movie critique

Robert Deleon

Robert Bombay

Humanities 101

8/12/15

A True War movie

 

War is often glorified in Hollywood without really showing the gruesome realities of it. Case in point Saving Private Ryan in when Tom Hanks gives the speech of why they are going to sacrifice his unit for one soldier. I am not going to talk about those movies in this critic. I am instead going to talk about the move Fury directed by David Ayer. This movie is a truer depiction of the lack of humanity that there really is during war time. Through the use of: props, special effects, and script, the reality of war is truly shown through in this film.

The movie takes place in World War II in the heart of Germany in the final push for Berlin. Brad Pitt plays Wardaddy who is a tank commander who is a veteran since the beginning of the war in North Africa. North Africa is notorious for its tank battles. Logan Lerman plays Norman Ellison, a brand new private who is not a tanker, but a typist who got re-assigned to fill a slot of a gunner recently killed in Wardaddy’s tank. His inexperience is depicted when Ellison vomits after he is instructed to clean the blood out of the tank of his predecessor.

The lack of humanity is shown through the use of props in several parts of the movie. First the tank, “Fury”, is driven on a dirt road when it rolls over the already flattened corpse of a German soldier previously killed. It is flattened to demonstrate that it has been driven on several times and that it no longer resembles the person of its formal self but just bio matter. In the second scene in the movie there is a mound of dead German soldiers that a bulldozer is pushing into a giant ditch that appears to be a mass grave. This without any signs that they are going to mark who is buried at that particular site. Toward the end of the movie they use a German corpse to decorate their tank, which has been incapacitated, to make it appear that it has been destroyed for a long time.

The use of special effects is used throughout the movie to show gore in a realistic context. Gun wounds appear real, not to bloody but just bloody enough. At one point a machine gun at 10 meters kills a line of troops ripping off one of the soldier’s legs. The force of the rifle would in fact rip off a person’s leg. Another example is the main gun of a German tank fires, misses the tank but hits the tank commander on top of the tank, ripping his entire upper body from the rest of his body. There is also an instance when a tank round sends a human body flying through the air in a lifeless corpse from just the sheer force of the round.

The thing about the movie that really shines through in demonstrating the realities of the war is the script, or same could be true for the lack of script. There is no long winded speech before the battle. There is no dramatized revenge killing spree that is unrealistic. Just conversations between soldiers and acting that shows real emotion you would see of soldiers under extreme stress. Norman being a new soldier is told by his tank crew that you follow Wardaddy and he will be alright, despite Wardaddy showing disgust that he got a soldier of subpar training. When the unit comes under attack, a tank is destroyed due to Norman not wanting to kill kids despite the kids being the ones who attack the tanks. Wardaddy makes Norman get out of the tank to show him what kids can do to another human being.

Farther along into the movie, after a successful battle, to teach Norman an important lesson in war he is forced to kill a prisoner of war. The scene was designed not to glorify the protagonist as many war movies do. It also does not make him an anti-hero. It is truly designed to show that death in war is a reality no matter what side of the conflict you are on. This is reinforced when Wardaddy says, “Ideals are peaceful, war is messy.” In war, if you are a soldier, you have to get your hands dirty. There is no place for ideals unless you want to get your unit and yourself killed.

There are many more examples of Ayers use of all three tools to demonstrate the realities of war. I have just demonstrate a few. Currently less than 1% of the population in the United States has served in the military. People often talk about war in terms of ideals rarely in terms of reality. The closest to reality most people get to the reality of war is the number of wounded or killed, or the loss of a loved one who has served. While I do not think this film we get any awards for best picture or music. This film demonstrates the monster that we must all become in order to be a successful soldier. If you want to see what it takes to become the monster, then this is the movie to watch.  

Works Cited

Ayer, D. (Director). (2014). Fury [Motion Picture].

