The Environment This paper attempts to perceive the Tenenbaum family through interactions with each family member and describe the reasons for certain behaviors using patterns observed in research studies conducted on families. The occurrence of these factors causes the adult Tenenbaum children to become stagnated in childlike states of mind, unable to cope with their emotions. First, the paper notes the family systems theory created by Murray Bowen.
Initially, I felt that work lacked the scholarly rigor of the argumentative, often voice over driven, mode of the video essay. The arguments were elusive and scholarly sources were often nonexistent.
I insisted on seeking analogous relationships between the video essay and the journal article or book chapter. In the process of doing so, I closed myself off from the aesthetic possibilities inherent in the form. As our conversations began, I quickly realized that many of the solutions I sought in striking a balance between the aural and the visual were to be found in the domain of the poetic video essay.
By embracing only the argumentative mode in video essays, I was limiting my attempts at reinvention to a very small toolbox. I found I was seeking aesthetically more creative ways of bringing out observations through dissolves, superimpositions, and split-screens.
As I began teaching my video essay class for the second time, I decided to work alongside the students to sharpen my skills and become more familiar with the newer software Adobe Premiere. However, I did not have a research project on deck and decided to try making a handful of pieces that were completely poetic.
Thus, the first scene from The Royal Tenenbaums looked questionable and — more significantly — did not work terribly well with the timeline options I had in Adobe Premiere which put the audio out of sync with the video. Obviously, when you download a video from YouTube, you are at the mercy of a idiosyncratically curated collection.
Most of the time, I address this aesthetic issue by borrowing DVD copies from friends or, in some cases, using Netflix or the local video store. Moreover, given the collage nature of the essay, creating a smooth sound mix was a daunting challenge. Specifically, the transition from the relatively quiet dialogue The Night of the Hunter to the bombastic mix of John Williams and emotion in The Empire Strikes Back was a tremendously frustrating.
However, the two aesthetic modes could not be further apart and the transition between them took multiple drafts to appropriately address.
However, I also needed a snippet of dialogue from that shot to complete the idea.
For those new to videographic criticism, music helps define the tone of a piece and provides an energy. Moreover, music helps guide the video essayist by providing an overt map for edit points. I attempted to smooth the transition from The Night of the Hunter to Empire by using a prolonged sound bridge and removing the slow motion reverse shot of Luke.
Needless to say, I still had not found a permanent solution. Once again, I made a series of small edits to cut in and out of clips to preserve momentum. Next to my continued grappling with the Hunter to Empire edit point,the largest alteration in the second draft came when I began to think about an ending.
By using the baptism sequence from The GodfatherI had found a structured and thematically rich finale. However, the original soundtrack of the sequence was tainted by the climactic gunfire layered on top of the score.
The obvious solution was to segue between the original soundtrack for the dialogue and a pure recording from the original score. Thus, I tried to transition out of the diegetic music to a re-recorded version of the organ music so that the gunfire would not punctuate scenes that were unrelated for instance, the longing gaze of Humbert Humbert in Lolita.
When the solution came in the fourth draft, it was not from a creative epiphany that Benjamin and I had; it simply involved a long process of trial and error in manipulating aural key frames between the three tracks the two films and the musical track. Again, the baptism finale was an aural nightmare.
In the process of revising the third draft into the final version, I smoothed over some of the transitions in the finale by leaning on loud diegetic sounds to cover the transitions the gunshot in Kill Bill and Plainview beating Eli in There Will Be Blood. Obviously, due to the poetic quality of the piece, many of the suggestions I was offered by Benjamin, Chiara Grizzaffi, and Christian Keathley were technical in nature.
I learned a great deal about audio mixing thanks to Ben. One of the benefits of our collaboration and opening our work up for very candid and constructive criticism was realizing and addressing our mutual blind spots.
Quite frankly, I think the strength of my video essay work has always been both the intellectual and structural dimensions. My work is not nearly as aesthetically polished as that of Benjamin or other practitioners like Nelson Carvajal and Kevin Lee.Bottle Rocket is a American crime-comedy film directed by Wes metin2sell.com was co-written by Anderson and Owen metin2sell.com addition to being Wes Anderson's directorial debut, Bottle Rocket was the debut feature for brothers Owen and Luke Wilson, who co-starred with James Caan and Robert Musgrave..
The film was a commercial failure but launched Anderson's career by drawing attention . The Royal Tenenbaums study guide contains a biography of Wes Anderson, literature essays, quiz questions, major themes, characters, and a full summary and analysis.
The royal Tenenbaums Essay An analysis of mise- en- scene, editing and sound of “The Royal Tenenbaums ” According to Mike Crisp, editing “comes in a category some where between nrain surgery at one extreme and tiling the bathroom at the other”.(Orpen , 16) French director claude Chabrol compared editing similarly, to doing the washing up: “Script writing is like cooking.
Dissecting The Royal Tenenbaum's. 10 Pages Words November Saved essays Save your essays here so you can locate them quickly! Topics in this paper In Anderson's film The Royal Tenenbaums, the source of family dysfunction derives from the absence of Royal Tenenbaum and.
Wes Anderson’s movie THE ROYAL TENENBAUMS can be seen as a study of a family attempting to remain spiritually and domestically functional, even after the father of the family, “Royal Tenenbaum”, fails in his familial responsibilities and is expelled from the family by the reigning matriarch, “Etheline”, while the entire family sits in witness to the expulsion of the Machiavellian narcissist that is their father.
(The Royal Tenenbaums ) He had been living on a boat for a year, trying to hide his love for his adopted sister Margot, but it was not enough. His decision of cutting off his hair and beard shows his determination to completely disassociate himself from her.