Cinematic Interpretation of Stepping Razor Red X: the Peter Tosh Story :: essays papers

Cinematic Interpretation of "Stepping Razor Red X": the Peter Tosh Story Films are designed for numerous purposes, some entertain, frighten, enlighten, educate, inspire, and most make us think about the world we live in. This paper will be focused on the cinematic interpretation of the film "Stepping Razor Red X", the Peter Tosh Story. The makers of a film from the writer, director, cinematographer and the art director, design, and conceptualize what they want the viewer to see. Movie makers have agendas. They get their ideas across by using cinematic techniques and styles which make us view a certain subject in the light that they put it in. I will discuss the differing techniques used by the makers of "Stepping Razor" and describe what the overall impression of the movie has on the viewer, and what the agenda of the director is. Genre "Genre: A group of films having recognizably similar plots, character types, settings, filmic techniques, and themes." (Konigsberg:165) The Genre of this film is difficult to define because it is not composed of a single agenda. The director makes a point of talking about Tosh’s life, but because of the cinematic themes and the film’s style it is not solely a documentary. This film is also a multimedia film because elements of music and concert footage are added to the essential plot. This film is avant-garde in it’s nature. "Avant-garde [refers to films that] deny the traditional narrative structure and techniques of commercial films by seeking to explore new modes of visual and emotional experience." (Konigsberg:25) It could be considered an anthology film, because of the various concert footage that is woven throughout the movie. "An Anthology film is a full length film made up of excerpts from other films which are related by some theme [or] the appearance of the same performer." (Konigsberg:16) "Stepping Razor" also has elements of Cinema Verite. "Cinema Verite†¦applies to a series of documentary films which strive for immediacy, spontaneity, and authenticity through the use of portable and unobtrusive equipment and the avoidance of and preconceived narrative line or concepts concerning the material." (Konigsberg:57) "Stepping Razor" may also be put under the category of art film. "Art film [is] a type of film with serious artistic intentions as distinct from the commercial films made in Hollywood."(Konigsberg:20) This film also has elements of a propaganda film. "Propaganda films [are] made with the intention of persuading the audience to a particular point of view concerning the subject†¦relying on the apparently real and factual nature of the images on the screen and often using an authoritative voice-over to sway.

Janet Laurence Biography

Janet Laurence is a contemporary Australian artist, who is well known for her passionate connection with the environment. Laurence’s fascination in the nexus between science and art, has profoundly displayed human’s relationship towards nature. Janet Laurence explores the limits of art by converging extreme practices such as science, memory, imagination and insanity. She displays this by her confronting organic use of materials and subject matter. Laurence carefully considers her use of metaphors in her artwork.Each piece of artwork contains a dark meaning or message towards her audience. Laurence displays powerful political messages through her passionate concerns with the environment. Janet Laurence’s subject matter and process has changed vastly over the years, Janet changes her artwork’s themes according to her personal concerns and changes in the environment. Her aims as an artist are to up rise empathy and compassion from her audience. Janet Laurence uses the Australian landscape as a metaphor, as a warning regarding the fragility of our environment.Her work is symbolic of the fragility of nature, Janet Lawrence demonstrates this in a metaphorical way through her concern with the landscape and natural world. By getting glimpses of nature through the use of acrylic or glass could be compared to a looking glass which could be understood as seeing into a secret place. Janet Lawrence is also interested in the connection between space and the environment, this concept is a metaphorical example used within her practice as a comparison to scientific practices.Janet uses an assortment of practices including; installation, photography, painting and sculpting. She is commonly known for her public commissions and architectural collaborations. Laurence’s artworks are created in response to specific sites or environments that have powerful meanings behind them. Laurence creates artworks in response to a specific life form or environm ent. She achieves this by using a diverse selection of materials such as plants, mineral materials and animals. Another example of her own individual use of unconventional materials comprise of glass, lead, ash and fur.Janet incorporates dead specimens such as owls and eggs to explain the living and a way of presenting an almost museum approach. Each artwork is a reminder that all living life forms are interconnected and have a relationship with each other. Laurence has displayed this through her choice of diverse materials, colours and technique. Janet Laurence’s concern about Australia’s environmental health is extremely evident in her artwork. One of my favorite artworks is â€Å"Plants eye view†. This artwork recently won the $40,000 Glover Prize for landscapes.This award is very significant in Australian art history as Janet Laurence is the first female artists to be awarded the prize. The artwork is a multi-dimensional mirror and acrylic display. A judge f rom the Glover prize council quotes â€Å"The work is very beautiful from the point of view of colour. † The artwork consists of numerous shades of green and black which emphasizes both nature as well as a more sinister tone. The vast majority of colour shades provide the artwork with a spooky and mysterious monotone. One of my favorite aspects of â€Å"Plants eye view† is the very vivid and arresting effect it has on the audience.The artwork almost makes you believe that you are hallucinating, some audiences commented that it makes you feel like you are experiencing drugs. This piece of art could be symbolic of death or dying, which is another example of Laurence’s use of metaphor in her work. The artwork is a portrayal of the Tarkine forest in North West Tasmania. Janet Laurence has displayed the large endangered forest on a micro scale to suggest that it is a small and insignificant problem compared to the millions of endangered forestry in the world.She quot es â€Å"The Tarkine Forest is very close to my heart†. Janet said that she would often bushwalk through the Tarkine forest, as it contained a fragile but aggressive attitude which somehow made her feel at home. Laurence’s main aim was to accurately display her passion for the environment, and to let her audience experience the same incredible feeling of home as she did. She would often refer to the Tarkine Forest as a secret place that anybody could call home. The second artwork that I have chosen to annotate is â€Å"Heart shock†.This particular piece of artwork is a large dead tree that is artfully suspended upside down. Laurence has cleverly attached elongated transparent silican tubing to each branch, projecting a sinful shadow across the walls. Each tube is consumed with a mysterious fluid, acting like sap dripping from the decaying plant. This work is an excellent example of the way that the scientific use of the acrylic tubes could be compared to that in a laboratory for research purposes, and is symbolic of bringing life back to a dying or an ill object.The comparison to a scientific experiment that is connected to a laboratory is symbolic of Laurence’s interest in both science and its relationship to art which could be seen as another example of a metaphor in her work. â€Å"Heart shock† is a deeply artistic piece of work which contains a sad message. Laurence is attempting to show her audience the devastation of endangered plants through her artwork. Janet Laurence’s art work is an immersive experience for its viewers. She is able to draw people into the inspiring meaning behind each piece.Laurence’s work has been described as â€Å"echoing architecture while retaining a sense of the instability and transience found in nature†. Laurence has commonly worked with people’s reactions towards her artwork, she loves to view what people think, and create her next piece of work on her audienceâ €™s interaction with â€Å"nature†. An art reporter for â€Å"Featured gallery† quotes; â€Å"Through its reflective surfaces, the work engages the viewer directly as though we enter right into the landscape and become one with the nature. I personally love this quote because it proves that Janet Laurence has successfully delivered her message to her audience. In conclusion, Janet Laurence is an incredible artist who has an inspirational message to share with the world. She has a profound connection with nature, which creates a beautiful memorial to endangered environments. Laurence’s intelligent metaphorical connection between science and art has inspired people to take care of their environment. By Nancy Whiston

