The Wizard of Oz Essay Example for Free

The Wizard of Oz Essay The Wizard of Oz uses film form by using similarity and repetition. With Dorothy being the main character, she is always reappearing in the film. As well as all of the characters, The Tin Man, The Lion, and The Scarecrow, have similarities to Dorothy. Each of them need something, Dorothy needs to go back home, The Tin Man needs a brain, The Scarecrow needs a heart, and The Lion needs courage. The film also progresses from the beginning to the end, as well as the characters. Dorothy starts at one spot, follows the yellow brick road and eventually makes it to her destination to see The Wizard of Oz, gets what she wants and ends up back home. The characters grow as they go. You can really evaluate this film because it is very interesting and catchy. The director carries the story very well in his Narrative form. Film Style (Mise-en-Scene) The viewers can pick up a lot from the film The Wizard of Oz. The setting is always pretty much the same, there is a lot of different colors, different shapes, and patterns. The filmmaker is always grabbing our attention with the variety of things that show up throughout the film. Something else that the viewers notice a lot is the characters, especially Dorothy. Each of their costumes represents the character, leaving the viewers to remember them by what they are wearing. The main thing that is remembered about Dorothy is her ruby red heels that end up getting her back home. Dorothy receives the ruby red heels at the beginning of her adventure and she wears them all throughout the film down the yellow brick road, and at the end of the film the ruby red heels have a big significance. Dorothy ends up getting let in to see the Wiz of Oz only because of the ruby red heels. Eventually, Dorothy clicks her ruby red heels together and they magically get her back home. (Cinematography) The Cinematography that the Wizard of Oz used is a benchmark for Technicolor’s three-strip process. The individual colors stand out everywhere, and there is never a trace of chroma noise. The image is brighter and sharper in the film. The contrast of the film really affects the mood. Since the contrast is so bright the viewer is bound to stay focused and aware because everything is so catchy and noticeable. Also, the exposure changes throughout the film. At the very beginning the film starts in black and white and changed to color as the story progressed. The filmmaker uses a lot of Long Takes, each shot of Dorothy meeting someone new is pretty lengthy. (Editing) The Wizard of Oz is an early film but editing is used quite a bit. First off, the absence of color in the beginning and the ending of the film. This sets an overall feeling of Dorothy being home. Next the film turns to color once Dorothy dreams of being in a different world, the color, yet again, set an overall mood for Dorothy in this new world â€Å"Over the rainbow.† The first steps of Dorothy being in the world of The Wizard of Oz gives off an example of inside and outside editing. The shot begins with a close up of Dorothy’s face and the camera slowly moves out to show everything else around Dorothy, which was the start of the yellow brick road and Munchkin land. After the viewer see all of that, the camera moves back in to Dorothys face when she says that they are not in Kansas anymore. One editing transition used a lot in The Wizard of Oz is the fade-in and dissolve. Another is cross-cut, two events occurring at the same time but in two different locations. This is used in the scene at the poppy field, after Dorothy and her friends meet the Lion. The shot zooms out to the Witches crystal ball, and fades away. Then the Witch looks into her crystal ball and can see the poppy field, zooming back in to see Dorothy and her friends on their adventure to see The Wizard of Oz. (Sound) The perceptual properties of film sound used in The Wizard of Oz are the loudness (volume) and pitch. The scenes where the group sing â€Å"We’re off Were off to see the Wizard, The wonderful Wizard of Oz, Youll find that the man is a whiz of a Wiz, If ever a Wiz there was, If ever, if ever a Wizmthere was, The Wizard of Oz is one because, Because, because, because, because, because, Of the wonderful things he does, Were off to see the Wizard, The wonderful Wizard of Oz,† the volume as well as the pitch always go up. The rhythm flows really well. An example from the Wizard of Oz that shows non-diegetic sound is when Dorothy is talking to the Wicked Witch and the Good Witch. The characters conversation is mirrored with the music playing in the background. The non-diegetic sound supports the narrative. As well as helping the viewer’s get an emotional attachment to the shots. (Narrative)

