire and relate to. Moreover, it is necessary to say that such after life, death, and ghosts issues impact the Uncle Boonmee greatly in a way of changing the entire concept of death as we are used to percept it. As I see it, the director did not intend to present death as an inevitable and sad expiration date that every one of us has. On the contrary, the wife’s ghost is telling us that Boonmee is facing this realty while being privileged to see the previous lives and knowing his existence will continue in further life reincarnations.
The Second Phantasmagorical Symbolism
Interestingly, the second queer space to analyze is the forest where the main hero’s son found his refuge, the nature shown throughout movie in particular. This is amazing that the viewer has an opportunity to recognize the son’s character in that hairy ape-like creature together with the protagonists: “This is your son, I recognized his voice” (Uncle Boonmee Who Can Recall His Past Lives). However, unlike the actual Uncle Boonmee and the relatives surrounding him during his final days, we see much more – the overall picture of how the son enters his dad’s life in that terrible guise and how the nature explains the dumb scenes, the latter can be much more revealing than the most fabulous dialogues.
To be more exact, it has t be notice that the notion of death is closely interacted with the issue of religion and God in this film. The family we are presented to is extremely religious and they pray a lot in order to get to the better places after death. Moreover, the substance of God is repeated when showing the son’s lost soul. According to the plot this is the son who mated with an animal and got his punishment from God to be animal-like. So, when he appears in front of the family – it is a sign of Uncle Boonmee’s relief that he finally found his son though in a very unexpected shape and appearance. Although God was not merciful to his son, he is now very gracious to bring the wife and the son to see dad before he dies. This all relates to what the protagonist thinks about before his death because son was one whom he hasn’t seen for many years. The space created is the relation of God’s foresight towards the Uncle Boonmee, this is how he imagines everything to be. Although it is unrealistic to see the disappeared people in various guises, the director creates such an encounter in order to show how life is permanent and there is maybe a slight chance to transcend reality and implement everything undone before leaving this life.
Conclusion
Uncle Boonmee was granted to go through the previous life experiences in order to open the door to other feelings rather than sadness on the deathbed. There are multiple scenes that a viewer would not understand at first unless presented to the state-of-the-art content in advance. The film happens to be a great tribute to the filmmaking industry by its outstanding unveiling picture of human worries and concerns through spirituality created around a dying protagonist. A wonderful work of the director and the film crew makes it unbelievable enjoying to sit back and observe the uncommon plot uncovering in front of you. The impossible creatures are reviving and make sense as soon as you comprehend what exactly the mail character goes through and how those figures relate to the overall picture.
Works Cited
Weerasethakul, Apichatpong, dir. Uncle Boonmee Who Can Recall His Past Lives. Kick the Machine, 2010. Film.
The experience that people receive by visiting art museums may differ from one person to another. Some visitors prefer to engage with an exhibit without any help, while other individuals want to gather more information with the aid of additional devices. For that purpose, people started to create interactive exhibitions which allow visitors to participate in or become a part of an installation. The development of technology also became a part of the solution as its incorporation into one’s experience at a museum allows people to engage in the active learning process.
This paper aims to address two central themes connected to interactive design of museum exhibitions. First, it attempts to analyze the introduction of technology as a deliberate design strategy to increase visitor participation. The emerging technological equipment fosters the involvement of visitors with such techniques as augmented or virtual reality and interactive walls and tables. Furthermore, user participation and co-creation of art installations place individuals in the center of attention and further help the learning process. Second, the paper assesses the issue of knowledge retention as the interaction of visitors with an exhibit does not always result in them taking the gathered information home. One’s learning experience may be supported through preserving information with the use of social media and additional devices.
How Is Having Interactive Exhibitions Beneficial to Engagement
People may visit art museum exhibitions for a number of purposes. First of all, visual appreciation for the works of art may be the central reason for visiting a museum as it allows individuals to view art pieces that could not be seen otherwise. Furthermore, the process of learning is also at the core of every exhibition as museums usually provide much information about the authors of art pieces and the history of art itself. Thus, the process of museum visiting is linked to education and information gathering. While people may view art and appreciate its visual beauty, not everybody can be engaged by an exhibition in the same way.
