Point Of View In A Film Film Studies Essay

Point Of View In A Film Film Studies Essay Often many good animation films mesmerize the vital element of the film known as Point of View to allow a viewer to make important connections and seeing the world in certain way. How To Train Your Dragon uses its first act of point of view through the use of camera shots, the collage of friendship , the upper and lower shot cuts to get across the range of dragons that inhabit this world, including the one nobody has ever seen, the sinister Night Fury. Its a character (Hiccup) that has end of game boss tattooed across it from the moment its first mentioned. Hiccup instantly knew that dragons werent harmful to humans but only defend themselves as would a typical person had done in unease situation. Crammed with lively scenes and plenty of action, this rowdy tale is just right for fantasy fans or anyone with a spirit of adventure. The Point of View in a film is a vital element because similar to narrative it has connection with the literacy and visual arts. Point of View as defined by Corrigan is as the vantage point from which a story is presented, something is seen and, by implication, the way the point of view determines what you see (49). So it makes sense that there would be a sudden surge of movies from this point of view because it so connects to peoples experience. Anything that calls for a level of naturalism and voyeurism can absolutely be filmed in this style. The face to face of the Hiccups and night fury for the first time, the way the intense scene the camera presented, the closeness among the sounds of approaching danger, the alert generated when the night fury first abandoned by the hiccups, the closeness of facial gestures on both the characters ultimately not only created a suspense but a general attraction to the shot. The short and long term camera angle around the eyes of night fury as he see the hiccups for the first time made a statement pertaining as if an unknown person was looking doubtful and vicious. With a dragons eye view, the viewers fly through gorgeous wrinkly rock formations that rise from the sea. As mentioned in the A Short Guide to Writing about Film by Corrigan, the camera can take the actions to the higher level bringing subjective and objective perspectives so that what is shown is not confined to any one persons perspective (49). In Viking culture, theres nothing more disloyal or perilous than consorting with the enemy- especially when its a dragon. But Hiccup discovers that maybe the dragons fear the humans as much as they fear them. Will Hiccup finally become the man his father wants him to be by slaying a dragon, or will he honor his newfound friendship with Toothless deliberately done by the camera work? A different kind of simplicity works, to equally satisfying effect, in the scenes that refer most directly to the films title. When Hiccup first meets Toothless, a type of dragon especially feared by the Vikings of Berk, the animal is hurt and scared. As noted in the middle of the movie, the camera mainly focuses more on the actions of hiccups and the objective actions between him and night fury to build a concept of the film. The camera gives close shots of night flurries first outburst and then love with the hiccups thus making the entire scene vibrant with the sounds, realism, and voyeurism what a norm al viewer would have asked from a good film. As viewer notes hiccup in a scene where he goes to explore the place the night furry fall, the camera makes the scene more vibrant than anything to create a stage of exploration, a new settings and tone of the shot. The dragons, not surprisingly, are the main visual attraction and come in various shapes and sizes with clever names like the two-headed Hideous Zippleback, or the Monstrous. The most fearsome and illusive of all is the Night Fury basically, a fire-breathing stealth bomber in black scales. As he further to the point where he notices the impaired dragon, the close of up shots, a complete silence, and along with the direct sound, the camera ultimately changes the position of sniper, to be exact the view of the people. It takes the audience through the entire scene as creating fear, a fear that any typical human would have gone through at the moment when he or she has seen something vicious, out of frontier, and moreover compell ing to defeat. The camera slowly builds a tense situation, close shots at the face of the hiccups to pertain the sweating of a normal person, and none the less to show cause and effect. The broken tree truck in half, the impact of the fall of night furry on the ground, the long muddy slide made by the fall, recalls in viewers mind that the dragon must be something dangerous and so powerful that his fall slashed a tree in half and made a drag in the dirt. This scene represent as if the viewer were walking through the process of finding the dragon. This is another factor of point of view that as viewers watch the particular scene they might feel that they are seeing another character through the eyes of Hiccups, and that character of course is the viewer himself (49) This film doesnt excite straight away, but when it starts to warm up, youre left with a moral tale and a fun animated kids film. Hiccup is a pretty rubbish viking. His lame Viking-ness is made much worse by the fact that his dad, Stoick (Gerard Butler) is the daddy of all Vikings and chief dragon slayer. When Hiccup downs one of the toughest dragons of