 

1500-1900 art critique

CARAVAGGIO, JUDITH BEHEADING HOLOFERNES, CA. 1598-99, ROME, GALLERIA NAZIONALE, PALAZZO BARBERINI

 

Art critique is both very subjective and objective at the same time. But of all the art I have seen, I appreciate Caravaggio’s use of light and darkness to highlight certain aspects of an event. Baroque art is noted for depicting an event at its highlight, not before or after like Renaissance paintings before it. Caravaggio, Judith beheading Holofernes, ca. 1598-99, Rome, galleria nazionale, palazzo Barberini is a perfect representation of this concept of using light. Some background behind the painting as told by Heta Vyas:

The very comely and rich widow Judith, had put off her mourning clothes, dressed herself in the finest garments and entered the enemy camp in order to rescue her people. The Assyrian army, led by Holofernes, stood in arms before the city of Bethulia. The Jews had lost heart, were on the point of giving up, and yet this woman set out on her own to seduce the enemy. After her bloody deed, the enemy soldiers fled in panic; Israel was saved and Judith returned triumphantly from the libertine’s tent. (ceptartjournalists.blogspot.com)

The lines of the sword and the blood squirting from the next suggest an exaggerated burst of blood to emphasize the kill. The shapes attempt to simulate nature as close as possible with the possible exception of Holofernes who has over emphasized musculature. This could be an attempt to make him larger than life. The lines on the faces of the characters depicts the emotions of the characters. Outright fear and pain of Holofernes in contrast to Judith’s look of determination. The handmaiden on the far right is a look of anger and anticipation of justice.

All the colors are subdued and natural except for the blood squirting from the neck. Again possibly to bring emphasis on the horrific event. All the textures in the painting are very natural and smooth, except for the hand maiden whose facial features are very sharp to emphasize her age and frailty.

Caravaggio’s use of space makes the characters pop out of the painting by use of shadowing and the way his Holofernes right arm gets smaller distally. The angles of Judiths arms grabbing the hair and holding the sword also suggest a third dimensional environment. The most prominent element of the art piece is the value. There are so many examples of shadows with various degrees of darkness around the key players of the painting which demonstrates the three dimensional environment. It also demonstrates that this is not a static event. The Characters are not posing for this painting but that it is ever changing with the movement of the sword and the varying degrees that Holofernes understanding of his particular situation.

The only pattern that I can see is that all the cloth is depicted as folds threw the use of lines which further increases the perception that the event is happening and there was no time to create a perfect static pose. Movement of Holofernes is created by the shape of his right hand. The way it is situated on the bed demonstrates that he is pushing as Judith is pulling his head with her left hand on his hair to alleviate tension as Judith pulls his neck taught for slicing it open.

All proportions are anatomically correct but modified to depict how it would be seen within a three dimensional environment. This is depicted by the angles of the face and the body. The Tapering or enlarging of limbs as the go deeper or shallower within the painting. The blood squirting is not natural. The blood would fall with gravity however by straitening it, it is as if the blade is going so fast that gravity has not yet had enough time to catch up with it.

                The Biggest element of the value which to me makes this classically Caravaggio. The background is muted with very dark shadow. The three main characters are very bright in contrast and the emotion on the characters faces demonstrate the very reality of the event. I have read various interpretations of the painting. Some say that it is the triumph of justice. The depiction of Syrians without their leadership. That it may have been inspired by highly publicized beheadings of the time. There have been several painters who have demonstrated this exact event. I do not know if I can really get on board with any of them. To me this is a mourning woman who wanted revenge. What makes this more prominent is the handmaiden’s expression of loathing. Judith’s lack of empathy to me also represents the scorn of a widow, not triumph of justice.

A feminist might argue that Caravaggio has depicted an event in strength of women. That when we are drunk and asleep that we are all equally vulnerable and that women should be treated with as much respect as men. That when you are asleep it doesn’t matter if is a strong man or a weaker woman and old lady. Your throat being slit will equally kill you. A Feminist might use this as a cry for equality.  I personally just see an artist who made a visual depiction of a biblical story and highlighted the climax of the event through use of lines and shadow.