To engage the audience and affect the participation rate, museums started to adopt some interactive techniques into the design of their exhibitions. According to Heath, Luff, Lehn, Hindmarsh, and Cleverly (2002), many pieces of visual art may need a more active visitor that can pay enough attention to the creation to see its underlying motives and analyze its true meaning. Therefore, the problem of keeping the visitors interested and focused becomes apparent in the field of museum design. The solution that lies in interactive exhibitions offers some benefits for visitor participation. For instance, the inclusion of interactive pieces may encourage visitors to pay attention and improve their learning experience. Moreover, mixing traditional methods of exhibition design with some new approaches can also provide a place for visitors to relax and change their way of perception as they stop simply observing the art and use other types of information gathering. Finally, interaction with the art may allow visitors to personalize their experiences.
How Is Interactive Design Done Now
The current state of interactive design encompasses many approaches. However, the use of technology deserves particular attention as its developments can significantly change one’s museum experience. As Heath et al. (2002) note, “digital technologies have provided resources with which to represent and transform conventional materials to engender new forms of interaction and experience” (p. 11). In this case, new types of visitor and museum interaction are created with different devices and equipment. Macdonald (2007) outlines three central areas of research in the sphere of interactive design, including media, co-creation, and space. The correct implementation of knowledge about these areas into the final design helps museums to create an environment which engages people, attracts their attention, and strengthens the outcomes of learning.
Media
This sphere of design incorporates the use of any materials needed to display the art pieces. For instance, the types of presentation such as dioramas, screens, or computer devices all fall under the category of media (Macdonald, 2007). Here, the choice to create an interactive exhibition implies that the visitors are going to engage in the process of art perception in a way that somehow differs from a simple observation. Individuals that come to a museum use the provided technology as the means to gather the information about the installations. Thus, visitors treat the media as a part of an exhibition.
Current developments in the area of media include the use of augmented and virtual reality (AR and VR). These types of presentation foster participation as they offer visitors to not only actively engage with the equipment but also choose their path. Moreover, according to Reeves, Benford, O’Malley, and Fraser (2005), interactive technology allows people to view objects that would otherwise be impossible to display. For instance, the artworks and projects presented through the means of virtual reality let the individuals interact with objects that cannot be present in a room in their physical form. Buildings, destroyed artifacts, or creatures can become a part of an exhibition with the use of AR and VR. The interactivity of these methods is enhanced by the use of 3D technology, which gives people an opportunity to observe an exhibition piece from all angles. The ability to create pieces with dynamic scenes engages visitors even more.
The use of interactive video walls and tables is also a way to let a visitor participate in the museum experience more actively than before. Here, the individuals are given the ability to choose the most mattering information. It can also allow the public to participate in the viewing of an object together as some displays allow for collaborative use. For example, Reeves et al. (2005) describe a table that can be used by up to four people who interact with a physical model. In this case, such factors as the desire to explore and be in control of the situation encourage visitors to pay more attention to the artwork. This type of interactive design may benefit museums that want to use group participation in their exhibitions and create shared experiences.
In contrast, a different way of implementing technology into a museum exhibition is the use of smartphones. This method allows for a more private experience, which can be shared with others without direct interaction. An example by Bødker, Klokmose, Korn, and Polli (2014) shows how phones can become a part of one’s experience. The authors present a concept where smartphones can be connected to the informational panels of some artworks, where visitors can leave their comments and insights for other people to see. This type of media is both shared and private. More individual ways of using smartphones to interact with art pieces are the ability to find the information about an exhibition online or through some applications created by museums. These methods allow people to experience art privately and at their own pace.
Co-creation
The approaches to interactive design described above show the trend towards collaborative museum experience. In fact, such media devices as interactive walls and tables and smartphone commenting are used to encourage visitors to share their time at a museum with other persons. However, collaboration does not end with visitor-to-visitor interaction as it may involve the art pieces and their creators as well. This method can be considered as a type of co-creation as it allows individuals to become a part of an exhibition. Heath et al. (2002) present an example of a co-creative piece where people have to interact with an installation to understand its meaning. The use of this method does not only invite visitors to participate in the observing process, but it also influences the way they interpret the information about the installation. In this case, communication is also an aspect of creation as groups of visitors may show the discovered art piece to each other, prompting a reaction and sharing their thoughts about it.
Putting the spectator into an art piece is another type of collaboration. The example with smartphones and object descriptions mentioned above shows that people can share their original thoughts and discuss the context of an installation. Another example of co-creation is user-generated content (UGC). This approach can be seen in the #HowDoYouMuseum campaign of the Natural History Museum of Los Angeles (2017), which encourages people to share photos of their museum visits. This campaign allows individuals to enter photography contests to win an exclusive tour of the museum. The use of social media presents an opportunity to discover how people experience new content and share it with other persons. Moreover, this method personalizes individuals’ experiences and promotes feedback and interaction after one’s visit.