Victimization of Women in a Male Dominated and Male Defined World :: Exploratory Essays Research Papers

The brutality and ruthless insidiousness of the male dominated scientific regime can be seen in stark silhouette when one comes to understand how even theories constructed for no purpose other than to entrench male privilege and power fall victim to the ram-rod assault of Linear Progress. For example, the belief that the entire human organism in miniature form -- the homunculus -- was contained in the spermatozoa, was predicated on the assumption that the male is normative and active -- ejaculating its will and its likeness out into a passive female world. The female, in this view, served only as a nutritive field -- a convenient cuntainer in which the male-generated miniature man could grow. In some versions of the story, the father's right testicle was thought to produce male offspring, while the left [1] testicle was thought to suffer from insufficient blood flow, resulting in defective spermatozoa, producing a substandard, or female homunculus. The fact that the scientific perspective [2] has shifted on the subject of human reproduction in no way exonerates science from its male bias. The entire scientific enterprise is at its root an expression of the universal male lust to apprehend and gain control over external reality. The masculine need to project maleness ever further out into the world hints at the motivations behind the overthrow of the homunculus as the active instrument of procreation: plausible deniability. By seeming to involve the woman as an "equal participant" and a contributor of substance to the procreative process, the universal Male Agendum (rape) can be masked behind the veil of necessary female complicity. By this diabolical shift away from unabashed male aggressiveness, toward the illusion of sexual equality, through the subterfuge of sperm-meets-egg, Western, maledominated Science has simultaneously placated women and given men a license to rape. Given the notion that women are equal participants in the programme of heterosexual intercourse, men are free to absolve themselves of full culpability. Further, by giving women a role in the generative process that is seen (presumably at least by the men who propound the sperm-meets-egg theory) to be more invested than being merely fertile soil for sowing by men, Science has preempted the deconstruction of homunculus theory and the development of feminist and wymynyst counterparts. penelope ann has suggested the beginnings of just such a theory in chapter 7 of her book Fixing Our Fathers [3]. ann has postulated the honuncula as the mostly-formed, diminutive proto-woman that exists within the so-called ovum.

