Thursday, November 14, 2013

on THE ROAD again!

The Road
Questions, parallels, and contrasts oh my!
pgs 1-31

How long have the two been in the post-apocalyptic world and how does that amount of time affect their will to keep surviving?
Who is the man always talking to? (i.e. bottom of pg 11)

Parallel: One of the parallels I noticed in this section of the book is the constant referral to many kinds of metal. The word "metal" pops up numerous times in this part but many parts of the setting are described by metals like aluminum and steel. I think this is supposed to add to the cold, plain world that the world has come to and that the father and son are living in. The father and son are going to have to find strength and love in each other because of how different and brutal the rest of the world has become.

Contrast: The contrast I noticed was on page 18 when the man was describing his dream. The contrast was how the dream he describes is loaded with color ("sky was aching blue".."gold scrollwork".."green and leafy canopy") while the real world is colorless ("cold and gray and heavy in the scavenged bowl of the countryside"). I think this contrast is used to describe how terrible the world has become from when it used to be colorful.

pgs 32-53

Why do the man and the boy talk to each other so boringly (short questions, short answers)?
How was their family before the world "ended"?

P: "the stark gray world appeared again and again out of the night in the shrouded flare of lightning"(48)
"He's been struck by lightning"(50)
-Lightning appeared throughout this section and I think it illustrates how dangerous this new, post-apocalyptic world has become.

C: "He wished them godspeed till they were gone"(53)
"Tattered gods slouching in their rags across the waste" (52)
-In the first quote he is kind of sending God away from him but in the second he is taking God with him.

pgs 54-72

Is the stranger representing an evil aspect of humanity?
Why did the wife want to kill herself without the boy and father?

P: "Wish I was with my mom" (55)
"The banished sun circles the Earth like a grieving mother with a lamp"
-The mother continues to be referenced throughout the book. I feel like the mother represents death because of how she committed suicide.

C: "I'll be that boy is hungry. Why don't you all just come on to the truck and get something to eat"(65)
"Coming back he found the bones and the skin piled together with rocks over them. A pool of guts"(71)
-At first the stranger seems genuinely nice because he offers the boy food but it is contrasting because he ends up getting eaten himself.

pgs 73-93

Is this "little boy" they mention real?
Is there a possibility of life in the building?

P: "The boy was crying. He kept looking back" (50).
"The boy would not stop crying and he would not stop looking back" (85)
-In both of these scenarios, the boy was crying and wouldn't stop looking back because he was trying to help people.

C: "You have to talk to me. Okay" (77).
"He tried to think of something to say but he could not" (88)
-In the first quote the father is trying to get the boy to speak. In the second one, the father is at a loss of words. These are contrasting because the father tries his best to make the boy speak but then later on it is the father who has nothing to say.

pgs 94-118

Is the repetition of slaves foreshadowing something later in the book?
Why are all those people in the basement? How were they chosen?


P: "Behind them came wagons drawn by slaves in harness.."(92)
"Chattel slaves had once trod those boards bearing food and drink on silver trays" (106)
-There was a repetition of slaves in this section and I think it could mean something about what the father and son may come across or become later in the novel.

C: "Come on, he said" (109)
"For the love of God will you come on, he hissed" (111)
The context in which the father says both of these quotes is contrasting because although he says pretty much the same thing, he says it in two different contexts. At first he is calmingly saying it and then he hisses it angrily.

pgs 119-135

Is there a reason why the boy is compared to an alien?
What does fire represent in the book?

P: "Yes. Because we're carrying the fire" (83)
"And we're carrying the fire. And we're carrying the fire"(129)
-Fire is mentioned throughout the novel and I think it symbolizes hope of survival. In this section I think the "carrying of the fire" means how they are carrying hope in this cruel new world.

C: "With his great staring eyes he'd the look of an alien" (129)
"Taut face and hollow eyes. A strange beauty" (102)
-I think it is interesting how the father references the boys eyes each time, but once he describes them as alien-like and once he describes them as strange yet still beautiful.

pgs 136-160

Again, what does the father mean by calling the boy an alien?
What is the importance of all these brutal deaths that humans keep suffering from and that the father and son come across?


