Pull and Push Factors for American Immigrants :: essays research papers

America in the early 1900?s was a giant melting pot of cultures. More than 1 million people per year relocated to ?The Promised Land?, for a chance to start over, escape poverty, war and many other push factors. But soon upon arriving, they realized that America was not the same land they expected. They faced many hardships and living conditions were bad. Often, immigrants left their native countries because of push factors such as war, famine, hard times & epidemics and the government (Docs.1 and 2). These immigrants listened and heard about stories of America. Propaganda led some people to believe that the streets were paved with gold and anyone who went to America can become rich. Millions of immigrants, mostly from European countries, packed their bags and traveled to this unknown place in search of jobs, a better education, and a new life. (Doc. 3) With increased immigration, open hostility towards these foreigners was shown more often. (Doc.4) Approximately 70% of the workforce was occupied by immigrants around this decade. This led to protests and a temporary immigrant quota. Nativism is an example of one of the many hardships immigrants had to overcome. Because America was a developing industrial nation around the early 1900s, people from everywhere flocked to cities. As these cities became urbanized, there wasn?t enough living area to accommodate the millions of people. Several families lived together in tiny tenements that were often dangerous and lacked sunlight and air (Doc 5). Living conditions were bad, diseases spread like wildfire and the crime rate was high. Language was a major barrier for these foreigners. Many were not given equal opportunities because they were immigrants and had accents. Learning was expensive for these immigrants who received verly little pay. They worked with dangerous conditions and for long hours (Doc. 6) Children worked as well, from selling newspapers to working in factories.

Visual storytelling in films

Literature Review Introduction In this foreword subdivision, more than a few factors that shape the art of associating visuals and narratives in movies will be listed down. These factors will be the root of the research in order to execute the methodological analysis analysis of the thesis, in add-on to replying the research inquiries every bit good as analysing the obtained consequences from the research. Ocular Storytelling in Films: What is it? The exact description of ocular storytelling is difficult to trap down compactly as there are assorted schools of idea sing the affair. All the same, The International Film School of Paris ( EICAR ) had defined it honestly as â€Å"Communicating visually in signifiers that can be read or looked upon. In film a narrative is most ocular when thoughts and emotions are expressed through public presentation and aesthetics as opposed to dialogue.† Based on that word picture it is non difficult to understand why Monaco ( 2000 ) claims that a movie is a linguistic communication for it ‘communicates’ to an audience. It is non a linguistic communication in the sense of English, French or Mathematic is, for there is no such thing as grammar or vocabulary that needed acquisition. Campsall ( 2002 ) is in understanding as he elaborated that the linguistic communication of movie expresses the manner a movie would ‘speak’ to its audiences and witnesss which is why managers, manufacturers and editors work to bring forth intending from the traveling still images of movie, picture and telecasting. The viewing audiences in the terminal are responsible in decrypting these significances in a non dissimilar manner to construing spoken and written linguistic communication. When watching a movie ; everyone from assorted age groups is able to grok the visuals they see. Monaco ( 2000 ) states farther that there are two decisions, that everyone can comprehend and place a ocular image which leads to the above statement. Another is that even the simplest ocular images are interpreted otherwise in by people with different backgrounds. This is because, as human existences, we don’t merely read what we see but we bring to our reading of traveling images, a sco pe of preexistent outlooks, information and common experiences that form the significance we take from what we see ( Campsall, 2002 ) . An indispensable aspect of movie linguistic communication is its absorbing disposition and its manifestation of pragmatism besides known as verisimilitude. As Campsall ( 2002 ) wrote, it is non merely as if the audiences are watching a bona