A Thousand Words

Or As Many As It Takes To Explain The Piece



The artwork I am reviewing is a picture that was taken unexptedly. The two people photographed are then being presented in a natural element. The artist, unidentified at the moment, captures this image because of everything it represents. A white male police officer, kneeling down to tie the shoe of an African American urban-ly dressed young boy, speaks volumes.

It is socially established within the Black community that the white race, more narrowly its men, do not support the uplift nor nurturing of African American males. This cultural stereotype is largely accepted amongst America's people. However, despite this objective statement, the artist chose to take an artistic stand against societal beliefs. This photograph, single-handedly, defies common racial opinions.

The black and white coloring of the photo was purposefully done, so that the question of color would be determined by the audience. The issue of race must then be assumed by the viewer, and not directly addressed by the artist.

Because the picture is in black and white, the intended audience must use their personal background to extract the seriousness and artistic value of this piece. The audience: someone affected by the African American culture. A person unaware of American history would not be able to fully connect to the photo. The artist understands this, allowing his or her work to only be communicated to a certain group of people.

Using this form of artistic communication, the viewer can establish a dialogue between the audience and the piece.

The viewer may ask certain questions about the work. Possible questions include: Why are the subjects in the picture positioned the whay they are? Why is the police officer kneeling down before the young boy? Could he not tell the young boy to prop his foot upon someting greater in height? Why is the older man a police officer and not an unauthorized citizen? Or, why is the young boy dressed in attire that would normally be seen on an older male? All these questions would create a solid dilogue between viewer and creator.

Some of these questions have plausible answers. A logical answer that explains the subject's positioning, is that the police officer's subserviant pose represents a pivotal switch in societal roles. The photo's appeal derives from the idea that it is not normal for a white male cop to aid the continuance of a Black male boy. What's being captured is more than the tying of a shoe, it is the representation of the dominant race aiding the growth of a minority.

The white, authoritative police officer, is tying the shoe of a classless, African American boy. This act of kindness is offered so that the boy can continue to walk with no chance of falling. Falling, is a metaphor for faltering from life's path at the approach of an obstacle.

In regards to space, lighting, rhythm, and balance, this photo incorporates all four characteristics.

The spacing of the two subjects is fairly close, displaying the relationship they share with each other. They appear to be unaware of their obvious differences, shattering all social barriers within themselves.

The balance of the picture is casually thrown off, as the side profile of another individual is captured in the left corner of the frame.  It is obvious that this person is not a focul point, but the fact that he is in the shot reminds the viewer that this is not staged. This promotes reality.

Ironically, the police officer is the darkest object in the shot. Darkness, normally associated with bad or evil, is even more supported with the bulging gun sitting on the right of the officer's waist. Surprisingly, cast in the picture's shadow,are the efforts of good. 

My personal reaction to the piece is shock yet approval. I love the father-to-son imagery, even though it is clear that these two individuals are not related. This photo puts into mind the chance of positive action between the police and the African American youth. It provides hope and a cliche reminder "that it takes a village to raise a child".

This photo? 627 Words.

"Red Eye" Brings About Dry Eyes

The driest screen production since that “clear eyes” guy.

-Annsleigh Thornton

Atlanta, Georgia

Have you ever experienced a moment of intuition? A point in which you knew exactly what would happen, though you had no idea of that moment’s agenda? The ability to predict the outcome of a situation is often seen as a gift. However, encompassing the power to foresee the conclusion of a movie is more of an annoyance than a “present”. This is exactly what occurs for first time viewers of “Red Eye”. To their demise, it is possible to predict the subsequent events of each scene without former knowledge of the film. The characters are far too predictable and the details of the movie are emitted in its first few minutes. “Red Eye”, a 2005 production, is the perfect example of a film not holding its validity through time. As the movie approaches its 7^th year anniversary, horror films that follow its production give way to “Red Eye’s” formula: mysterious guy harms new-age-independent woman, but is left to battle the strong male patriarchal figure. With this cinematic blueprint, the audience can deduce a number of accurate outcomes. Will “Red Eye” defy its plausible conclusions? Or put you to sleep, more solemnly than those Ben Stein commercials?

http://www.youtube.com/watch?v=RcH-3d-BZn4

(Ben Stein’s Clear Eye Commercial)

“For dry red eye, clear eye is awesome”, is the acclaimed quote popularized by Stein. He is known for his monotone delivery and blunt approach. His sound, intertwined with his drab appearance, adds a comedic element to the Clear Eyes informational. But just as this service announcement uses predictable dialogue, so does “Red Eye”. But unfortunately, to no cinematic avail.  

http://www.youtube.com/watch?v=TAFDHyH8buQ

(Red Eye Trailer)

Directed by Wes Craven, “Red Eye” is majorly set on an airplane in route to Miami, Florida. The antagonist, Jackson Rippner (Cillian Murphy), uses convincing language to gain the friendship of Lisa Reisert (Rachel McAdams) while awaiting their flight. His language is so convincing that the audience is forced to acknowledge a few “red flags”. Ruppner’s shadowing hair cut, vampire-like bone structure, and mysterious blue eyes, do not condone Jackson’s motives. Viewers, now doubtful, are proven right of their assumptions. Rippner is coincidentally placed in the seat next to Lisa. The audience suspects trouble at this very moment. Lisa too becomes alarmed, making note of Jackson’s name. This, ironically, is extremely close to “Jack the Ripper.” This scene is so cliché, social allusions are accepted.

