Coleridge and the Relation in-between Poet and Critic Essay -- Theoris

Introduction Is it possible, fruitful, or confusing to view Coleridge's aesthetic ideas as fragments (parts) toward the composition of a kind of larger theoretical poem (whole)? In other words, can one use Coleridge's art criticism to comment upon his practice as a theorist? Are his aesthetic ideas applicable to his practice as a critic of the practice of poetic composition? Is it possible that some leverage could be obtained by torquing Coleridge's theoretical statements about poetry in particular and art in general to comment on his own compositional practice as a critic? Quite simply, is Coleridge's theory true to the ideals of his critical practice? The caveat here is that it is precisely my intention to answer these questions indirectly. The idea is to use these problems as the hub of a wheel of a widening set of questions whose fragmentary sections, like the spokes of the "old coach wheel," radiate outward from a central ambiguity (Genial 472). The method is guided by Adorno's thoughts on the subject of the essay itself, which he suggests "incorporates the anti-systematic impulse into its own way of proceeding and introduces concepts unceremoniously, 'immediately,' just as it receives them. They are made more precise only through their relationship to one another" (12). Though the argument appears to be circular it would be more accurate to say that it circulates, and thus reflects upon a process of reciprocal exchanges. One might say of Coleridge that his intuition unfolds over thinking, rather than under-standing. The presentational aspect of the work of art works form. Form is never static, it is always forming and being formed ("forma informans"-- shaping form). Imagination takes on, spreads out and ove... ... the problem between the poles of activity and passivity through the "intermediate" faculty of the imagination. Perhaps it is obvious to state that this nuances the distinction between immediate and mediate. Somehow the poem is then the aesthetic object of mediation in which immediate intuition is made manifest through the intermediate faculty of the imagination. Works cited Adorno, Notes to Literature. vol. I. New York: Columbia UP, 1991. Benjamin, Walter. The Origin of German Tragic Drama. London: New Left Books, 1977. Coleridge, Samuel Taylor. Biographia Literaria. London: Everyman, 1991. On the Principles of Genial Criticism. Critical Theory Since Plato. Ed. Hazard Adams. New York: Harcourt Brace Jovanovich, 1992. 471-76. The Statesman's Manual. Critical Theory Since Plato. Ed. Hazard Adams. New York: Harcourt Brace Jovanovich, 1992. 476.