Bibliography

Vyas, Heta. Art Journos of CEPT. 7 March 2011. 16 July 2015. <http://ceptartjournalists.blogspot.com/2011/03/analysis-of-painting-by-caravaggio.html>.

Non-Western Art Critique

Robert Deleon
6/20/2015

Robert Bomboy

Humanities 101

Non- Western Art Critique

 

What makes Islamic art unique to Muslims? The following passage gives the fundamentals of Islamic Art:

....We were with Masruq at the house of Yasar bin Numair. Masruq saw pictures on his terrace and said, "I heard 'Abdullah saying that he heard the Prophet saying, "'The people who will receive the severest punishment from Allah will be the picture makers. (Quran)

In essences what makes Islamic art unique is that there is no pictures. More specifically, no portraits of people. The Koran specifically states that no one should idolize (or worship) anyone other than god. Portraits are seen, under sharia law, as a form of idolization and therefore prohibited. This means no statues, paintings, drawing, or lost wax castings of anything that could be misconstrued as worshiping other than god to include the prophet Mohammed. So how then do they artistically express themselves? Through calligraphy. Thus brings my example of Islamic Art, a Mosque lamp for a Mausoleum.

 

 

 

 

 

 

 

Mosque lamp for the Mausoleum of Amir Aydakin al 'Ala'I al–Bunduqdar, Mamluk period (1250–1517), shortly after 1285 (The Metropolitan Musemum of Art, 2012).

 

 

 

The artwork is a glass lamp that has a conical shape and brownish in color. It is hand blown. The emblem of the Keeper of the Bow, a pair of confronted bows against a red background, appears nine times on this lamp. A rare mistake by the calligrapher is evident on the neck, where the word bunduqdar (Keeper of the Bow) has been misspelled as a meaningless word, bunqud-dar (The Metropolitan Musemum of Art, 2012). It uses a contrast of blue and red to bring out the elements of the calligraphy, with obvious emphasis on the calligraphic script.  As it is a lamp, the proportions are pretty symmetrical which would make sense if it was hand-blown. I do not see anything that I could recognize that could be considered unity or repetition other than the outlining at the top of the lamp that appears to be more calligraphic scripts.

                The object comes from Egypt and was made between 1250-1517 (The Metropolitan Musemum of Art, 2012). This lamp is the earliest datable example of its kind known to have hung in an interior that still survives. The inscription states that it was made for the tomb of the Mamluk amir Aydakin al 'Ala'I al-Bunduqdar (died 1285) in Cairo. Since the function was to light the mausoleum its function is pretty clear and is an example of how two cultures come together. Egypt is known for honoring their dead with elaborate tombs and Islamic art is all about showing off the artist calligraphy skills. This object defines the combination of two different culture that are distinctly “non-Western.”

I do not really have any particular reaction other than it is interesting. I never really thought about how an item such as this really could have such cultural implications. From seeing other forms of Islamic artwork I have seem two themes in the Calligraphy. One is trying to fit as much calligraphy into an object without seeming like it is crowding. Second is to take a few words like a poem and having it fill as much space as possible, sometimes in the shape of something in nature such as an animal or tree. I conclude that this object is true to Islamic art that fits within the confines of sharia law.

 

 

 

several. http://quran.com/. 20. 20 June 2015.

The Metropolitan Musemum of Art. http://www.metmuseum.org/toah/works-of-art/17.190.985. May 2012.