Space
The aspect of space can also affect one’s experience and can be used in interactive design to raise one’s attentiveness. According to Tzortzi (2015), different spatial patterns can alter one’s visiting pattern and influence the overall experience. For instance, massive space of an exhibition can tire visitors out and make them skip particular installations to conserve energy. Thus, spatial design should respond to the individuals’ needs and devise a map that would be easy for a person to cover in one visit. Here, an interactive approach can enhance one’s experience through the use of various devices. Digital maps that can be downloaded by visitors before or during their trip can help individuals to move according to their interests. Alternatively, interactive walls and tables that show information about an exhibition’s contents can also improve one’s experience. A person can interact with these devices and go through the installations without becoming frustrated. Such virtual guides give visitors an ability to choose their path.
Who Sees the Design
To create exhibitions that will leave a lasting impact on people and their knowledge, one should understand the audience. The types of visitors and their demographics can give one an ability to create a design that will engage the public. According to Mancas et al. (2009), there are four types of visitors such as “ants,” “fish,” “butterflies” and “grasshoppers” (p. 91). The visitors of all types have their unique patterns of movement and engagement, which complicates one’s task to create a ubiquitously efficient design. While some visitors experience an exhibition in a linear way, others move from one place in the room to another, sometimes ignoring a part of an exhibit and focusing on their favorite installations. Moreover, the demographics of the individuals can also give one some information about the design strategies. For example, people’s desire to collaborate with each other may result in a museum adding more group activities into their interactive design. On the other hand, private interactive methods can balance out the need to communicate.
How Do People Consume Knowledge from Interactive Exhibitions and Carry It to Their Lives
The issue of interactive design is further complicated by the fact that people may not remember the information that they acquired during their visit. To increase the success of information retention, museums should create interactive exhibitions that allow individuals to participate in the experience even after they leave. Thus, the approaches to interactive design can be separated into two types. The first kind lets people interact with the installations in the museum but does not provide a platform for further participation. For example, Guscott (2013) explores the Cleveland Museum of Art and its MicroTiles video wall that allows visitors to experience the exhibit at their own pace. This device is very interactive. However, it does not offer any way of information retention after the person leaves the museum. Another example is the application “ASK” created and used by the Brooklyn Museum (2017), where visitors can take pictures of specific pieces and installations and ask questions related to them. This app is a viable source of communication and information gathering, but it is restricted to the time of the visit.
The second type of interactive design offers people to participate in the discussion about the museum’s contents. Here, social media becomes the primary source of interaction. The campaign #HowDoYouMuseum mentioned above can be considered an example of visitors’ participation as it engages them to recall their experience. However, it is unclear whether people carry the information from the exhibit into their lives. While some individuals create a social heritage of their favorite exhibitions and installations, it does not show the level of their engagement. Another type of application is Smartify, which allows people to scan an interesting art piece and learn more information about it through their smartphone (Smartify, 2017). This app lets people retain their knowledge as it creates personal galleries of favorite art pieces.
Conclusion
Current developments in the field of interactive design incorporate various types of technology into exhibits and art presentation. The use of AR and VR allows a museum to present objects and data that would not be available to people otherwise. Moreover, these interactive devices encourage people to pay attention and participate in group or individual learning. Such factors as media, co-creation, and space can be outlined as the main areas of research. One can create an exhibit that will engage the visitor through some technology such as interactive walls or tables, allow people to become a part of the project, or use additional devices to construct the best route through the installations.
To choose the best strategy for information retention, one has to learn more about the audience of museums. The use of applications and devices may give one an idea about the techniques that can be implemented in the design. To make people remember the information that they learn during their visit, museums need to engage them in the process of learning during and after the exhibition. For this purpose, one can use smartphone applications that encourage information gathering and interaction with other individuals. Finally, social media also becomes a way of creating a personal gallery that allows people to reflect on and share their experiences.
References
Bødker, S., Klokmose, C. N., Korn, M., & Polli, A. M. (2014). Participatory IT in semi-public spaces. In Proceedings of the 8th Nordic Conference on Human-Computer Interaction: Fun, Fast, Foundational (pp. 765-774). Helsinki, Finland: ACM.
Macdonald, S. (2007). Interconnecting: Museum visiting and exhibition design. CoDesign, 3(S1), 149-162.
