Battleship Potemkin versus the Birth of a Nation Essay

Aside from the similar visual styles of Battleship Potemkin and The Birth of a Nation, both films are examples of civil unrest during periods of political instability in a historical setting. Both movies take place during a national revolution and involve several instances of social turmoil and disturbance. The styles of these films can be contrasted by viewing their use of montage, focus, and basic film techniques in relation to thematic and constructive plot elements. The Birth of a Nation is a story about the consequences of the Civil War on the friendship of a northern and southern family. It expresses the effects of the war on their lives in relation to major historical and political events. This movie is directed by D.W.†¦show more content†¦An intense fascination with the editing style of D.W. Griffith led the director, Sergei Eisenstein, to create this film in the style that he did, and to transform the dynamic tension created by cross-cutting and parallel editing into the modern idea of the montage. This film employs the revolutionary use of montage as a furtherance of the collisions of ideas as symbolic representation. Historically, these films were reflections of true events that happened in the not so distant past. Both are propagandistic in nature, although only Potemkin was made to intentionally draw on the events it portrayed as a glorification of the past. Eisenstein felt that he could realistically commemorate the 1905 revolution in film form. Griffith, however, simply wanted to create a film that was a reflection on history. Although he did not intend for his film to be considered racist or condone the actions of the KKK, he does expressly cite his right to examine the ?dark side of wrong? in a plea on the opening title card of the film. (Dirks, ?The Birth of a Nation?) There is a scene in both films that is used as a representation to foreshadow the impending events. In Griffith?s work, the shot that is used to establish the premise of the film comes during a scene of a kitten being dropped in between two puppies on the southern plantation and the subtitle ?Hostilities.? This is an allusion to the ominous polarity

Francisco De Zubar N And His Work English Literature Essay Free Essays

Francisco de Zurbaran, a Spanish painter was born in Fuentes de Cantos, Badajoz Province in Estremadura and baptized on Nov. 7, 1598. His male parent was a comfortable tradesman of Basque descent. We will write a custom essay sample on Francisco De Zubar N And His Work English Literature Essay or any similar topic only for you Order Now In 1614, Zurbaran ‘s male parent sent him to Seville to apprentice for three old ages to a second-rate painter of images, Pedro Diaz de Villanueva. Zurbaran opened a workshop in Llerena in 1617 and married a adult female older than himself. She died after holding three kids. He was married once more to a widow in 1623. During his 11 old ages in Llerena, Zurbaran ‘s piousness was influenced by Spanish Quietism, which was a spiritual motion that taught inner backdown, the find of God in meekly submissive silence, and the usage of penitentiary exercisings to repress the senses and quiet the mind. Although this influence had a deep consequence on his art, it in no manner limited his artistic creative activities. The contracts for this period are so legion that he would hold been obliged to delegate many of them to helpers. In add-on, he was transposing to Seville to put to death plants for the Dominican, Trinitarian, Mercedarian, and Franciscan monasteries. In 1629, the Sevi lle Town Council persuaded Zurbaran to travel his workshop to their metropolis. He arrived with his married woman, kids, and eight retainers. The undermentioned twelvemonth the painters ‘ Guild of St. Luke ordered him to subject to an scrutiny and he refused. The town council ended up back uping him. His frequenters continued to be largely monasteries including the Capuchins, Carthusians, and Jeronymites were added to the list. In April 1634, the painter Diego Velazquez, who was in charge of the ornaments for the new Royal Palace in Madrid, commissioned Zurbaran to put to death for the Hall of Realms two conflict scenes, which were to belong to a series that included Velazquez ‘s Surrender of Breda, and 10 Labors of Hercules. Zurbaran returned to Seville in November with the honorary rubric of Painter to the King and the happy memory that Philip IV had called him the male monarch of painters. Zurbaran was at a extremum of creativeness and felicitousness in 1639, when his married woman died. His art production declined markedly and his manner became graver. He married for the 3rd clip, in 1644, but his artistic star was falling. Missing sufficient committees at place, Zurbaran was obliged to make the bulk of his plants for South America. With four more kids born of his new matrimony, he sold Flemish landscapes and pigments and coppices to the South American market. He continued to bring forth largely for South America until 1658, when he decided to seek to alter his fortune in Madrid. His art, nevertheless, was small apprehended at that place. Zurbaran died destitute in Madrid on August 27, 1664. Zurbaran ‘s work was really sophisticated with accurate pragmatism and indefinable mysticism. Zurbaran chose to be a painter of spiritual topics. His work was ever created big. Other effects are attained by the elaborate finished foregrounds which mass out mostly in visible radiation and shadiness. He was really adept in painting figures with curtain as shown in one of his works The Annunciation. He worked with oil pigments and most of his plants were spiritual scenes and portrayals. Two-thirdss of his plants were painted in the 1630 ‘s and the other 3rd is about every bit divided before and after that decennary. The Annunciation was painted in 1650 with oil on canvas. It measures about 85 inches tall and about one-hundred and 24 inches broad. â€Å" This Annunciation falls rather late in Zurbaran ‘s calling, when his simple and disconnected mold, dark to visible radiation, begins to soften and film over. His pallet becomes less blatant and more blended, while the about militaristic urgency of his earlier work is replaced by an familiarity and tenderness. The walls of the Virgin Mary ‘s room literally dissolve in a inundation of cherubs bathed in visible radiation, as the angel Gabriel with great heroism and discretion announces that she is with kid † says Joseph J. Rishel. Francisco de Zurbaran has a realistic manner shown in the picture. It features a room in which an angel is seen at the left kneeling on the land before the Virgin Mary. The figure of Mary is placed between a chair and a little wooden tabular array draped with a green fabric. Mary looks as though she is s urprised to be greeted by the angel although glancing at the floor. She disregards the unfastened Bible since she has been distracted. Behind and above the two figures are cherubs resting on beds of clouds merrily staring down at Mary with eyes from Heaven. Elementss such as visible radiation, colour, and texture are used in The Annunciation. Francisco de Zubaran does non demo a beginning of visible radiation in the picture, but we can see the light get downing from heaven with the cherubs and bit by bit gets darker to where the image about looks blurry on the lower left following to the angel. Light besides emphasizes the just tegument of the Angel and Mary as they both look down towards a shady floor. It reflects the unfastened Bible hinting on the sanctity and importance of Mary. Color draws attending to of import characters and objects in the picture. The ruddy and bluish Mary wears gives us a sense she is the chief focal point of the image since they are two different colourss in temperature and really concentrated. The bright yellow used indicates a celestial felicity or spirit such as how the dove is painted. The little soft silky texture used in this picture shows Zurbaran ‘s usage of pragmatism. The curtain looks about perfect compared to the remainder of the room. If the picture is looked at closely, you can see more symbolism such as a really weak xanthous visible radiation around Mary ‘s caput about like a aura which signifies her sanctity. The little xanthous dove at the top of the picture besides looks down at Mary and even gives a visible radiation pointed down at her caput. The cherubs and the angel are all smiling giving the image a joyful significance. You can besides see the flowers at the bottom right giving the painting an even more sense of softness, raising, and peace. The iconography of The Annunciation is shown how Zurbaran portrays the narrative of the Angel Gabriel looking earlier Mary to denote that God has chosen her to bare a boy, Jesus, who will salvage God ‘s people from their wickednesss. An anon. individual explains â€Å" Zurbaran besides idealizes Mary to stress her sanctity. Mary maintains a graceful airs even when she is frightened by the Angel ‘s intelligence. The room is besides au naturel and suggests Mary ‘s modestness. The Angel appears soft and the white colour of the angel shows the pureness of God ‘s courier. † Today, The Annunciation corsets at the Philadelphia Museum of Art as Francisco de Zurbaran continues to delight many with his endowments with the elements used in such an of import spiritual event. You can state he take to paint spiritual bible narratives with his really precise manner of painting the significance, symbolism, and great item. How to cite Francisco De Zubar N And His Work English Literature Essay, Essay examples