Dehumanization and Alienation Essay

For generations society has been separating and categorizing mankind into stereotypes. Everyone and anyone on earth has been placed within a prospective category. If not by race, then appearance, income, or by social standing. Although sometimes mankind takes these separations to an extreme, like trying to dispose of a thousands of people, just because of their religion and beliefs. These separations and categorizations can wreak havoc on the human mind. Some even hallucinating in order to cope with the stress of what everyday life has caused them. Feeling trapped in a label you can’t seem to shed no matter how hard you work to change can be infuriating, and that constant battle of back and forth within the mind can do dangerous things. Although Wiesel writes a memoir and Kafka writes an expressionist novella, both stories use symbols to further their themes of alienation and dehumanization. Night is a memoir by Elie Wiesel. Within his enthralling narrative he depicts his period spent within Auschwitz during World War two, and how he managed to endure and outlive the camps ill-treatment. He describes his first experience in Auschwitz, upon his entrance into the camp. â€Å"Men to the left! Women to the right! Eight words spoken quietly, indifferently, without emotion. Eight simple, short words†¦ I didn’t know that this was the moment in time and place where I would be leaving my mother and sister forever† (Wiesel, 29). As soon as you step foot in that appalling camp it is no longer of any St. Germain 1 importance that you have a family. The guards don’t concern themselves with the inseparability of you and your loved ones. All that is of any concern to them is that they dispose of the weak. They determine who is deemed fit to  live and will be of appropriate use to them. The S.S soldiers alienate the weak from the rest of the camp in order to uphold the highest level of functionality. After spending months in Auschwitz, Elie and his fellow prisoners are relocated. While on the train transporting them to their unknown location they are forced to fit 100 prisoners per car for days, without food or water. During a stop at a local train station the German citizens amuse themselves by throwing crumbs of bread onto the train and watching the prisoners fight for any scrap of bread they can obtain, for one scrap of bread ensures one more day of survival. Elie watches in horror as a man attacks his elderly father in order to steal his bread. Elie recalls the terrifying events â€Å"Meir, my little Meir! Don’t you recognize me†¦You’re killing your father†¦I have bread†¦for you too†¦The old man mumbled something, groaned, and died. Nobody cared. His son searched him, took the crust of bread, and began to devour it† (Wiesel, 101). Being in the camp dehumanizes you. Not just in the sense of stripping you of your basic rights, but also of your basic morals. Being dehumanized is more than your lack of human rights, it’s also about the numbing of your feelings and emotional connections. The only thing that separates humans from any other animal on earth is our ability to form emotional bonds with others and to allow our morals to come before our basic instinct of survival. Being in the situation where you kill your father without hesitation shows the true magnitude of the dehumanization within the camps. Still within the tightfisted hands of the S.S soldiers, Elie and the other prisoners are forced to run involuntary to a new hidden camp. Elies father has aged a great deal so the strenuous and demanding route to the new camp is more exertion than his body can handle. Once they made it safely to the camp St. Germain his father’s health began to diminish rapidly. It wasn’t long until his father drew in his last laborious breath and died in his sleep. Upon waking the next morning Elie was alarmed to find another inmate sleeping on his father’s bed. He soon discovered that his father had died the night before and was taken to the crematorium. By this time, he had already endured so  much that he says â€Å"I did not weep, and it pained me that I could not weep, but I was out of tears. And deep inside me, if I could have searched the recesses of my feeble conscience, I might have found something like; free at last†¦Ã¢â‚¬  (Wiesel, 112). Elie had already experienced so much turmoil within the confines of the camp, that he was unaffected by the death of his own father. He was relieved that he no longer had the responsibility of keeping his father and himself alive. Elie had once been appalled at the men who abandoned their loved ones in order to ensure their o wn survival. He had watched in horror as a man killed his elderly father for a crumb of bread, and vowed he would never become one of those appalling men. Yet when he thinks of his father’s undeserved death, he feels relief. In The Metamorphosis by Franz Kafka, a successful business man named Gregor awakens one morning and finds himself transformed into a giant roach bug. He responds to his change in appearance relatively calm, for his biggest concern is being late for his door to door salesmen job. While trying tirelessly to get out of bed Gregors mother knocks on the door to remind him of his tardiness to work. He assures her that he is okay and that he’ll be out soon. When Gregor fails to come into work his manager arrives at his home in order to find the explanation for Gregors absence. While demanding Gregor come out of the room, for he cannot miss a day of work he says â€Å"Your job is by no means rock solid†¦ frankly your recent work has been highly unsatisfactory† (Kafka, 7). The manager treats Gregor as though he is a means of making money and nothing more. Gregor is pushed around and mistreated by his manager each and every day, and that kind of emotional and mental abuse can only be endured for so long. Thus explaining Gregors hallucinations of becoming a giant roach, and isolating himself from the rest of  society. Being told you are nothing but another cog within the machine of life by your superior makes you believe that you contribute nothing to society. Therefore the manager threatening Gregor with his job is a symbol of the abuse Gregor was put through every day that made him feel like a useless vermin, that he then ha llucinates himself to be when he â€Å"turns† in to a roach. After Gregors family discovers that he has become a roach they lock him away in his room and refuse to acknowledge what has happened to him. His sister slowly begins to become more comfortable with his new appearance and decides to leave food out for him. Since Gregors sister Grete decided to take the position as the main care giver for Gregor, his mother never sees him. One day Gregors mother decides she wants to visit Gregor and help Grete move his furniture out of his room. While they are transporting and relocating Gregors furniture to another room, Gregor decides he doesn’t want a poster on his wall taken away. So he lays himself on top of the poster on the wall, with the hopes that Grete would realize he wants it to stay. When Grete enters the room with Gregors mother, the shock of seeing her son as a giant bug causes her to pass out. While the mother remained passed out in another room Gregors father comes home. He is outraged when Grete informs him that seeing Gregor caused the mothers troubling state. He immediately assumes Gregor tried to attack them and begins to attack Gregor as punishment. Kafka describes it saying â€Å"Gregor halted, petrified, any more running would be useless, for the father dead set on bombarding him†¦a weakly thrown apple grazed Gregors back sliding off harmlessly. Another one, however, promptly following it, actually clung right into his back. Gregor wanted to keep dragging himself along as though this startling and incredible pain would vanish with a change of location, yet he felt nailed to the spot†(Kafka,26). Gregors father attacking him with the apples and injuring him is a symbol of Gregors strained and problematic relationship with his father, it shows that Gregor never felt good or worthy enough. The apple actually causing injury to his back  represents the emotional turmoil Gregors father has put him through and the betrayal he feels as a result.  Since Gregor is no longer able to support the family and their lavish life style anymore, Gregors father decides to allow three men to rent out rooms within their home for extra money. The men are vile and self-righteous so upon hearing Grete playing the violin in her room, demand she come and play for them. Grete does as she is told and begins to play for the men. Gregor  is watching from his cracked door as Grete plays and is utterly captivated by it. It’s the first time Gregor remembers being happy in a long time. Although he is outraged when he looks around the room and sees the awful men sitting there looking as if they would like nothing more than to leave the room. Gregor wishes Grete would play for only him because he is the only one who truly appreciates her talents, Gregor states â€Å"He was determined to creep all the way over to the sister, tug at her skirt and suggest that she take violin and come into his room, for no one here would reward her playing as he intended to reward it. He wanted to keep her there, and never let her out, at least not in his lifetime† (Kafka, 34). Gregor enjoying Grete’s violin playing symbolizes what little hope he has left, and that he is still human. After all that Gregor has been through, and all that his family has out him through he still loves Grete and wants her to feel appreciated in the way that he never did. He wishes to hide her away from the cruel world that emotionally and mentally scarred him, and alienate themselves from the rest of society by staying together in Gregors room forever. Throughout both of the writers novels the theme of alienation and dehumanization are thoroughly represented. They depict the hardships and struggles of being wrongfully labeled, and how it affects your life. What may seem like a completely unnecessary and irrelevant sentence in the novel actually has a much great meaning than originally thought. Within those sentences are symbols that help to further the themes in the novel. Although Wiesel writes a memoir and Kafka writes an expressionist novella, both stories use symbols to further their themes of alienation and dehumanization. Work Cited Wiesel, Elie. Night. New York: Hill and Wang, 2006.Printed Kafka, Franz. The Metamorphosis. Columbis, Ohio: The McGraw – Hill Companies, 2000.Printed