fide ‘window on the world’ , it’s a window that they would want to stay on observation. Through these agencies, movies are non merely capable of being entertaining, edifying and informing to its viewing audiences, but besides enabling them to comprehend the universe in a peculiar agency. Furthermore this makes the movie linguistic communication really much recognized as semiotic what with the use of marks, codifications and conventions. Those who could understand the linguistic communication are able to see the methods or conventions used for ocular storytelling. Throughout this research, there were many books and articles that voiced out their sentiments on methods of reading a movie ; each movie slangs have their specific symbolism and usage depending on what the way of the narrative. When one is able to decently read a movie by agencies of placing and understanding the conventions, one would be capable of ocular storytelling ( Sijll, 2005 ) . Below is the list of the accrued conventions used in today’s ocular storytelling. Ocular Storytelling: Space Space in movie refers to the spacial kineticss built-in in the frame of a movie. One would state that a movie frame is kindred to a inactive snapshot therefore portion of a moving image. Like a picture, the inactive image of the frame presents built-in storytelling chances. Because a film is a gesture image, the composing of the frame continuously changes. This added features affords two of import narrative elements – that of screen way and comparing. Screen way can propose hostility, individuality, and struggle, for illustration. A traveling frame might be used to stand for alteration, similarity or it’s face-to-face, stasis. Ocular Storytelling: Framing a Composition The oculus responds otherwise to assorted ocular stimulations. Among the most of import elements that have been discerned are: brightness, coloring material, size, form, gesture, velocity, and way. Through careful uses these elements can be used to steer the audience’s attending and emotional response. As ever, content, apposition with surrounding frames, and the intersection of other elements will lend to the viewer’s response. Ocular Storytelling: Shape within the Frame Depending on usage and context, forms can be used to propose thoughts and emotions. Traditionally there are three cardinal forms: the circle, the square and the trigon. Out of these three, many signifiers can be derived out of them: the half circle, the rectangle, and many others. For each forms there are certain traditional association made of them. Block ( 2008 ) listed in â€Å"The Visual Story† some of the form significances. Rounded Shapes are associated with indirectness, inactive, romantic, refering to nature, soft organic, childlike, safe and flexible. Squares nevertheless are direct, industrial, ordered, additive, unnatural, grownup, and rigidity. Triangles are for aggressiveness and kineticss. Block cautiousnesss that these are non regulations for new associations can ever be made depending on the demand of the narrative. Shape is simply one component in the frame. Ocular Storytelling: Editing Editing is a manner of compressing clip and infinite or bring forthing the result of a dream sequence or flashback. The consequences of redacting are more frequently than non seamless and natural that the audiences tend non to be cognizant of it. In theory, redacting is the bottleneck of scenes through assembly of shootings. Different picks of redacting could steer the audience’s emotional response. Pudovkin ( 1926 ) had set down five redacting techniques that remain the foundation of the modern twenty-four hours film editing: contrast, correspondence, symbolism, simultaneousness, Leit-Motif. Ocular Storytelling: Time A movie is a dramatic representation of life. It is made up of scenes ordered to stand for the transition of movie clip through the assembly of emended shootings. Film clip is seldom paced the same as existent life. With the exclusion of mise-en-scene, most emended sequences pull strings existent clip. From one cut to another, an chance of changing experiences of existent clip can be made. The ground film makers alter clip is because they are making a dramatic narrative. Merely those minutes that contribute to its promotion are included, all else is left out. Ocular Storytelling: Sound and Music Outside of the musical mark, films rely on three sorts of sound to state their narratives: Dialogues, voiceover and sound effects. While voiceover and duologue are good understood to be writer’s tools, few film writers approach sound effects with the same certainty. Yet