P: "With his great staring eyes he'd the look of an alien" (129)
"He understood for the first time that the boy was an alien" (153)
-Although these quotes are from different sections, it is important to realize how the father calls his son an alien to the new world.

C: "They passed a metal trashdump where someone had once tried to burn bodies. The charred meat and bones under the damp ash.." (150)
"They ate a sumptuous meal by candlelight. Ham and green beans and mashed potatoes with biscuits and gravy" (152).
-These two quotes are contrasting because the first one talks about how burnt bodies are laying in the ash and specifically mention "meat". In the next quote they are coincidentally eating meat next to a candle. 

pgs 160-185

Why is Ely the first name we get in the book?
Is Ely just some crazy old man they came across or does he mean something by all of his contrasts?

P: "..they walked the littered streets carefully.." (150)
"..leading out of th looted and exhausted cities.." (180)
-I like how McCarthy describes the cities as abandoned and how he mentions how both the cities were ransacked. This illustrates how different the post apocalyptic world is from the old world.

C: "Where men can't live gods fare no better. You'll see. It's better to be alone..Things will be better when everybody's gone" (172)
"Better for who?"
"Everybody"(172)
-The man they met says many contrasting things but I thought this one was the most contrasting. Ely says how things will be better for everybody when everybody's gone.

pgs 185-210

Could the boys bad dreams be foreshadowing something?
Do all the dead people that the boy sees affect him in any way?

P: "Don't lose heart, he said. We'll be all right" (177)
"And you can't give up. I won't let you" (189)
-Both these quotes show how the father comforts the boy throughout the novel. It is also similar to the "carrying the fire" lines.

C: "He was coughing every step of it" (92)
"In two more they would begin to get weak" (202)
-The father is truthfully getting weaker and weaker because of his sickness. He tries not to realize it in the first quote but gives in in the second one.

pgs 211-230

Does the sea not being blue affect the boy's hopes of survival?
What does the boat symbolize?

P: "Like the desolation of some alien sea breaking the shores of a world unheard of" (215).
"He understood for the first time that the boy was an alien" (153).
- Again the father compares things to aliens. This time he compares the costal sea to an alien. Just with the boy it probably means the sea is different from what it once was.

C: "Is it blue? The sea?" (182)
"I'm sorry it's not blue, he said" (215)
-The father and son's main goal was to reach the coast throughout the novel. The boy asks in high hopes if the sea is blue before they get there but then is very sad and disappointed to find out that it is gray and covered in ash.


pgs 231-259


P: "But you are dying. That is not a lie" (238)





Memory:

The theme of memory is being used so frequently for a number of reasons but mainly to illustrate the vast differences between the world they're living in now and the world before the apocalypse. This post-apocalyptic world that the boy and his father are surviving in is very cold and cruel especially when compared to the colorful memories that they have. One of the first memories the father recounts takes place at a theatre with "gold scrollwork and sconces and the tall columnar folds of the drapes at either side of the stage"(18). The phrase "gold scrollwork" stands out the most to represent the colorful memories that the father has especially when compared to the "cold and gray and heavy..countryside"(19) of the present world. Memories are also used to represent how the father and son grew up in different worlds. The father realizes he could've committed suicide with his wife but instead decided to try to survive in the cruel world that they're living in. He shares his own memories of games or stories he knew as a kid with his son to help the boy have at least a little more of a similar childhood experience. The biggest memory the boy keeps referring to is that of his mother and how she took her own life. He has stated how he wants to be with his mom who is dead. The son and the father do not refer to the images in the same way because the father is trying to input good memories in his son's head when the son can only think about death.