Clarke s Cosmological Argument On The Existence Of God

Clarke’s Cosmological argument has been around for multiple centuries—the purpose of this argument being to try to prove the existence of God. Although this argument sounds valid—meaning that â€Å"IF premises 1 and 2 are true, then the conclusion must be true† — while many people have accepted this argument, it has also caused a lot of questioning and skepticism, mainly because of what the Cosmological Argument uses to support its argument—the Principle of Sufficient reason. Before determining whether the PSR effectively supports Clarke’s Cosmological argument, one must know the Cosmological Argument’s premises and what they mean. Premise 1 of Clarke’s Cosmological Argument asserts that every being is either dependent or independent—meaning†¦show more content†¦For example, if you see a dog at a veterinary, you know that the dog exists due to its parents (component 1 of the Principle of Sufficient Reason) . You also know that there is an explanation for the dog being at the veterinary: the dog might be sick or is going to go through a medical procedure (component 2 of the Principle of Sufficient Reason). Although the Principle of Sufficient Reason seems to be straight forward—it is heavily questioned and fails to effectively support Clarke’s Cosmological arguments for many reasons, one of them being its failure to think about or recognize Brute Facts. Brute Facts are things that can’t be explained; in this case, the inability to explain the existence of a being. An example of a Brute Fact is God, since his existence can’t be explained but his existence is considered to be true by many people. Although it has not been explicitly confirmed that Brute Facts actually exist, the Principle of Sufficient Reason and its premises fails to acknowledge the possibility of Brute facts existing, therefore making the PSR to be less certain and accepted since it requires that everything has to have an explanation. This failure to acknowledge Brute Facts by the PSR also makes it a weak argument, therefore also making it not effectively support Clarke’s Cosmological Argument. In addition toShow MoreRelatedImpact of Science on Society38421 Words   |  154 Pageslinks the strangest, most disparate elements, bringing together the m o s t unlikely combinations in unexpected ways t o create a new world. Is there a pattern t o change in different times and separate places in our history? C a n change be forecast? How does society live with perpetual innovation that, in changing the shape of its environment, also transforms its attitudes, morals, values? If the prime effect of change i s more change, is there a limit beyond which we will not be able t o go withoutRead MoreImpact of Science on Society38427 Words   |  154 Pageslinks the strangest, most disparate elements, bringing together the m o s t unlikely combinations in unexpected ways t o create a new world. Is there a pattern t o change in different times and separate places in our history? C a n change be forecast? How does society live with perpetual innovation that, in changing the shape of its en vironment, also transforms its attitudes, morals, values? If the prime effect of change i s more change, is there a limit beyond which we will not be able t o go without