sound effects are every bit much the horizon of the author as are ocular metaphor, sound effects can besides propose an drawn-out aural metaphor. They can add beds of intending to a movie that are difficult to accomplish in other ways. Sound effects can be obvious or elusive. They can deliberately pull attending, or manipulate with stealing. They can expose, camouflage, suggest set up or uncover. They can besides be associated to specific events or characters. Lyrics of music can move as the voice of a character. They can uncover the inner ideas in a manner that can be more interesting than a simple duologue scene. Lyrics can besides move as the voice of the storyteller. They add another bringing system with which to parcel out character and thematic information. In other times, music is symbolically used as a narrative component. Ocular Storytelling: Passages The motion between the terminal of one scene and the beginning of another is called a passage. Each passage presents an chance to convey narrative information by virtuousness of how the scenes are cut together. The scene can merely be cut with no knowing mention or constructed to add a narrative component. A duplicate passage is one manner to work this chance and can be achieved in an infinite figure of ways. Ocular Storytelling: Lenss, Positions and Gestures of the Camera The camera presents a scene – topics, actions, scenes – in a series of shootings that render images on a screen. Alternatively of merely puting the camera where an audience can watch the action, the camera is able to supply the audience with prosecuting ocular experiences. Assortment is of import for if a scene is merely rendered by a continue series of broad shootings, the oculus will shortly tyres of repeats. A good shooting will normally incorporate a assortment of camera framings, and angles. For illustration by working the deepness of field of the lenses, each character on scene can populate their ain horizontal program. In this manner characters can be staged in-depth. This allows the audience to see each character responding to one event at the same time and in existent clip. Different places besides play a portion. The closer the camera is to a character, the more likely audiences will sympathize with the character. Ocular Storytelling: Lighting and Colour Film interprets topics and scenes as images of visible radiation and shadiness. Lighting is one of the few facets in movie that has the ability to make a certain world to the audience. There are a figure of different manners of lighting, each designated as a manner geared to the subject and temper, every bit good as its genre. Lights can besides be used to weaken capable affair. Color on the other manus tends to be a subconscious component in movie. It’s strongly emotional in its entreaty, expressive atmospheric. In short, color aid to propose tempers. Ocular Storytelling: Props, Wardrobes, and Locations Props provide a dramatic manner to show a characters interior universe. Props speak visually, are nomadic, and can be returned to throughout the film. By intentionally choosing and working props, a film’s scene can be given an added bed of significance. Wardrobes are the same as props ; the determination to include wardrobe elements depends on whether it adds sufficient dramatic value be it to a character, to demo character transmutation or the transition of clip. Another manner to project the interior ideas of character is to pull strings the locations. It besides offers a immense storytelling potency, for a certain location can rise play, suggest analogues and contrast besides specifying a character. All three can besides function the intent of conveying a sense of metaphor to the movie. MentionsArnheim, R. 1969. Film as art. Berkeley: University of California Press.Bellantoni, P. 2005. If it ‘s violet, person ‘s gon na decease. Amsterdam: Focal Press.Bordwell, D. 1985. Narrative in the fiction movie. Madison, Wis. : University of Wisconsin Press.Bordwell, D. ; Thompson, K. ( 2006 ) . Film Art: An Introduction ( 8th ed. ) . New York: McGraw-HillBlock, B. ( 2008 ) . The Ocular Story ( 2nd ed. ) . Burlington: Focal ImperativenessCampsall, S. ( 2002 ) . Analyzing Traveling Image Texts: â€Å"Film Language† [ Online ] . Available: hypertext transfer protocol: //www.englishbiz.co.uk/downloads/filmanalysis.pdf [ 2011, January 7 ] .CustomFlix. ( Studio ) . ( 2006 ) . Ocular Culture: Ocular Storytelling [ DVD ] . ( Available from Amazon.com )Douglass, J. ; Harnden, G. ( 1996 ) . The Art of Technique: An Aesthetic Approach to Film and Video Production. Boston: Allyn & A ; BaconDirks, T. ( No