Mancas, R., Glowinski, D., Brunet, P., Cavallero, F., Macy, C., Maes, P. J.,… Volpe, G. (2009). Hypersocial museum: Addressing the social interaction challenge with museum scenarios and attention-based approaches. In eNTERFACE’09 Summer Workshop (pp. 91-96). Genoa, Italy: Casa Paganini.
Natural History Museum of Los Angeles. (2017). #HowDoYouMuseum. Web.
Reeves, S., Benford, S., O’Malley, C., & Fraser, M. (2005). Designing the spectator experience. In Proceedings of the SIGCHI conference on Human factors in computing systems (pp. 741-750). Portland, OR: ACM.
Smartify. (2017). About us. Web.
Tzortzi, K. (2015). Spatial concepts in museum theory and practice. In Proceedings of the 10th International Space Syntax Symposium (pp. 1-14). London, UK: Space Syntax Laboratory.
The silent film Voyage to the Moon directed by Georges Méliès represents an important landmark in the development of cinematography since it incorporates a variety of techniques that were revolutionary by the standards of the early twentieth century. For a long time, the color version of the film was believed to be irretrievably lost.
However, due to painstaking effort of many cinematographers, it was eventually restored and displayed at the Cannes Film Festival. Overall, one can say that the restored version of this movie only enhances the sense of unreality that Méliès tried to create; moreover, it highlights the idea that Voyage to the Moon is a surrealistic fantasy and a theatrical performance, rather than a science-fiction film. This is the main thesis that should be elaborated in greater detail.
By coloring this film, cinematographers were able to enrich this work of art. In particular, the color version helps the audience understand the way in which this director could have envisioned the fantastic images that he created. For instance, it is possible to speak about the scenes in which the landscape of the Moon is depicted. To a great extent, this landscape becomes much more vivid.
Furthermore, the audience can better visualize the clothes of the main characters and the complex scenery designed for the movie. This is one of the changes that should be considered, since for more than a century, the viewers were deprived of this opportunity.
Apart from that, this version enables the spectators to see that this film can be compared to a theatrical performance with very complex stage decorations that are more important than actors who cannot contribute much to the film. This is one of the techniques frequently employed by Georges Méliès. Additionally, much attention to should be paid to the sound track included in the restored version of this movie.
At the beginning, it creates the sense of suspense and prompts the audience to think that the main characters can be exposed to grave danger. In contrast, the original musical score creates a light-hearted mood which does not give rise to any misgivings. This is one of the differences that should be considered by the viewers.
One can also say that the color version changes the effect produced by the fantastic elements of this movie. In particular, the viewers can see that Georges Méliès wants to highlight the unreality or even theatricality of the action. This argument is particularly relevant if one speaks about Méliès’s conception of the Moon surface.
For instance, one can speak about the giant mushrooms that seem to be taken out of a surrealistic dream when they are colored (Voyage to the Moon). Furthermore, the director’s portrayal of the Moon inhabitants or Selenites becomes more vivid. These insectoid creatures appear to be even more grotesque (Voyage to the Moon).
The main issue is that at the time, when this film was first released, the images of Selenites produced a long-lasting impression on the spectators, but nowadays, they seem to be comic. Yet, it is difficult to determine whether Georges Méliès could anticipate this effect. This is one of the aspects that can be identified.
It is possible to argue that Voyage to the Moon cannot be viewed as a science fiction film, even though this cinematographic work was partly inspired by Jules Verne’s novels. However, Georges Méliès uses them to create fantastic or even surrealistic images. For instance, one can mention the scene depicting astronomers’ landing on the Moon.
It seems that they reach a fairy-tale world inhabited by grotesque monsters that explode as soon as they are hit. Such images are hardly compatible with science-fiction cinematography or literature. Moreover, one can mention the opening of Astronomers’ Club. The actors’ clothing and setting suggest that the action could take place in the Middle Ages, but not at the beginning of the twentieth century (Voyage to the Moon).
In this way, Georges Méliès increases the sense of unreality that has to captivate the audience. One can also say that the plot of this movie is only as used as a pretext for showcasing the images that cinematographic art can produce.
However, he does not want to depict the events in a realistic manner. The adoption of this approach is one of the reasons why Georges Méliès is distinguished among other film-directors who worked during the silent era of cinematography. This is one of the points that can be made.