Literal World:

McCarthy has created his literal world of The Road by making us feel like the characters do in the book while we are reading it. McCarthy's style of writing in this book is very confusing through his short and choppy sentences, poor grammar and punctuation, and not really giving an identity to anyone. I feel as if we're supposed to feel lost and confused just like the characters in the book as they try to survive in the post-apocalyptic world. McCarthy also uses adjectives like cold, gray, and ashen to describe the setting of the book. He also illustrates the clear difference when he describes dreams and memories that the characters have using a variety of colorful words. McCarthy best describes his literal world with "barren, silent, godless"(4). This passage is very important in describing both how the characters feel and what the world is like around them. Using three adjectives as it's own sentence is very confusing and also similar to how the father and son feel as they wander down the road. The three adjectives McCarthy uses in this sentence also perfectly describe the desolate world they're surviving in.


Creation of the Road - before the encountering the bad guys scene

The scene at the bottom of 60 would definitely start with an establishing shot of an extreme close-up on the father's face when he wakes up. His eyes would open suddenly and the audience would hear voices and a loud truck in the distance. The shot would then transition into a medium shot showing the father sitting up to check on the boy. In this MS, we would see the road and then trees behind it in the background. We would then get a POV shot from the father's perspective as he looks at and checks on the boy who is sleeping in the leaves beside him. After he looks at the boy, the audience would get a long shot of the "bad guys" coming down the road in the distance. We would see the headlights of a truck and shadows of humans walking beside it in a slight, foggy haze. They would be in the center of the road with trees on both sides of them and ash all around them. It would then go to a close up of the father as he whispers "God" and then quickly wakes up the child as some fast paced non-diegetic begins to enter the scene. As the music enters the scene, the father would grab his child's hand and begin to run away as we also hear the voices and truck getting louder along with the music.




















Tuesday, October 29, 2013

Double Indemnity/L.A. Confidential Stills

For L.A. Confidential I used still number 33 of 99 (https://picasaweb.google.com/ctrova/LAConfidential?authuser=0&feat=embedwebsite#5527359609216827362) and for Double Indemnity I used number 19 of 49 (http://picasaweb.google.com/ctrova/DoubleIndemnityStillShots?feat=embedwebsite#5524227295306645682)
In these two shots, both Walter Neff and Bud White have similar perplexed looks on their faces. Both the shots are pretty extreme close-ups but the one of Walter is more of a close up shot. All of the lighting is focused on Walter in the Double Indemnity shot and only part of Bud's face is illuminated by the light in the shot from L.A. Confidential. Both of the characters are clearly the center of the image. Walter Neff has more of a perplexed look on his face and Bud looks as if he's figuring something out.

Monday, October 21, 2013

Zahras Paradise Journal

Section 1
2. Images
Shadowing/lighting-
There are many differences in the lighting in the shot at the bottom of page 10. The darkest part of the shot is the background and to illustrate one of the characters shadows. The dog is the lightest because it is a white dog. The ground is also very light aside from the grassy areas. It is also dark on the main characters beard.

Section 2
2. Images
Foregrounding and back grounding-
Khamenei's is the most priveliged part of the image and is the largest. He also draws the most attention because he is the biggest and takes up the majority of the shot coming from the left side. Is arm is emphasized in the foreground because he is presenting his campaigning speech in front of everyone. The crowd is emphasized in the background because they are listening to the speech and looking at khamenei's. I looked at the shot at the bottom left of page 54.

Section 3
3. Words
Words, or lack thereof
The contrast I found has to do with basically everyone in the novels love of Allah. Throughout the novel, there are many references from different characters about how they love and praise Allah. At the beginning of chapter 11 when Hassan is finding information about Mehdi, many references to satan are made and they call the copy shop "the house of sin". On page 143, the language that most stands out is the phrase "research project" when it is used to describe the information that Hassan is going to receive. That phrase stands out because it is in bold and the project is information he's going to find about his brother. The image speaks for itself when the publishing empire is referred to as a house of sin and Hassan just kind of stares blankly. I think it was a good choice because no words are really necessary besides the ones already said.
What are the things Sepideh can't say and why can't she?

