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example essay: Assignment One SMST302-09B Screen Studies 3: Screen Theory Concurrence and Rebuttal A critical analysis of ‘Rhizomatic Time and Temporal Poetics in American Beauty’

论文作者:留学生论文论文属性:短文 essay登出时间:2010-10-20编辑:steelbeezxp点击率:4037

论文字数:2400论文编号:org201010201248314419语种:英语论文 English地区:美国价格:$ 66

关键词:example essayAssignmentScreen StudiesScreen Theory ConcurrenceRhizomatic TimeTemporal PoeticsAmerican Beauty

Assignment One SMST302-09B Screen Studies 3: Screen Theory  Concurrence and Rebuttal A critical analysis of ‘Rhizomatic Time and Temporal Poetics in American Beauty’

Word Count - 2408
Concurrence and Rebuttal
A critical analysis of ‘Rhizomatic Time and Temporal Poetics in American Beauty’
By Jacqueline Furby, 2005

In an attempt to adhere to the words of wisdom delivered in lectures, regarding Screen Theory as a practical paper, presented here is a critical analysis of Jacqueline Furby’s ‘Rhizomatic Time and Temporal Poetics in American Beauty’ (2005), a week five reading for the course. Specific Reference to this text and examples from Sam Mendes’ American Beauty (2000) will provide an adequate platform to identify (1) ideas that have merit and (2) some that are not fully convincing. Upon critiquing the concepts presented by Furby, this essay seeks to (3) utilise the credible points to actively engage with other audiovisual works. More specifically, reference will be made to Bekmambetov’s 2008 Hollywood blockbuster Wanted. Ultimately, the goal will be to identify how concepts presented in the reading are useful building blocks for developing a discourse that deals with the temporality of film.

Concurrence
 
Image 1: Jane filming Ricky, American Beauty

Rebuttal
Image 2: Fox telling Wesley of her past, Wanted
Image 3: Intersection of Wesley‘s past and future, Wanted

Conclusion
While some may accept this idea of female characters symbolising past and future moments within the present, it is necessary to acknowledge the possibility that an aberrant reading may have occurred, “in which the preferred meaning [was] not understood and the text [has been] read in deviant fashion” (Lacey, 1998, p.88). As the rebuttal of specific ideas presented by Furby highlights, the engagement with moving image is subjective. Images produce meaning based on a history of representation. The experiences of individuals vary substantially and, as a result, meaning that is attached to certain texts is also varied. As Lacey point out “it should be clear that signs can generate more than one meaning - they are polysemic” (1998, p.90). Subsequently, the above critical analysis of Furby’s work and engagement with Bekmambetov’s Wanted represents one of the many possible interpretations of both texts.


 As outlined earlier, the ultimate purpose of this essay was to identify concepts in the reading that are useful building blocks for developing a discourse that deals with the temporality of film. In no http://www.51lunwen.org/DramaTheatre%20/way are the concepts of time layered and time thickened the only means to engage with an audiovisual work in relation to its temporality. Nor is it offered that the application of these ideas to scenes extracted from Wanted has developed strict conclusions. It may be necessary to point out that both scenes from Bekmambetov’s blockbuster could be theorized in relation to time layered or time thickened. They are not one or the other.  These concepts have merely been taken on to assist in the academic engagement of a moving image to broaden the understanding of the temporality of film. The topic offers endless viewpoints to be considered. Such a discourse is constantly evolving, subsequently altering our engagement with audiovisual works.

 The importance of subjectivity aside, it is clear that critiquing Fu论文英语论文网提供整理,提供论文代写英语论文代写代写论文代写英语论文代写留学生论文代写英文论文留学生论文代写相关核心关键词搜索。

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