Overall, this discussion suggests that the restoration of Georges Méliès’s film throws a new light on this cinematographic work. First of all, it demonstrates that Georges Méliès intended this movie to a fantasy film which was not closely related to science fiction.
More likely, this film should be viewed as a theatrical performance showcasing fantastic and surrealistic images. So, the restoration of the colored version of Georges Méliès’s enriches this masterpiece and helps the audience better appreciate this work. These are the main arguments that can be advanced.
Works Cited
Voyage to the Moon. Ex. Prod. Georges Méliès. Los Angeles: Technicolor Lab, 2011. DVD.
“Devil in a Blue Dress” is a movie produced in 1995 depicting the dramatic experiences of an African American novice private eye in 1948 Los Angeles. The movie falls under the Neo-noir category as it is set in the classic era between 1940 and 1950 and has the characteristic neo-noir theme of a major African American character that is faced with a tough life situation compelling him to make difficult choices out of desperation.
The major themes in the film are violence, crime and love (Brode 114). The movie is outstanding due to the historical accuracy achieved because of director Carl Franklin’s in-depth research and the impressive cinematography. The impressive acting by two of Denzel Washington and Don Cheadle also adds to the film’s appeal.
The movie’s main character is Ezikeal Rawlins, also known as Easy, who is an African American Second World War veteran seeking employment in the Los Angeles after losing his job in the aircraft manufacturing company. He gets a client named DeWitt Albright, who commissions him to find a missing woman by the name of Daphne Monet.
Easy sets out to track Daphne, who is rumored to frequent illegal black clubs. However, as he continues with his search for Daphne, Easy realizes that he has got himself involved in a dangerous political rivalry where the big players are trying to set him up. When he realizes the danger he is facing, Easy confronts Joppy, his bartender friend who introduced him to DeWitt Albright, and blames him for his current troubles.
Joppy retorts that he is not responsible since he was only trying to help Easy, who was desperate, make some money. Easy is able to unravel the mystery, which involves political blackmail and murder. Eventually, he solves the case and is paid for his work.
Devil in a Blue Dress is, actually, a very amazing phenomenon in the movie industry, mainly because of its success, since there are a number of elements that might not and should not have worked. The story of a detective who is in search for a mysterious and beautiful woman has done to death by that time, and it would have taken a miracle to make this plot work.
Thankfully, the director was perspicacious enough to understand how the clichéd story must be updated to meet the demands of the 90s audience and put a very strong emphasis on the characters.
When it comes to defining what works for the movie’s advantage, one must admit that the lead character is easily the most notable element of the movie, no pun intended.
Easy is not simply the character of a film noir – he is noir, because he incorporates the elements of a noir genre. Easy is what movie critics call “a private eye” (Ebert para. 3), he wears the kind of clothes that one would expect a noir character to, and he has the laid back attitude of a noir character that Nicholas ray from Lonely Place would have died for.
Though Denzel Washington has obviously put a lot of effort into making his character credible and likeable, Don Cheadle as Mouse nearly steals the show. Cheadle is perfect as a lead character’s buddy straight to the point where critics claim him to be the best character in the film.
However, it is not simply Mouse who turns the movie into a stylish neo-noir universe – these are the interactions between Easy and Mouse that push the movie forward and make the film unique: “This ain’t your friend’s car? What’d you do Mouse?” – “Just drive this sumbitch!” (Devil in a Blue Dress 37:02).
The atmosphere of the movie created with the help of original setting is also worth mentioning as a staple of the neo-noir genre. In most of the important scenes, the light is dimmed and shadows are used as a major tool for creating a noir atmosphere.
Picture 1. Easy at the Ambassador Hotel. (Devil in a Blue Dress 1:05:17).
Finally, the story also deserves being given a mention. Despite the fact that the idea is very stale and has been used by any director shooting a film noir, Carl Franklin managed to make a few alterations that helped push the film noir genre forward without changing it to the point where it stops being recognizable.
For example, the fact that the romance between Easy and Daphne went nowhere was a very risky move that would not have worked in a traditional film noir. However, by creating unique and memorable characters, Franklin managed to fit it into the neo-noir genre esthetics.
It would be wrong to deny that the movie has its flaws. Carl Franklin could have conjured a better and a less clichéd story instead of tying together a bunch of staple plotlines with the help of more than traditional plot devices.
However, the characters created by the actors are so strong and enjoyable, that the movie miraculously works and attains a unique flair. One of the most memorable movies of all times, Devil in a Blue Dress will clearly be remembered for long and is bound to become a classic example of a neo-noir genre.