Section 4
1. Frames
Size and Shapes of Frames
The biggest parallel that stuck out in this section is the constant referral to technology, especially computers and how much they help the search of Mehdi especially when Sepideh allows Hassan to look through Mansoor's computer and gets access to the Islamic Republic's judiciary. The largest frame on pages 168-169 takes up way more than half the pages combined. We get the view of inside Hassan's computer when he is hacking and getting information about the prison. The size of this frame shows us how important the information is and how much of it there is for Hassan. The smaller frames show Hassan opening up the files about the prison and then the next frame show the files as Hassan is looking at them to give us his point of view.
Why are there large heads used to describe the prison files?

Section 5
1. Frames
Organization of frames
One of the parallels in this section was about memories and bringing up the past from earlier in the novel. There was a whole page dedicated to Zahra's memories about Mehdi in chapter 20 (page 18). The average page in this section is packed with frames of different sizes but there are a few pages that are taken up by one frame that is much larger than the others. When a page only consists of one or two frames it encourages me to read faster because usually there isn't a lot of dialog with not a lot of frames. If a page has a lot of frames that are packed with dialog I feel more inclined to read that page more slowly and carefully. I think these choices are saying that the bigger the frame, the more important it can be especially with visualizing the novel.
Why is Zahra saying such long, confusing phrases at the end of chapter 2 when she finds out about Mehdi?



Monday, September 30, 2013

Minority report pic #12

The screenshot alone adds a lot of suspense because it looks as if he's going to knock on the door or open it.
It's cool how the light is kind of blocked by his arm and it makes a shadow.
It's interesting how it doesn't show who's arm it is which also adds suspense.

It is a low angle shot and a close up.

During this scene, John Anderton is going to Leon crowes room and plans on not killing him but ends up doing it anyway.

Tuesday, September 3, 2013

Oedipus the King/Minority Report Questions

1. Oedipus is not very responsible for his fate because he had no idea what he was doing when he first killed Laius and then married his own mother. Oedipus never knew his real parents were the king and queen of Thebes and he was only trying to escape the prophecy by leaving Corinth and traveling to Thebes. He should not be held responsible because Laius initiated the fight with him and Oedipus didn't know he was killing his own dad. He also didn't realize that he was marrying his mother, Jocasta,  because he just wanted to accept Thebes' offer to be their king.

2. Oedipus excels as a leader because he is very wise and seems to know everything. His one large flaw is how he doesn't know his true self. He had no idea that Laius and Jocasta were his true parents and made many mistakes in his life because of that. He also didn't know he was originally from Thebes and ended running away to his own downfall because of this.

3. Oedipus's most tragic and serious mistake is when he makes the decision to run away from Corinth and travel to Thebes. If he had stayed in Corinth with his adoptive parents he never would have fulfilled the prophecy and would've lived happy without killing his father and marrying his mother. Leaving Corinth lead him to killing his father, which led him to marrying his mother, which led to his tragic downfall.

4. The scene in Minority Report where John Anderton confronts Crow in the hotel but doesn't kill him refutes Oedipus's notion of destiny because even though Crow did die, it was by suicide and not by Anderton's actions. Burgess also escaped his destiny by not killing Anderton at the end and killing himself instead while his destiny was set on killing Anderton.

5. The PreCogs use the act of seeing to see the future and when a murder is about to take place. John Anderton uses new eyes to evade the security system that is trying to bring him in for murder. The culture of the world of the film uses eyes as a system of identity.

6. Many aspects of American culture that are set in the future contain similar features that are in the movie like flying cars, robots, and high-tech computers and technology. We are always preparing for better defense tactics in case of nuclear war or WWIII. Too much preparation to prevent something as bad as a WWIII may lead us right to the start of one.

Thursday, August 29, 2013

Summer Flicks

1. American Pie
2. Oh Brother, Where art thou?
3. Remember the Titans
4. Zoolander
5. Pitch Perfect
6. The Conjuring
7. The Shawshank Redemption
8. Happy Gilmore
9. Signs
10. The Purge
11. There's Something about Marry
12. Forrest Gump
13. The Fighter
14. The Dark Knight Rises
15. Transformers
16. John Tucker Must DIe
17. The Great Gatsby
18. Horrible Bosses
19. Hall Pass
20. Predator