all no-one in the village believes him. That is until he feeds, tickles, tames and flies the beast leading to the blurring of the line between human and dragon. Gone are the ironic one-liners, replaced by some genuinely funny jestings. From when Hiccup first encounters Toothless and all the following dragon/human interaction that follows, the jokes are straight from the Pixar more than words handbook. As for the flight scenes, its really not too far off the majesty of other animations, comprehensive and soaring over seas and forests. The viewers will believe a dragon can fly. As for the mild danger that adorns the movie scenes theres n othing particularly mild about it. Toothless may have huge, pensive eyes and tiny retractable teeth but some of the other beasts are enough to get the viewer scared. The camera angles around the Night Fury physical appearance make his look so aggressive and enormous in size but in fact the dragon is merely a small compared to other dragons. When the true foe rears its scaly head, the camera affect will surely make children and adults alike quivering in their glasses. Hiccups world is turned upside down when he encounters a dragon that challenges him and his fellow Vikings to see the world from an entirely different point of view. Although the viewer might feel stranded from the actual element but fire-breathing dragons, medieval projectile weaponry and dragon dive-bombing provide edge-of-seat suspense. The action sequences are well-balanced with humorous and poignant scenes from the emotional life Hiccup so the subjective and objective perspectives stay alive and viewers get the mix of all kind of emotions. Regardless, Hiccup ventures out into battle and downs a mysterious Night Fury dragon with his invention, but cant bring himself to kill it. The scene that makes Hiccup realize that there is a hope of consideration that dragons are likeable, and the camera switches back and forth to the actions of both to make a scene of curiously. In the process, Hiccup finds a kindred spirit and gets to know the secret life of dragons (it turns out that theyre far from nightmarish beasts, despite being snuggle-toothed and bug-eyed). A scene that would make a twist or force the viewer to think, Will he! Will he! Kill the dragon or not. Beside that scene the viewers doesnt get to see that much interaction between both of them, especially when Hiccup and Astrid were taken by the Night Furry to the dragon world. The overall view and standpoint after the in progress of the movies changes as to something solemn. Instead, Hiccup and the dragon, whom he names Toothless, begin a friendship that would open up both their worlds as the vigilant boy learns that his people have misjudged the species. But even as the two each take flight in their own way, they find that they must fight the destructive ignorance plaguing their world. Through the use of point of view in the film, the viewers get to experience the abnormal yet adventurous and realistic scenes in the film. The camera help generate the scenes that viewers perceive would have experience themselves thus making the film more enthusiastic, blastic, and more over the complete scene of something fresh off the bucket. The notion of significance or urgency immensely is shattered all throughout the entire film scenes. Several examples but more truly the love of Hiccups for Astird is visible through the friendship of hiccup and the night fury. Since she hasnt seen the coolest dragon and noticed the hiccups have controlled the deadly one, it has opened a path for a girl to trust someone who is capable of dealing with vicious dragons. Hiccup spends much of the film flustered and frustrated. But with a voice that is both geeky and vulnerable, Hiccup ultimately winds up attracting our sympathy and love. The bond between both the hiccup and dragon are can be pertai ned as ultimately, a boy and his dog, only the dog is played by a massive black dragon named Toothless. Both characters are shown openly taking risk of their own safety to protect the other, and their connection is all the more affecting because its wordless. The viewers ultimately feel that Toothless, like the rest of the dragons, is not anthropomorphized or attribution of human motivation, characteristics, or behavior to inanimate objects, animals, or natural phenomena. Unlike the creatures in other Animation films, Toothless doesnt speak or crack wise, make pop-culture references, or dance to songs by Smash-mouth. This film hits on point of view such as diversity and acceptance and is mixed in with the humor and spunk of Viking teenage anguish. Hiccup does a fantastic job as voice talent for the adventurous character and his love interest, Astrid a tomboy out to be the best Viking girl displays comic relief throughout the film. Other than that the film ends in much the same way i t begun, but it has a more positive outlook and the perspective constantly changes as the scenes progress. I dont think it was a good enough way to resolve the issue. The story builds up this climax, but it felt more like a cop-out. Hiccup gets banished, losing his father, and then in an instant hes forgiven. The different views the audience see makes them feel like Hiccups personality and his interactions with the dragons and the different personalities of the Vikings are the basis for the humour in the story, versus humour that is more satire or topical. An animated like Zero to Hero, where the title character is a awkward misfit