Works Cited
Brode, Douglas. Denzel Washington: His Films and Career. NY: Carol Publishing Group, 1997. Print.
Devil in a Blue Dress. Dir. Carl Franklin. Perf. Denzel Washington, Tom Sizemore and Jennifer Beals. TriStar Pictures, 1995. Film.
Among the many types of entertainment devised by humanity throughout its history, different kinds of shows occupy a prominent place. From athletic competitions through theater to talk shows and stand-up comedy shows remain an essential part of human culture. Naturally, the very definition of such shows, be they competitive or not, implies the existence of two different categories of people. The first category performs specific actions pursuing a set goal, while the second category watches as the events unfold in search of entertainment. As a result, for any show to proceed in a proper manner, two kinds of people are necessary. Without the performers, there would be nothing to watch at, and without the spectators, the show would forsake one of its key purposes – the entertainment. Yet even though both categories are undoubtedly necessary, their roles in the process differ considerably. Being a performer, whether in an athletic contest or a play, requires significant professional skills, presumes a much greater degree of responsibility, and implies a code of conduct aimed at other performers.
Main body
The first and most obvious difference between being a performer and a spectator in any event is different demands the show sets for both groups. For the spectators, the show is, first and foremost, a source of entertainment, so their interest in the process is consumerist rather than professional. Watching an event does not demand any set of specific professional skills. If it is an athletic competition, the basic idea of rules will usually suffice, and if the show is a play, even this is unnecessary. The situation is quite the opposite for the performers, be they athletes, actors, or anyone else. Their participation in the event requires and necessitates a comprehensive set of professional skills well-developed in the course of rigorous training. An untrained athlete will never perform well, and an actor without proper preparation will prove unable to play his or her role. In order to ensure their part in the event goes appropriately, the performers need a mastery of their profession and a will to exercise these skills. In other words, an event is an entertainment for spectators, but a job for performers.
Another critical difference between being a spectator and a performer stems from the one mentioned in the previous paragraph: performing implies greater responsibility. Admittedly, as already mentioned in the introduction, calling the spectators unnecessary would be wrong. First, their entertainment is one of the reasons – and sometimes the main reason – to hold an event and, secondly, the money they pay for watching finances both sports and acting industries. However, the responsibility of the performers is much greater than that of the spectators, because these two groups have different aims. The goal of the spectator is purely passive: to observe what happens. The task of the performer, on the other hand, is to deliver what the spectators came to see, be that a competition or impressive acting. As a result, the spectators may fund the industries in general, but once the show or competition begins, it is up to the performers to ensure it will proceed properly. As a consequence, while the spectators may observe in passive contentment, the fate of the entire event hinges on the performers doing their jobs. This burden of responsibility also separates performers from spectators.
Finally, one more difference between participating in the event directly and watching it as a spectator lies in the fact that these groups have different norms to follow. Both performers and spectators have their codes of conduct designed to regulate their behavior in the course of the event. However, in the case of a performer, this code mainly concentrates on the interaction with fellow performers. If the event in question is a sports competition, this code of conduct would be the rules of this particular sport. If it is a play or another kind of show, the actor’s behavior is subject to professional ethics regulating the interaction with other actors so that everyone could do the job properly. Thus, the performers’ code of conduct is a subset of professional ethics and, as such, focuses on the performers themselves. The spectators’ behavior, however, should satisfy two criteria simultaneously: they should not interfere with the performers doing their job and with fellow spectators watching. Thus, while the code of conduct designed for the performers mostly concentrates on their own group, the norms the spectators should follow consider both groups involved in the event.
Conclusion
As one can see, being a performer and a spectator in any type of event has several profound differences. To begin with, being a spectator does not require any extensive set of practical skills while being a performer does. This constitutes a first and the most fundamental difference between the two groups: while the event is a show for the spectators, it is, at the same time, a job for the performers. Yet another distinction between the two categories is that they have vastly different responsibilities. The spectator’s observing role is mostly passive, but falls to the performer to deliver the show everyone came to see. As a result, the proper progress of the event is invariably the performer’s responsibility. Finally, the codes of conduct for both groups differ as well. While the performers’ behavioral norms concentrate on performer-to-performer interactions, the spectators’ code of conduct has to consider performers and fellow spectators alike.