day of the month ) . History of Film: The Pre-1920s [ Online ] . A vailable: hypertext transfer protocol: //www.filmsite.org/pre20sintro.html [ 2011, February 25 ] .Duguid, M. ( No day of the month ) . Hitchcock’s Style [ Online ] . Available: hypertext transfer protocol: //www.screenonline.org.uk/tours/hitch/tour1.html [ 2011, February 25 ] .Ebert, R. ( 2008 ) . How to read a film. Roger Ebert’s Journal [ Online ] , 14paragraphs. Available: hypertext transfer protocol: //blogs.suntimes.com/ebert/2008/08/how_to_read_a_movie.html [ 2008, August 30 ] .Freeman, D. ( No day of the month ) . Ocular Storytelling in Batman Begins [ Online ] . Available: hypertext transfer protocol: //www2.beyondstructure.com/article_batman.php [ 2011, February 25 ] .Gelmis, J. ( 1970 ) . The Film Director As Superstar. New York: Doubleday & A ; Company.Giannetti, L. ( 2001 ) . Understanding Movies ( 9th ed. ) . New Jersey: Prentice HallGreen, D. E. 2003. The proper usage of cinematic storytelling in scriptural sermon.Hallahan, K. 1999. Seven theoretical acco unts of framing: Deductions for public dealingss. Journal of Public Relations Research, 11 ( 3 ) , pp. 205 — 242.Martz, M. and Hallahan, K. 2009. Film makers as Social Advocates—A New Challenge for Issues Management: Claims-making and Framing in Four Social Issue Documentaries. Pedagogical Posters \_ 156, p. 119.Metz, C. ( 1990 ) . Film Language: A Semioticss of the Cinema. Chicago: University Of Chicago Press.Monaco, J. and Lindroth, D. 2009. How to read a movie. New York: Oxford University Press.Playboy ( 1968, September ) . What did Kubrick hold to state about what 2001 â€Å" agencies † ? Playboy Magazine, 10 paragraphs. Available: hypertext transfer protocol: //www.krusch.com/kubrick/Q12.html [ 2010, 12, December ]Pimenta, S. and Poovaiah, R. 2010. On specifying ocular narrations. IDC Design Research Journal, 3 pp. 25 — 46.Pudovkin, V. ( 1926 ) . Film technique and Film Acting. New York: Grove PressRosenbaum, J. 2010. Goodbye film, hullo cinephilia. Chicago: University of Chicago Press.Sijll, J.V. ( 2005 ) . Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know. California: Michael WieseWard, P. ( 2003 ) . Picture Composition for Film and Television ( 2nd ed. ) . Burlington: Focal ImperativenessZettl, H. 1973. Sight, sound, gesture ; applied media aesthetics. Belmont, Calif. : Wadsworth Pub. Co.

The Dystopian Hero Mr. Cecil - 2081 Words

Mr. Cecil Gaines is a heroic black man who faced many encounters throughout his lifetime. Cecil parents were murdered by their slave owners which left him to be responsible for himself at a young immature age. He wanted to demonstrate that he was capable of handling and conducting himself in front of others with the utmost respect. Cecil illustrates an inaudible voice that could kindle a revolution. Even though Cecil own personal family experience misfortune of their own, Cecil was able to witness the history of the civil rights movement over several years while serving as a butler in the white house. Because of the racial uproar Mr. Cecil Gaines endured as an Afro American man, he is a character who presents himself as a dystopian hero.†¦show more content†¦His youngest son Charlie enlisted in the military. Cecil, a homeotic hero who encounters challenges with his son who has a very defiant behavior, a son who loves life and want to explore, and a wife who abuses alcohol and drugs. Consequently, Cecil preserves his dignity and respect to strive for perfection as a butler in the white house and wants to move up to a higher position even though he faces defeat in the work place and at home. Cecil serves his time employed in the white house to some of the most racist presidents during the Vietnam War, the Civil Rights movements, and other major events that took place during his time there. His visual appearance was very vital during these times in order to keep his job and he always strived to be the greatest amongst his colleagues. In the following scene, Cecil shows how respectful he is prior to being offered the job as a pantry helper in the white house. 1957 - Washington DC] Cecil Gaines: [voice over] I took that job in Washington. It was the most beautiful hotel I d ever seen. [we see an adult Cecil standing inside the lobby of the hotel holding a tray of drinks when a white couple walk up to him] Cecil Gaines: I hope it wasn t too presumptuous of me to have prepared a few spirits after your long journey here from Buffalo. [the couple look pleased and take their drinks; Cecil then walks into the bar to serve some white men talking about African Americans being integrated into