Selena project - 1275 Words

1. Selena s father says it is difficult to be a Mexican-American. Why does he say that? He says this because he feels the Mexicans want you to be more Mexican and the Americans want you to be more American. 2. Selena and her brother don t seem to be as bothered by the difficulties the father describes. Why do they not share his feelings? Things had changed since the time their father grew up and both the Americans and the Mexicans had become more accepting of cultural differences. 3. Selena s Spanish is seen as a potential problem for her in Mexico by her father. Has anyone else ever felt their Spanish was being judged, by anyone anywhere? Why do you think Selena was able to overcome this problem in Mexico? Why was she so†¦show more content†¦pop music because other artists had already broken the barrier of this new trend of genre combinations. Selena was making a crossover to dance music similar to Paula Abdul or Madonna. 11. Also consider, Selena s husband and guitar player, Chris. Chris was a heavy metal/rock musician. Why did he agree to play in Selena s band? In what sense is the heavy metal culture Mexican-American, Chicano, Anglo? Are there aspects of culture in the U.S. whichShow MoreRelated1994: My Birth Year956 Words   |  4 Pages1994, but they did not have very interesting events so I had the choice of doing events on the year of 1994. One major event that took place throughout the world in 1994 was when Selena Quintanilla-Perez became a worldwide pop star. She started at the age of 9; her father started the group Selena Y Los Dinos (Selena and The Guys). The group s first performance was in Papagallos, the Quintanilla family s restaurant opened in 1980. 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