Metropolitan Museum features a vast and diverse collection of both Greek and Roman art, thus shedding light on the culture of two great civilizations of European Antiquity. Among other things, the museum’s collection includes a large number of Greek and Roman sculptures. Even more importantly, these sculptures come from all periods of ancient history, including archaic Greece, Hellenism, and the age of the Roman Empire. This fact allows one to access the cultural evolution of the antique sculpture from the archaic period in Greece to the high point of the Roman Empire’s might. Naturally, if one views the artworks in this context, one is bound to note the differences characterizing artistic priorities and values of each particular period. Assessing three sculptures from Archaic Greece to the High Empire demonstrates that religion has always played a prominent role in ancient art, but apart from that, the statues illustrate different influences and values.
Marble Statue of a Kouros
The first artwork examined in this paper is a statue of a Kouros or young man. Carved from marble in the 6th century BC, it is, according to the description, one of the first human statues made of this material in Attica (“Kouros”). It depicts the man in full size and, possibly, even slightly larger than he was in real life, as its height is 76 5/8 inches or 194.6 cm (“Kouros”). The young man depicted in the artwork stands high, with a straight back, arms on the sides, and the left leg put forward, The man’s posture is upright and even rigid, which only strengthens the impression from the perfect geometrical symmetry of the body. The face of the statue is dispassionate, and the young man looks forward without a sign of any emotion, contributing to the impassive geometrical strictness of the artwork. The man’s hair is woven into several long braids, thus creating an elaborate hairstyle that likely signifies his high social station. Overall, the sculpture’s main feature is its geometric propriety that manifests in perfect symmetry and is further reinforced by a simple pose.
Coming from the archaic Greek period, which precedes the classical period of democratic poleis, the statue reveals much about its age. First of all, it signifies the importance of religion for the Greeks of the time: according to the museum description, the statue marked “the grave of a young Athenian aristocrat (“Kouros”). This means the sculpture likely had some ritual meaning for those who commissioned it, signifying that close ties of ancient art to belief systems of the time. Additionally, the man’s rigid posture and the pose with the left leg put forward are reminiscent of Ancient Egyptian wall paintings. This impression is accurate: as the description states, the statue’s stance was indeed “derived from Egyptian art” (“Kouros”). Finally, the statue also reveals the social values of the time, at least to a certain degree. As mentioned above, it depicts not a random person, but a young aristocrat – and, as such, may signify the importance and influence of nobility in archaic, pre-democratic Ancient Greece.
Marble Statue of an Old Woman
The second artwork covered in this paper is the statue of an old woman. The particular sculpture on display comes from the early Roman Empire – more specifically, the Julio-Claudian period that had lasted from 16 to 68 AD (“Old Woman”). However, the description states that this sculpture is a copy of a Greek work coming from the second century BC – that is, the Hellenistic period. The statue is carved of marble and is 48 5/7 inches or 125.98 cm high (“Old Woman”). It depicts an elderly woman clad in complex garments and carrying a basket filled with fruit as well as two chickens. In order to further emphasize the woman’s age, the statue hunches forward and also tries to lean right as if the basket in the left-hand weights too much. The artist pays great attention to the numerous folds of the woman’s garment, thus creating a very realistic depiction. The woman’s hair is covered, which probably also serves to signify her old age, but there is also an ivy wreath on her head.
This sculpture is all the more interesting because, in a sense, it belongs to two times simultaneously: the Hellenistic period when the original was made and the early Roman Empire when the copy was created. Just as the previous example, it illustrates the importance of religious motives permeating ancient art. The ivy wreath decorating the woman’s head is associated with Dionysos, the god of wine, and the woman likely hurries to the festival in the god’s honor (“Woman”). Additionally, the artwork reveals a particular shift in theme. If in archaic Greece only nobles could expect to be immortalized as statues, Hellenistic art broadened its focus “to include genre-like figures from the fringes of society” (“Old Woman”). Thus, if Greeks of the archaic period stressed aristocratic origin as an ultimate value, their Hellenistic descendants were more interested in interpreting life in all of its forms, noble or not. Finally, the fact that the artwork is a Roman copy of a Greek original testifies that Hellenistic Greek art was probably as influential in the Roman Empire as Egyptian art was in archaic Greece.