who, after accidentally wreaking chaos on his own village, must undergo training in order to attain his true potential, the same goes for this film. From the beginning to the end of the film, the viewers feel as if theres a camera room where one can walk around with a little monitor and see the set and the characters in virtual space. Viewer can change the lenses and do tracking shots through a virtual world. Its peculiar, but its instructive in terms of finding camera angles and lens lengths. Somehow walking around with a camera on a virtual set is like shooting live action on the fly. The close up shots and the wide ranges shots of the characters help both the voice actors all provide great performances that always keep pace with both the humor and the range of the characters emotions. Like most movies Its the kind of generational divide you can see repeated throughout history.   It is where the clash ha s been established by the older, its the younger generation who be trained that the only way to bring peace is to reexamine the nature of the conflict and then try to resolve it non-violently.   Violence perpetuates violence.   These lessons of courageous kindness and violence-begets violence may seem corny, but Dragon makes it work.   The lessons are subtext that kids will pick up on by seeing how the characters behave and that adults should appreciate because it makes the film more than the sugar cereal of most animated films. From the eye-catching, hillside Viking settlement to the peaceful mountain lake where Hiccup carefully nurtures his relationship with Toothless, the films design elements known as Point of View bring the viewers into the lives of these dragon-blighted people conjuring up vivid pictures of what that place in history might have looked like. The inhabitants may be modern and the situations a bit fantastical, but the realistic approach to perspectives makes for a more livable film.

Hopes and Dreams

Humans are born with the ability to dream and hope for something better. It is what we do afterwards that determines the outcome. A dream without action is just fantasy. The action is the means to achieve those hopes and dreams. For some people, the belief in our dreams and hopes gets lost through the years. So how do we get back on track and accomplish at least a few of those dreams? The first step is to realize that our dreams are still within reach. It starts with a clear understanding of the difference between what is achievable and what is not.The pathway that leads to our success is filled with small goals that, once accomplished, build our confidence to complete the next one. We possess the ability to establish achievable goals as steppingstones to reach what we hope for. A dream and a goal are two different terms that help in our task. The dream is the final destination and the goal is the path leading to it. One dream can have many goals or directions and strategies that hel p us accomplish it. Each goal is a small step toward the finalization of the dream. We all have dreams. Some are for tomorrow, some are for next week, and some are for years from now.It is within our ability to realize all of them by listening to the heart and completing all the necessary steps. Reality today was a dream or hope sometime in the past. Keep a journal of those things you hope for. Write down the steps or goals needed along to way to achieve each one. Then, every week or every month, review each one to assure that you stay on the correct path to accomplishment. Each review period allows you to make minor adjustments in the goals as life events dictate. We sometimes grow up with preconceived notions that many of these dreams are not considered worthy of any effort to realize them.If a dream is conceived but never believed, it is considered merely a fantasy. Often our lives are restricted to these fleeting fantasies because we don’t have the courage to treat them a s achievable dreams. Change the thought processes in your head so that you are not restricted by perceived impossibilities. Focus instead on the dream and its goals. Give fantasies the chance to turn into a dream by making them an important part of your life. Set the goals needed to fulfill the dream. Dreams are then given attention and can be fully manifested by setting goals.Maintain your focus on the dream instead of the short-term goals to enable fulfillment and satisfaction. While achieving goals offers a sense of satisfaction, this doesn’t provide ongoing motivation. The real power of each goal comes from its connection to the appropriate dream. And, yes, you can have many dreams that are in process all the time. Each of the short-term goals will lead to your objective. Setting smaller, more attainable goals will develop a sense of accomplishment that will ultimately keep you focused on the dream itself. The acronym SMART helps in setting the goals.Simple, Measurable, A chievable, Realistic, Timely. Dreams and hopes live in the heart. They are uniquely you and have the potential to result in who you are gifted to become. Without taking steps to realize those dreams, they are useless. Those people who dream and then set goals to achieve them will experience joy and satisfaction in their lives and a sense of peace in their twilight years. Truly successful people have taken their dreams out of the fantasy and converted them into eventual reality. They have done this by setting realistic goals and constantly reviewing the process to stay on track.