An Analysis on Alfred Hitchcock and His Film Psycho Essay

In the â€Å"shower scene† in Alfred Hitchcock’s movie, the amount of blood that flowed can be considered in contemporary times as nothing short of artistry or a sense of tastefulness in the viewer’s understanding. However, during the 1960’s, the â€Å"shower scene† is considered unreasonable or gratuitous, giving the scene the impression that it depicts too much unsolicited violence. For those who look upon the â€Å"shower scene† as one of Hitchcock’s attempt of revolutionizing films, the scene can be treated as one that reflects the perception of the time in which the film was conceived. Apparently, the â€Å"shower scene† amongst the number of hair-raising scenes in the film further reflects the 1960s social upheaval that grew in the west, including the United States. Another violent scene in the movie is the one that showed Detective Milton Arbogast being slashed to a bloody death after he was pushed off from the height of the stairs. The murder of the private detective in the movie Psycho, as well as the â€Å"shower scene†, can be taken to mean as two of the social upheavals that burst in the 1960s American society, revolutionizing the way in which movie scenes are crafted especially the way in which they portray violence, sexuality, and language. Hitchcock generally worked and directed movies that fall under the thriller genre by imprinting upon formulaic movies his famed idiosyncratic touches. The manner in which Hitchcock worked as a crucial part of the filmmaking process largely contributed in â€Å"propelling him to the status of an auteur†. Hitchcock even â€Å"ordered and manipulated the shade of blonde he was looking for in Grace Kelly’s hair† in one of the films (Martin & Wikstrom, 2001, p. 20). What enabled Hitchcock to â€Å"cut in the camera† is his attitude of working out the details of the film in advance, which eventually corresponds to the unswervingly stumpy ratio of film really utilized in the finishing cut to the film shot during the entire shoot. Having worked out everything in advance, he worked quickly and economically. A minimal set of editing was the result of his working attitude, hence the term â€Å"cutting in the camera. † The fact that Hitchcock planned every detail in advance oftentimes led to bore him during the actual shooting of the film. To fend off languor in the course of the actual filming progression, he would customarily commence labor on the storyboards for his coming film project (Martin & Wikstrom, 2001, p. 21). â€Å"When all the interesting film-makers—those who were referred to as â€Å"auteurs† by the Cahiers du Cinema in 1955, before the term was distorted—concealed themselves behind various characters in their movies. Alfred Hitchcock achieved a real tour de force† that established his status further as an auteur (Ray, 2001, p. 38). Hitchcock’s most popular films include Vertigo, Psycho, Rear Window, and The Birds which reflected his story telling methods and skills which were renowned for their witty plots, intelligent dialogues and the fusion of mystery and murder. With this respect, Hitchcock’s name became commonly attributed to the thriller genre as he created revolutions in that aspect of filmmaking. Part of the reason to this, apart from the fact that it was the genre he centrally focused on, is his skill which he exhibits during the course of the film which can be observed in his treatment of the subject in line with the shots he utilizes and on how he is able to fuse them altogether (Truffaut & Scott, 2003, p. 346). One illustration to this is shown in one of his famed screen moments. The terrifying shower scene in the film Psycho featured 70 unique shots in just a matter of 1 minute. The numbers of shots were combined altogether in such a manner that one will find a difficult time seeking the distinction between the montage and the mise-en-scene (Nickens, 1995, p. 110). A considerable number of movies made by Hitchcock contained fleeting cameo appearances by the director himself such as a Hitchcock being seen for a brief period boarding a bus, standing in an apartment across the length of a courtyard, appearing in photographs in the scenes, or by simply crossing in front of an edifice. This seemingly playful act eventually became labeled as one of the Hitchcock signatures in films. Further, Hitchcock himself would carry a musical instrument in one of the scenes in the film as a recurring theme (Martin & Wikstrom, 2001, p. 23). The fact that these varied elements are included in the movies of Hitchcock signifies the fact that Hitchcock had a very huge role in the filmmaking process and that this monumental role extends his personality right into the theme of the movie. Since film producers have a significant trust on Hitchcock, he was able to freely include these elements either in a subtle or in an obvious manner. The constant inclusion of these personal elements in the many movies of Hitchcock eventually molded an image uniquely his own. Hence, it became inevitable that the movies highlighting these elements were immediately attributed to Hitchcock thereby creating the director-image of Hitchcock as an auteur (Sarris, 2002, p. 29). Considering all of the characteristics of Hitchcock, his crucial role in the movies he created, the inclusion of the elements in the movies which reflect his personality and lifestyle as well as the role of the scholars in carefully assessing his impact of his personal touches in the movies, it can be said that Hitchcock indeed is an auteur in the strictest sense of the word. Although arguments can be raised against the role of the director as an auteur in the filming of the movies, it remains a fact that Hitchcock had an immense weight of participation prior to, during , and even after the filmmaking process. Part of the arguments against it is the claim that several other factors must also be considered and the merit should not solely belong to the director. As with the case of the seemingly lesser roles in the movies, the collective efforts of all the participants excluding the participation of the director when combined altogether essentially posits a substantial bearing in the creation of the film. In conclusion, the factors which are attributed to the delegation of the status of an auteur to Hitchcock should not be looked upon as a means to ignore the relative importance of the role of the rest of the crew involved in film production. Rather, the role of Hitchcock as an auteur should be noted as a form of a proper authority in guiding the direction of the film. On the other hand, the distinction between an auteur and the other roles in the film production should be taken as an informal relationship which defines the structure of the outcome of the movie. This is the point where Hitchcock himself leads the way not only as a director but also as the auteur. Not surprisingly, Alfred Hitchcock techniques are indeed innovative during his life where a considerable number of his films manifested his ingenuity in the film industry. Especially in his film Psycho, Hitchcock’s style in directing the film is manifested through his fitting use of musical scores and backgrounds in the proper timing and scene. His approach in Psycho manifest the fact that Hitchcock is only one of the few who was able to reshape the film industry and contribute significantly to its quality and style. References Martin, G. , & Wikstrom, P. (2001). Alfred Hitchcock and the Golden Days of Radio. In The Alfred Hitchcock Presents Companion (1st ed. , pp. 20-23): O T R Pub. Nickens, C. (1995).Psycho: Behind the Scenes of the Classic Thriller (1st ed. ): Harmony. Ray, R. B. (2001). The Bordwell Regime and the Stakes of Knowledge. In How a Film Theory Got Lost and Other Mysteries in Cultural Studies (pp. 38-39). Indiana: Indiana University Press. Sarris, A. (2002). The Auteur Theory Revisited. In V. W. Wexman (Ed. ), Film and Authorship (pp. 27-29). New Jersey: Rutgers University Press. Truffaut, F. , & Scott, H. Hitchcock’s Final Years. In 2003 (Ed. ), The Definitive Study of Alfred Hitchcock (Revised ed. , pp. 346). New York: Gallimard.

