It is the first day the man resumed that the bot noticed that he spent long hours cleaning it. The other janitors had barely given it a glance, focusing more of their time on the floors and baskets overflowing with wastes. Granted, those were usually the dirtiest areas in the building. The building, housing over two hundred members of staff of a foremost tech firm, often reeked of dirt; scientists weren't often the neatest folks around. The janitors usually found it hard to keep up, and often left just after a few months.
George Lucas was once considered an unparalleled film genius. At some point, he fell from grace and was demoted to being merely an ideas man. Although the historical truth lies somewhere in between. George Lucas’ talents were balanced by his flaws in other areas, both of which were growing so large that the flaws became undeniably obvious. Lucas was more than just an “ideas man” however. It is said that genius is 1% inspiration and 99% perspiration, which best describes Lucas’ approach.
When Joanna McCoy was rolled into the lab on the flat bed, she was as dead as a nail. Her bloodied face from the accident had been wiped clean and the exposed parts of her body was as pale as a sheet of white cardboard. The parts where the trauma of the accident she suffered was established had changed from the thick red gashes of breaking flesh to the indigo hue of old wounds. A funereal procession of silence led her into the working theater of The Area.
The Mandalorian, Surely known as Star Wars : The Mandalorian , is an American space Western web television series created by Jon Favreau and released on Disney+. It is the first live action series in the Star Wars franchise. Set five years after the events of Return of the Jedi and 25 years prior to the events of The Force Awakens, it follows the title character, a Mandalorian bounty hunter named Din Djarin, Performed by Pedro Pascal, and his exploits beyond the reaches of the New Republic.The first-ever Star Wars television series has changed the game in terms of what might be possible in live action TV, more specifically with the use of real-time rendered virtual sets displayed on LED screens.
In 1979 Ridley Scott crafted a high concept creature feature with the tagline "in space no one can hear you scream”, which would go on to spawn a successful movie franchise. Following the success of the 1979 film, a sequel was commissioned and would take the form of James Cameron’s Vietnam allegory Aliens, a thrilling adventure that excited audiences and exponentially upped the ante from the previous film. Cameron’s rollercoaster built upon Scott's simple concept and cranked the action up to 12. Consequently, Aliens proved a tough act to follow. Alien 3 turned the dial back down with a somber, and at times, depressing tone. Chugging along through a troubled development history, it released 6 years after Aliens in 1992. Upon release, the film became a lightning rod for negative reviews. Expectations were inordinately high, with trailers calling back to the first film with the tag line, "on Earth everyone can hear you scream". Unfortunately, this created an unrealistic audience expectation, and the film fared poorly in North American. Interestingly, itwas more appreciated in Europe and has in recent yearsreceived a critical reassessment, and with good reason.
The place is Gotham City, one of the great, enduring, visually stunning fictional cities in popular culture that originated in the pages of the comic book Batman.Gotham City, a colossal metropolis in the United States, functions as the dwelling of billionaire playboy Bruce Wayne, who protects the city against organized crime in the guise of his alter-ego, The Batman. Gotham's stark angles, creeping shadows, and dense, crowded, airless atmosphere have captured people's imaginations, both young and old,for decades. But Gotham City has moved outside of the pages of the comic book and evolved into an important symbol in fictional narrative.Gotham City establishes in the viewer’s psyche a gloomy playground into which ominous theories can be invested as he or she fully embraces the darker aspects of the imagination. This paper explores the history of Gotham City and the contextsin which it has adapted and thrived, with roots steeped in history and ever-changing architecture and atmosphere. Gotham City has been interpreted across various media for over 75 years and become one of the most iconic cities, not only in popular culture, but also the collective imagination.
In his 1976 book,The Selfish Gene, Richard Dawkins defined and described memeticsas the way cultural information spreads from person to person(Internet Meme). It is from thisdefinition thatMark Godwin appropriated the term memeas representative ofa visual genre of Internet discourse (Godwin), reducing and shaping the term to contemporary status: streamlined and ideological memes,such as acute grumpy cat telling you who to vote for, or perhaps throwing you a condescending look while judging youfor consuming a meal you bought at McDonalds. An Internet meme is thusa seemingly harmless visual combination of words and images constructed from both popular and obscure media. Under the surface though, memes are much more than the jokes shared between individuals over the Internet. Memes have the ability to affect our youth and culture; they have attracted and been used in combination with big business and become a phenomenon unto themselves; they have shaped political landscapes over the past five years;and their use of images, words and phrases from popular culture have made their influence all the more inviting and gratifying. Memes are usually created anonymously and shared throughout various social media. Utilizing different tactics of visual communication, they are representative of a universally understood reality that compels groups of people into thinking and discussing relevant issues.
What is Postmodern cinema? A postmodern film's architecture is characterized by the subversion of the ordinary conventions of narrative structure, rather shaping narrative and meaning by breaking the frame and interrupting the spectator’s suspension of disbelief. Apocalypse Now, Pulp Fiction and Blade Runner use pastiche to knowingly reference moments and icons from other films, genres and media. In this paper I will examine different aspects of postmodern cinema, analyzing narrative structure, storytelling from multiple viewpoints, and the active shaping of meaning and how that affects the spectator’s sense of displacement. As a primary example, I will refer to Francis Ford Coppola's Apocalypse Now, a film that utilizes a considerable number of these postmodern tactics.