Early Disclosure, Violence, And Violence - 1248 Words

Early disclosure to violence may possibly lead to aggression in young preschoolers. Research stated that exposure to violence in adolescence at a young age may lead to aggression in school age youths. Aggression and violence may not be as serious for some individuals and it’s often considered a part of growing up as a child. Aggression can be understood in a range of ways. It can be conceptualized as ones’ personality trait or having origins within a difficult temperament. In other words, aggression and violence within an adolescent can be inherent to the individual. Aggression may also reflect a behavioral pattern that can be attributed to a syndrome, such as Lesch-Nyhan syndrome, which occurs in males. A wide spectrum of aggressive†¦show more content†¦Preschoolers have to learn positive behavioral roles in the classroom to decease violence and aggression toward one another and toward the teacher. Parents and teachers must place children in environments that offer a setting and support for learning positive social behavior rather than aggressive, unfriendly, unsociable acts. Preschoolers are self-centered and have not developed all the brain connections needed to see another’s point of view. Preschoolers have that mindset of â€Å"mine† which makes it compatible that everything belongs to themselves. Preschoolers or other young children in general see all or nothing. Children do not understand that an individual is not all good or not all bad. Young children also cannot sort out fantasy from reality and get diverse up about what is real on television. The temperament of a terrible two is commonly a completely accepted manner. The aggression behavior linked with these tantrums dealing with throwing objects and kicking is therefore better tolerated. The notion of these specific progressive stages when a child may escalate or decline their aggressions that may cause violence can be supported. These symptoms could change with developmental capability in motor and cognitive domains. A motor skilled toddler can throw objects at siblings with intention to hurt, and a bothered preschooler can effortlessly jab his classmate with a crayon

Family Social Control - Free Essay Example

Sample details Pages: 3 Words: 930 Downloads: 1 Date added: 2017/06/26 Category Psychology Essay Type Analytical essay Did you like this example? Question: 1 Family structure and interaction assume cardinal functions in the social control theories and delinquency. However, myriad factors are assimilated with family configuration and criminal behavior and consequently folks relations and felony. Akers R.L. Don’t waste time! Our writers will create an original "Family Social Control" essay for you Create order (1998).Family interface dynamics include; management and control, character prop up, compassionate and dependence cherished communiquà ©, influential communication, parental condemnation of peers and variance, these factors have the equivalent upshots on crime in both-parents. Akers R.L. (1998). Paucity or stumpy proceed echelon is a prime factor that puts more emphasis as a primary illustration for criminal traits. Research findings have shown that scarcity is the genesis to most unsociable performances. Akers R.L. (1998). In the regard to the family constitution, dealings by particular family members influence the functional dimensions of others. According to research findings a members initiative about the well being of other member of the family presents with each other an element of safety in opposition to catastrophes, thus, extend beyond acquaintances. Akers R.L. (1998). Whereas a pattern of asymmetric consideration is evident between parents and children; thus paren ts value meaning incorporate the childrens expenditure as well their own, the childs convenience utility is purely centered on the childs using up. This structure leads to an off the wall child philosophy, thus if the parent is adequately compassionate in the direction of his or her child, both the parent and the child are comfortable. This finding supports the proposal that self-sacrifice benefits two parties (the addressee as well as the bringer). Akers, R.L. (1989). Family unit is an integral aspect for the development of children. In the event that interaction between parent