Chapter 27 Eukaryotes and Protists Essay Example For Students

Chapter 27: Eukaryotes and Protists Essay . Know characteristics of single-celled heterotroph. Understand eukaryotic life cycles. Endosymbiosis; origin of mitochondria and chloroplast. Know 7 superkingdoms of eukaryotes. Know superkingdom Opisthokonta. Choanoflagellates. Know Superkingdom Amoebazoa. Know superkingdom Archaeplastida. Know green algae diversity. Know superkingdom Excavata. Know phylogeny of phtosynthesis. Fossil record of protistsChapter 28: Being Multicellular. Know about simple multicellularity. Know properties of complex multicellularity. Understand diffusion and bulk transport. Know about choanoflagellates. Know communication in animals and plants. Understand blastula, gastrulation, gastrula. Understand Evo-Devo, regulatory genes and homeotic genesChapters 29/31: Plant Structure and Function. Know phylogeny of plants. Know anatomy of a vascular plant. Know term transpiration,stomata,cavitation,cuticle,lignin, endodermis, mycorrhize. Understand CAM photosynthesis. Know xylem anatomy. Know phloem anatomy, tu rgor pressure. Know the differences between phloem and xylemChapters 30/33: Plant Diversity and Reproduction. Know plant diversity; over 90% angiosperms. Earliest land plants evolved 465 mya. Know examples of and characteristics of Bryophytes. Know what sphagnum moss is. Know what epiphyte is. Know examples and characteristics of vascular seedless plants. Know two groups of seed plants: gymnosperm and angiosperm Know 4 types of gymnosperm; know conifers. Know green algae most closely related to land plants. Understand Alternation of Generations; know sporophyte, gametophyte, sporangium, gametangium, the entire cycle, which is n or 2n. Bryophytes/nonvascular plants: includes mosses, liverworts, hornworts. Bryophytes have dominant haploid gametophyte with a dependent sporophyte. Know the term sporopollenin. Know seedless vascular plants: includes ferns, lycophytes; know their characteristics. Seedless vascular plants: sporophyte dominant with small, close to ground gametophytes. Know the life cycle evolution in land plants. Know seed plants: gymnosperms and angiosperms. Understand the advantages of seeds over spores; know seed structure. Know characteristics of gymnosperms. Know double fertilization of angiosperms; angiosperm seeds with endosperm. Flower anatomyChapter 32: Plant Defense. Plants have developed mechanisms to protect themselves from: viruses, bacteria, fungi, worms, parasitic plants. Pathogens enter plants through damaged tissue or stomata. Potato Blight. 1st line of defense for plants. Biotrophic pathogens versus necrotrophic pathogens. Parasitic plants. Plant immune systems: basal versus specific. Hypersensitive response. Systemic acquired resistance. 7 Levels of plant defense. Herbivory. Molecular: terpenoids, phenolics, alkaloids. Plant compounds used in medicines. Cellular: central vacuoles. Tissue: tough sclenchma fibers. Organ: hairs, spines, silica plates. Organismal: entire physiology. Population:coordinated behavior. Community: predatory animals. Symbionts of ants and acacia. Constitutive defenses versus inducible defenses