Marble Statue of a Wounded Amazon
The third and final piece of art examined in this paper is the Roman statues portraying a wounded amazon. It belongs to the so-called period of the High Empire – that is, the 1st or 2nd century AD (“Wounded Amazon”). Just as the two statues discussed above, it is carved from marble – the staple material of Greek and Roman sculpture (“Wounded Amazon”). Depicting the subject in full size, it is 80 1/4 inches or 203.84 cm high (“Wounded Amazon”). The sculpture represents an Amazon – a mythical female warrior from Asia Minor – wounded in a battle. Unlike the old woman discussed above, the amazon only wears a simple chiton which would not constrain her movements on combat – and even it is unfastened on the left shoulder. There is blood leaking from a wound right after the woman’s left breast, but the statue’s face betrays no sign of pain or suffering and stays calm and even serene. The only visual indication of weakness is that the amazon leans upon the column right next to her, but otherwise, she seems undisturbed by her – most likely deadly – wound.
Again, just as the examples above, this artwork allows us to learn much about the artistic influences and values of the time. Once again, the religious motive is apparent: the statue probably belonged to the temple of Artemis in Ephesos, as the mythical Amazons “had legendary and cultic connections to the goddess” (“Wounded Amazon”). Additionally, amazons most commonly posed as battling “Herakles, Achilles, and Theseus” – that is, heroes coming from Greek mythology, although recognized in Rome as well (“Wounded Amazon”). As a result, much like the statue of the old woman, the wounded amazon illustrates Greek influence over Roman art. Finally, one may also link the calm demeanor of the woman to the values of the Roman society of the time. Undisturbed by her wound, the dispassionate amazon embodies contempt of death and bodily suffering that likely resonated with the Romans as conquerors and empire-builders. Thus, one may reasonably assume that the statue of the wounded amazon depicts Roman appreciation of the noble stoicism displayed in the face of suffering and death.
Conclusion
Ancient sculpture from the archaic period in Greece to the times of the High Empire in Rome tells much about the artistic influences and values of the societies that created it. To begin with, all three statues examined in this paper demonstrate profound religious connotations: Kouros serves a ritual purpose, the old woman honor Dionysus, and the Amazon has a strong connection to Artemis. Yet apart from that, the works differ in many respects. Archaic Greek sculpture demonstrates profound Egyptian influence but overcomes its geometric simplicity over time to become, in turn, the authority for the later Roman artists. There are also shifts in theme: archaic Kouros embodies respect for the aristocracy, the Hellenistic statue signifies artistic attention to different social backgrounds, and the dying amazon stresses the virtue of noble stoicism. Thus, despite the same material and subject, each of the three statues discussed is characteristic of its period and demonstrates corresponding features.
An American in Paris is one of the greatest and most celebrated musicals in the world today. This musical was inspired by George Gershwin. It has lavish sets and costumes and a romantic love story set with music and dance. It is an integrated musical in the sense that both songs and dances are merged perfectly well alongside with a story that gives it a fine and appealing taste to the public. Among those stirring in the musical film include Gene Kelly, Leslie Caron and Oscar Levant. The setting of this musical is Paris. The musical lyrics were originally done by Gershwins brother Ira with additional music by Saul Chaplin who is the musical director (Berardinelli par.1).
Main Body
The stories in the film are interspersed by dances and songs which make it more entertaining and enjoyable to watch. Musical songs in the film include “Our Love is Here to Stay”, “I got Rhythm”, “I will build a Stairway to Paradise” among others (Berardinelli, par. 3). The climax of the film is at a15 minutes dance featuring Kelly and Caron which sets the stage for the entire piece before concluding.
Although the film is entertaining, the type of dance and songs portrays gross immorality of characters in the film. For instance, Gene Kelly dances and sings on the floor engaging a minor in a romantic manner in a similar way to a Hollywood gay paree. Moreover, the manner in which he approaches the youthful Miss Caron on the floor as the movie concludes is punctuated with scenes that may not be suitable for certain audience such as minors. The irresponsible behavior demonstrated by characters in the musical film makes the rendition less suitable for general family viewing and it calls for parental guidance.
Conclusion
Mr. Kelly song and dance “I got a rhythm” with a group of children’s (Berardinelli par. 7) together with Mr. Levant performance were all coincidental since they were never planned except that children merely went on stage to enjoy the dance in the concert. Some songs and dances can be done away with in the film since they do not play a major role in the entire production and narration of the film. For instance, the song “I’ll Build Stairway to Paradise” and “S Wonderful” can be eliminated from the film because they have a thin content and are meant to fill the empty script of the film (Berardinelli par. 8).
Works Cited
Berardinelli, James. An American in Paris: Reelview. 2011. Web.