and child vanishes through a divorce, the absence of one parent i.e. the father may upshot in the parents goodwill for the child to cry off from what would be if not. If the cry off is adequate, the child acknowledges the repercussion and advance to a more selfish verdict and both the parents and the child stand to loose. The rationale here underscores the fact that augmented philanthropy promotes good actions even on the part of a egoistically aggravated child while curtailed or deprived of selflessness enhances poor behavior. Akers, R.L. (1989). Question 2 When children become naughty, parents have been viewed as the line of control. Nonetheless, antagonism and resistance in children has been inspected as the lack of obedience. On the extreme hand, heavy-handed parenthood has witnessed the production of belligerent insubordinate and unfriendliness offspring. Research findings support the argument that poor parenting is a concrete impetus that has brought about the development of delinquent childrens. According to the social hypothesis, the connection progression, Baumrinds constituents of precious parenting and typologies that contents the most profound parenting is the convincing of parents and reaction and demandingness. Based on the self control theory, if a child fails to develop self control by the age of 10 years they often dont acquire it. Akers, R.L. (1989). Question 3 Akers social learning theory is a cluster of the learning point of view of criminology that has been influenced by chronological collective and opinionated circumstances. Akers theory is mostly applied to characters within a certain group from which the underpinning is due; these include a bunch of criminals, peer stratums or communal stratums. Smoking within the puberty age bracket is one of the deviant traits that Ronald Aker (1985) debate about. The social erudition theory digs out concrete facts as to why puberty enhances the smoking habits but is not in a position to explain the genesis of the behavior. Ronald Aker (1989) successive study of alcohol features among the aged illustrate the fact that mature drinking and puberty drinking tag along similar conduits of customs and group performance. Question 4 The control theory unlike the learning theory is centered on issues that appertain to why persons kowtow in a given society (Hirschi 1969). The social control theory presumes that fastidious persons are mingled fittingly in a civilization, while others are not; conversely, the discrepancy is brought about by how persons socialize not to break the law. According to the Social Learning theory, conventionality is affiliated to the attachments structured by children that help to reroute them from nonstandard manners. These unions incorporate affection, participation and the principle system. In a nut shell this amalgamation maintains the puberty and a section of the wider society concerned. Inadequate socialization exhibited by a child in form of weakened links of caucus is known as broken bond theory. Nonetheless, failed to bond theory is another twist of the social control theory that depicts an outright lack of attachment to others and to compliance that leads to character devian ce. Akers, R.L. (1989). Question 5 Respondent learning is typically a behavioral type of learning. Persons as well as animals conditioned this way dont learn consciously the association flanked by stimuli and responses, but, since the pairings happen repeatedly, the conditioned stimulus elicits the conditioned response unconsciously. In most cases, the rejoinders are not automated; however distinctive results do induce the animals or humans to repeat the behavior while divergent outcomes cause them not to repeat the behavior. Behavioral theorists in this case hold the view that distinct psychological disorders lead to respondent conditioning. Watsons experiment on Albert illustrated that phobias could be learnt by means of combining a neutral and a harmless stimulus with an unconditionally frightening event, hence bringing about the association of fear with a harmless stimulus. Akers, R.L. (1989). References Akers, R.L. (1989). Social Learning Theory and Puberty Cigarette Smoking cum Alcohol. 43:230-139 Akers R.L. (1998). Social Learning and Social Structure: A General Theory of crime and Deviance. New York University Press