 

 

 

Classical Architecture critique

 

Robert Deleon

Robert Bomboy

Humanities 101

2 June 2015

Classical Architecture Critique HUM 101

 

 

            The United States has a long tradition of using Greek and Roman architecture in their building for government buildings since the foundation of the Nation. Most notably we see on public television every 4 years with the inauguration of a new president, the Capital building in Washington, DC. This building houses the meeting floors for both the senate and the House of Representatives:

            “Congress is divided into two institutions: the House of Representatives and the Senate. The two houses of Congress have equal but unique roles in the federal government. While they share legislative responsibilities, each house also has special constitutional duties and powers.” (http://www.aoc.gov/)

This is similar to the Roman republic which had the senate comprised of land owners, and local representatives from each province of the Roman Empire. Because this building houses one of the three major branches of our government (legislative), architectures would want to make a building that could stand the test of time, or “classical.” The Roman Empire which lasted approximately 500 years would be the perfect theme of our new democratic-republic government buildings. The architect for this important building would be Dr. William Thornton, an amateur architect who is honored as the "first architect" (www.aoc.gov). Though other people have lent a hand in its design for practical sound design of the structure, Dr. Thornton is ultimately the designer who gave the overall theme that is the building today.

            “The U.S. Capitol's designs, derived from ancient Greece and Rome, evoke the ideals that guided the nation's founders as they framed their new republic. In the 1850s, architect Thomas U. Walter added to the original design while maintaining the neoclassical styles. His additions included the north and south extensions and the cast iron dome” (www.aoc.gov).

 (http://www.aoc.gov/)

When I look at this structure one of the first things that jumps out at me is the Gable and pediment, the triangular section of a wall at the end of a pitched roof and the triangular space forming the gable two-pitched roof in classical architecture (Fiero). And like many other Greek classical buildings a sculpture is in the pediment that probably represents something iconic.

Next thing I notice is the pillars in this picture appears closest to the Corinthian style of column. The one I currently have illustrated has the stylobate at the bottom that provides support for the rest of the column, the shaft that runs along the length similar to the Parthenon that have symmetrical indentations along the entire flute, and the ornamental capital at the top of the shaft that holds up entablature, the rectangular length, below the Gable (Fiero). The entablature has a frieze which is a sculptured or ornamental band. Using a Corinthian style of columns enhances the importance of the building by providing more flourishes (Fiero).  

Finally Symmetry of the building which is one of the Greek’s symbols of art and contribution to the “classical style” (Fiero).



Flourish design of the capital of one of the columns.

The above is a closer look at the detail of the capitals at the top of one of the many columns within the building.

“The exterior of the Capitol Building contains examples of a modified Corinthian column style, including the East Front center portico and the West Front. On the first floor of the Capitol’s House wing is the dramatic, high ceilinged Hall of Columns, which takes its name from the 28 fluted, white marble columns that line the corridor” (http://www.aoc.gov/)

 

The biggest example of Roman contribution would be the dome at the top of the structure which is an example of a 360 degree arch. however I think a majority of the building is similar to Wren’s Cathedral.

 

 



Wren's Cathedral (Bartlett)

The biggest thing that stands out to me is the Dome, which at first glance is very similar to the of the U.S. Capital building. If you look at not the central point of the building but to the right side of the dome, the corner structure of the building is quite similar the left and right of the dome of the Capital building.

This building, along with others, represents a continuation of the principles that founded our government. These principles of freedom, democracy, and fairness that were pioneered by the Greeks and Early in the Roman's history. My personal perception every time I go to Washington, D.C. and see all of the buildings that are representative of classical architecture is like taking a step back in time. Like every film that shows ancient Rome in its prime, it is as if the buildings were transported through time. It is as if the buildings are older than they actually are. Modern architecture does not give the sense of time to me. Like fads such as beanie babies, they will most likely fade with time, however the architecture of this building seems like it will last forever. Since we as a country do not want our country to disappear from the pages of history, I think using this style for our capital is both appropriate and enhances the purpose of the building.

 

 

 

 

Works Cited

Bartlett, Sarah. http://www.wrenkitchens.com/blog/ten-facts-celebrate-sir-christopher-wrens-birthday/. 20 October 2014. web. 2 June 2015.

Fiero, Gloria. The Humanistic Tradition Book 1. New York: McGraw-Hill, 2011. Textbook.

http://www.aoc.gov/. n.d. 2 June 2015.

Wallpapers111.com. http://wallpapers111.com/united-states-capitol-building-pictures/. n.d. 2 june 2015.