The ending scene of “Fast & Furious 7” uses multiple camera angles and audio effects to intensify the scene’s message. It begins with a medium close up shot type with an eye level angle of many of the main characters along with soft dramatic music as they speak about Paul Walker’s character in the movie. This camera view is great for intimate, emotional scenes because you can see the detailed expressions on a character’s face. It is as if the message of the ending scene is to honor and remember Paul Walker in reality since he died while the filming of the movie was taking place. A full shot is used to view Paul Walker’s character with his family as the other characters are talking about him. A mid shot is used as a bridge between the two and allows Vin Diesel to interact with the other main characters he is speaking with as he stands up to leave. This shot allows the focus to still be on Diesel while incorporating the other characters around him. A telephoto lens is used to zoom out over the ocean as the beginning of another emotionally intense song starts to play. An over the shoulder shot type is used to show Vin Diesel’s character’s point of view looking over to Paul Walker’s character when he pulls up beside him. The scene finally ends with a zoomed out view of the characters driving cars through the mountains. During this time of the ending scene the memorial song “See You Again” for Paul Walker is playing. The choices of audio, camera shot type and angles all help to intensify the emotions felt during the scene, whose main message was the remembrance and mourning of Paul Walker.
The words avant garde mean new and unusual ideas or expressions. I would argue that as a male having both ears pierced is avant garde to older generations in our society now. I recently got my own pierced, as you can see in these pictures, and caught hell from my father who is in his fifties. Jokingly, he said I looked like a little girl and explained that if his father, my grandfather who died at an early age, had seen them he would snatch them right out of my ear! Just as Michael Jordan’s iconic single gold hoop earring in the nineties, or for my father long flowing hair during the seventies, having both ears pierced is becoming an avant garde style for men in my own generation.
Jackson Pollock is one of the most controversial artists of the twentieth century. One of his most outstanding paintings is simply named Number 5, done in 1948. In November 2006 this painting broke the world record for the highest paid for painting at $140 million dollars. It can be described as a canvas splattered and dripped with yellow, red, black, white, and grey paint. This specific technique is called drip painting, which Pollock was best known for. The painting can also be described as an abstract image. The technique used and final abstract image is what’s so controversial about this painting because some did not view it as art, but simply randomly splattered paint on a canvas. Because some people look at this painting as random splattered paint this piece can mean so much for some people, but at the same time have almost no value at all for the people who have this perspective. This technique and abstract design is far from the norm for most art viewers. Number 5 has an iconic political importance and value. In 1948, the Cold War was going on in this time period. The United States embraced Pollock’s abstract expressionism in a push to devalue socialist realism. As shown by its symbolism in the Cold War and the mind-blowing amount paid for it in 2006, it can be said that the painting’s message is much more powerful then it’s shape at first glance.
The University of Nebraska-Lincoln held a contest-exhibit called “Contemporary Native American Art.” In this contest-exhibit transculturation can be seen in two pieces of work done by Mrs. Colleen Friday. Friday’s piece called “Business Chiefs series: Yellowcalf, Sharpnose, Black Coal” is quite interesting. This artwork can be described as three pictures side by side of three different Native American men dressed in modern American business suites from the neck down, but with vintage Native American features on their faces. One of the three men even has a Native American chief’s head piece made of bird feathers, which adds to the vintage Native American theme. This picture represents transculturation because the artist mixes the cultures of the modern American business man with the vintage Native American. Friday’s next piece is called “Traversation.” This artwork also toys with the mixing of two cultures. It is an oil painting of two different parents pulling their children in two different means of transportation. One parent has the theme of the modern American parent. The man is pulling his child in a seat that straps on to the back of his bicycle. In contrast, the other parent has the theme of the vintage Native American parent. The woman is on horseback and uses two long branches strapped to the back of the horse as a seat for her child. This painting represents transculturation because it mixes the two cultures of vintage Native American and modern American just as Friday’s “Business Chiefs series: Yellowcalf, Sharpnose, Black Coal” art piece does.
Throughout the comedy film “We’re the Millers”, recommended moral choices are made for the viewer. The film contains the typical family blueprint of a middle aged man and women as parents with a teenage boy and girl as their children. The film is not about your stereotypical family vacation. The family is assembled by the middle-aged man of the film, or the fake father, who actually happens to be a small time drug dealer. In the film he falls into debt to his supplier and must become a big-time smuggler by bringing a shipment of drugs to his supplier from Mexico to pay off his debt. His idea is to assemble a fake family, rent an RV, and make the trip to Mexico undercover and disguised. He convinces his neighbor, who happens to be a stripper, to be his fake wife, a nerdy teenage boy in his building to be his fake son, and a run-away streetwise teen as his fake daughter. The first moral choice the movie makes for the viewer is that drugs are socially acceptable. The main character is a drug dealer and the entire plot of the movie revolves around smuggling drugs. The next moral choice made in the movie has to do with sexuality. The fake wife of the film works as a stripper and is involved in many morally questionable scenes. One of these is a scene where the fake daughter and fake mom try to teach the fake son how to kiss because he is unexperienced. They do this by taking turns making out with him, which toys with the moral judgement of sexuality and incest even though they are a fake, assembled family. Because this is a comedy film, these moral choices made by the director are not seen as convincing, but as wild, exaggerations used to provoke laughter for the viewers.
The largest and most visited art museum in the United States is the Metropolitan Museum of Art in New York City. The museum holds seventeen curatorial departments with art from genres such as Ancient Egyptian, European, American, Modern, African, Asian, Oceanian, Byzantine, Indian and Islamic art. This art comes in the form of paintings, sculptures, musical instruments, costumes, accessories, and antique weapons and armor from around the world. The Metropolitan Museum of Art was founded in 1870 by a multitude of businessmen, financiers, artists, and thinkers from that time period. The museum first originally opened on February 20, 1872 at 681 Fifth Avenue in New York City. The architecture of the museum is quite unique. From the outside, the museum has a Gothic style to it with tall ceilings and stone structures. The museum has many stone steps and pillars that give the museum its unique style as well. The Museum’s newest exhibit is titled “Unfinished Thoughts Left Visible.” This exhibit addresses the long standing question of when is a work of art finished. Works of the exhibit include many works left incomplete by their makers. A look into the eyes of some of the Renaissance masters. Just as the founder’s intended, the museum affects its surrounding community by bringing art and art education to the many American people who visit the museum daily.
In the beginning of the murder scene in Alfred Hitchcock’s movie “Psycho”, the camera frame is mostly shot as a widened-out view of the women. The camera follows the women as she moves to the bathroom and begins to take a shower. The way this shot is filmed is done to show everything she does. This also allows the viewers to focus all on her. The viewer has a relaxed, but interested feeling during this part of the scene. The camera frame begins to change as the murderer enters the scene. At this point the frame begins to be more zoomed-in, switching between the attacker and the women, to show only the information that the director wants the viewer to obtain. The attacker’s face is not shown in this scene, but instead is represented as a shadowed outline of a person. This type of shooting while going back and forth between the two excites the viewer. To conclude the scene, the director uses close up shots of the shower curtain being pulled down to represent the moment the women falls and is completely dead from her stab wounds. The scene ends dramatically with a slow zoom-in to the dark drain hole and then a zoom-out of the women’s eye. Only then does the director show the life-less women’s body. This sequence of events and the way the film is shot causes suspense and toys with the viewer’s emotions.