Employment Status Report - Free Essay Example

Sample details Pages: 3 Words: 930 Downloads: 2 Date added: 2019/02/15 Category Career Essay Level High school Tags: Employment Essay Did you like this example? Goals and Philosophy There are a few short-term goals that can be completed within these last few months of the year. One of them is to keep my work schedule and school schedule in balance. So, time management is a very important goal for the next two months of the school semester. Don’t waste time! Our writers will create an original "Employment Status Report" essay for you Create order Another short-term goal is making sure to pass these two classes this semester with a C+ or above. However, working harder towards a much higher grade would be more satisfying this semester. Then one long-term goal is being professionally skilled in different art mediums like watercolor and paint, pastel, charcoal, oil paint, and so on. For the most apart using graphic pencils or mechanic pencils and different types of black ink pens are what you would call traditional old-school tools. Which is a good place to start with the old traditional ways to advance to different areas of media. Finally, another one is graduating from Academy of Art University in the next year or so. A lot of people have their own ideas of what art can be but to me, art is something that you can make with your own two hands. It is something that you can glance at for a long time and just be able to admire it for its own unique beauty and charm. Them being able to relate and visible feel something from that art is what makes art because you want people to be able to get something for it and understand what the artist was putting into it. One of the things to do to get inspired is just using whatever you see that draws you to it has a muse for an idea of your next art piece. A simple idea that can be inspired by a flower, book, character, tv show, and so on. Then turn it into a completed drawing which is very satisfying throughout the whole process. Marketplace There are several reasons for hiring an illustrator and that depends on what the person is asking for. For example, Marvel Studios is looking for a Senior Illustrator and the job description is of a small team of illustrators and designers working together to deliver high-quality concept art for the heroes, villains and key moments of the Marvel Cinematic Universe. The competition is many individuals that meet the needed requirements and are unique candidates themselves. Moreover, the salary an illustrator can earn based on the year 2016 is from $21,279 to $92,861. There are a few things that can beat the competition which leads to earning a bachelors degree and gaining the advantage of mastering your drawing skills to place in your portfolio. Skills and Tools For one of them is to be skilled in different areas of mediums for an illustrator. Now the term for a medium is the equipment artist use to create their artwork. There are traditional tools used like chalk, charcoal, acrylic and oil paint, oil and soft pastel, pen and ink, and watercolor. The ones listed are the first to be mastered in and then once skilled in each category. There are more media than the ones listed, and each is unique to use in their own ways and usually takes time to be skilled at one to use in your own style. From before attending Academy of Art University, I have only ever used pen and ink. Even though there arent many experiences with having a job for illustration but there are experiences from having jobs that require you to have good communication skills, good work ethics, quick learner, multitasker, and the most important is being responsible for yourself. Has a developing illustrator there are a few things you would need to be an excellent illustrator and th at is good communication skills, good listener, problem solver, and obviously an artist. Networking The society of illustrations is a group that shares their designs and work to give back, so they can give back to the community. To join there is only a fee of $35 if you are a student and if not, there are other categories that will match you. The benefits of being a member is the following: Year-round free admission to the Museum (with up to 4 guests), 10% discount in Museum Shop and The 128 Bar Bistro, Discounts on lectures, workshops, film screenings, and special event tickets, Eligible to use the library (by appointment only, based on availability), Discount on The Illustrators Annual book, Invitations to exclusive Members-Only events, and Reciprocal membership with the Salmagundi Art Club and Mount Vernon Hotel Museum (SOI). Since the internet plays an important role in the illustrator industry, networking is now easier than ever now. There are great sites that can connect illustrators to many connections. They can showcase their work on multiple websites like Facebook, Instag ram, Twitter, and many others. The Future In the future working for Marvel Studios is a long-term goal. From a young age, people have grown up with these characters or read about them and then seen them come so far from that point. Being able to work with a team of people that have the same passion to be able to develop their character design is a great achievement to someone who has admired these characters their entire childhood. Has an illustrator you must make your work the best and strive for the best, so creating a strong, diverse portfolio is the right way to market your chosen audience. There are many things an illustrator must overcome themselves and its a journey that they must go for them to become the illustrator they want.