http://www.youtube.com/watch?v=qUkMjcCmD4M&feature=fvst&oref=http%3A%2F%2Fwww.youtube.com%2Fresults%3Fsearch_query%3DJack%2Bthe%2Bripper%26aq%3Df

(The Secret Identity of Jack The Ripper – F.B.I. Reports)

The style in which characters are introduced is also overused. The elongated conversation between Lisa and the nice older lady (Angela Paton) sheds light onto the woman’s eventual role. This same method occurs for all supporting characters, introducing the blonde woman (Laura Johnson), irate passenger (Loren Lester), and male siblings (Max Kasch and Kyle Gallner) in a similar manner.  The intended audience for this film would have to be cinematically naïve, ready to jump at every scripted moment and scream at every planned surprise. I expected each thrilling scene to come about unexpectedly. I was hoping to feel some form of suspense, experience just a bit of mindboggling confusion. But my intentions and standards for the film were unmet. Watching Craven’s work can easily be compared to the live viewing of a game show with employees working the audience using handmade signs, painted with words such as “Boo” and “Cheer”. Because the crowd has been told how to respond, the show is live as pre-recorded Oprah (and that’s not live at all). Just as they are told to shout and cry, Craven has told me to jump and scream, with no room for wonder or personal choice.

http://www.youtube.com/watch?v=gPmd6tCQ8jI&feature=related

(Debut of Supporting Characters)

As the viewer, I am stuck in a box. With nothing else to do but root for the heroic female whom I know will be victorious. I am psychologically, emotionally, and intellectually trapped. Lisa’s ignorance affects me mentally, driving me crazy as I beg for her to think logically, and not in the sense of a fragile female. Emotionally, I fear for no one, knowing that in the end all good-willed characters will survive. I am only moved, angered rather, when Lisa appropriately falls twice in her pursuit of survival. My intelligence is taunted as Craven incorporates a scene that is so far-fetched, all fear is eliminated. When a group of hired shipmen recover a number of “bazookas” from an underwater crate, in preparation for the obliteration of one hotel room, the movie loses its validity and connection to reality. 


I will credit Wes Craven for establishing a central theme: The value of life. An example of this is Lisa’s original neglect of her father, then sudden appreciation of his existence once his life is in danger. The value of life is distributed throughout the entire film. Lisa cherishes her father’s life more than the targeted victim, but feels selfish once realizing that not just one man is being sacrificed. The assassin, however, has no remorse for anyone but himself, valuing his survival more than the well-being of an entire family.  


But the wrong-doer seemingly never dies. After being stabbed and shot, Jackson’s quest for Lisa’s death persists. It’s unbelievable that he can still run with increasing speed and breathe affectively. Unbelievable, as well as unrealistic. Just as unrealistic as Stein’s crafted excitement from ridding dry eyes of their agonizing redness.


The idea that this film was created to excite an audience, with no regard to depth or content, drives this review. It also supports and explains why this film does not work. I would rather see Stein take on stereotypical Russian assassins. At least I would be surprised with the outcome.  “Red Eye” left me dry-eyed, with no compassion for Lisa, her endangered father, or Craven’s unoriginal plot.

http://www.youtube.com/watch?v=5aa8ImBmS74&feature=related

(Jackson’s Never-Ending Death)

Blacks Who Pass for White: The Reality Of Imitation

Sarah Jane is not the only person in history who has struggled with self acceptance. Here are live accounts of individuals who mentally battle with their race and/or identity.

Don't Blame Sarah Jane: They're All Phonies.

Harvey's Critical Review of The Imitation of Life

As a reader of Harvey’s essay, in regards to Imitation of Life, I found his descriptions very useful. His arguments and assertions opened up cinematic viewpoints I never discovered while viewing the film. His idea that the entire movie itself, and not just the character of Sarah Jane, focuses on all forms of imitation is quite interesting. Not only is Sarah Jane an imitator, impersonating the White race, but Miss Lora, Annie, and Susie are all subconsciously pretending. Miss Lora demonstrates a form of impersonation by truly believing that she treats and views Annie as an equal individual. The fact that Miss Lora allows Annie to call her Miss, even though Annie is years older than her, demonstrates their social difference. Annie is not treated fairly, no matter the amount of sincerity Miss Lora pretends to exude. Annie is unpaid labor, holding the family together through her helping hand and listening ear. All hard work is honestly ignored, and simply categorized as friendly gestures.

One of the most heart-wrenching scenes throughout the film is the moment Annie pretends to be Sarah Jane’s care giver instead of her mother. This form of impersonation is an example of the length each character goes to create a fictional lifestyle that feels more accepting than the harsh realities they refuse to endure. The audience is forced to sympathize for Annie as she publicly disowns her daughter, sacrificing her own sanity for the happiness of her child. It is actually sickening to see Annie demean herself to the servant of her child, pretending to have no blood relation to the delusional Sarah Jane.

Susie’s form of impersonation is delivered in the beginning of the film. Annie and Sarah Jane come home from an unfortunate day at school: Annie has exposed Sarah Jane’s African American affiliation. Annie and Sarah Jane enter the home to see an impersonating Susie. Pretending to be sick so that she can stay home from school, Susie lies in bed while Miss Lora to take her temperature. Lora exclaims, “Why you’re practically normal!” falling into collaborative laughter with Susie. As a result of Susie’s comical illness, the controversial situation between Annie and her daughter is described as not “a real problem”. Susie epitomizes the idea that through pretending, larger issues become non-existent.

Someone Help, "The Help".

Blah Blah Blah.