response to Sita sings the blue

Animation film Sita Sings the Blues, made by Nina Paley, interprets 2 stories in different time zones but have the same theme. The first one is about the Indian beautiful goddess Sita. She suffers one awful punishment and test after another from her mistrustful and apparently other-directed husband. The other one is a women lived in San Francisco called Nina. Nina’s husband Dave is called to work in India. When Nina comes back to US after a visiting to see her husband, she received a message from her husband about Dave does not love her anymore. Both Sita and Nina have a sad ending in this film.

It’s quite amazing how Paley herself directed this piece of magic, and adopted various animation styles to tell a story, and a musical, and has a separate tale set in the modern day to parallel that of the epic tale. I am speechless by how wonderful the opening credits got designed, fused perfectly with the song playing in the background.

Although it’s a tragedy animation, full of humorous jokes make this film different. And the transform between 2 story lines in this film is pretty fluent. Nifty animatio style creates more fun in this film. The best contemporary animated film without a doubt.

Response to The Ecstacy of Influence: A Plagiarism

Back to The Ecstasy of Influence (clearly a play on Bloom’s title The Anxiety of Influence). It is broken up into parts based on themes. Each part has a few chapters which are either short memoirs, essays, or even short stories with analysis. The fact that it isn’t all essay keeps the flow going nicely. I was really excited when in the Preface he had already mentioned John Ashbery, John Barth, and Don DeLillo. These are all people I write about a lot. The book is practically my blog if you throw out the math. OK. Not really. But it was sort of feeling that way from the Preface.

The second chapter is all about postmodernism in SF (speculative fiction). I was delighted to find that Lethem makes almost the exact same argument in one of the essays that I made in the first post I referenced above. Roughly that people writing SF should be familiar with all these modern day trends like postmodernism so that they can incorporate the techniques into their works to create much more effective literature. Or maybe not. Your choice. But if you aren’t familiar with these techniques then you can’t make the choice. You’re limited by what you know. He also does an interesting deconstruction of Philip K. Dick and his influences.

Response to Embrace the Remix

Nothing really comes from scratch anymore, and music is no exception. The first thing bands talk about when they form are their influences, and they typically start off by (and never really stop) playing other people’s music. Entire genres, like folk, blues, and hip-hop, are based upon liberal borrowing out of either tradition or necessity. Simply put, every artist you love, no matter how unique, innovative, and game changing they may be, stands on the proverbial shoulders of giants.

I think the most important thing to be avoid of musical plagiarism is do not leave a paper trail leading right back to the song you supposedly plagiarized. In the case of Robin Thicke’s “Blurred Lines” vs. Marvin Gaye’s “Got to Give It Up,” Thicke had done multiple interviews name-checking Gaye as inspiration for his No. 1 hit. He told GQ, for example, “One of my favorite songs of all time was Marvin Gaye’s ‘Got to Give It Up.’ I was like, ‘Damn, we should make something like that, something with that groove.’ Then he started playing a little something and we literally wrote the song in about a half hour and recorded it. The whole thing was done in a couple hours.”

And one more thing, the real music comes from your heart not from other peoples work.

Response to Understanding comics

This is a rare and exciting work that ingeniously uses comics to examine the medium itself. McCloud conducts a genial, well-researched and funny tour of virtually every historical and perceptual aspect of comics, which he calls “sequential art” that is, art that consists of sequences of words and pictures.

Beginning in the 11th century with the Bayeux tapestry, he examines pre-Columbian picture languages and the printing press, presenting a quick survey of the historical development of early sequential pictures into the specialized visual language of comics. But it’s McCloud’s accessible and quite amusing discussion of realism, abstraction and visual perception that forms the heart of this survey. He dissects the vocabulary of the medium, cheerfully analyzing the psychological power of comics and their central role in our ultra-visual culture. McCloud attempts to place comics within the tradition of serious western art. His black-and-white drawings are a delight, ranging from simplified cartoons to parodies of classic comics and fine art, all the while manifesting every theory and comics trend discussed.

One thing attracts me most is McCloud interprets Mayan and Egyptian fresco as one kind of comic,which is far beyond my expectation. For all I know about comics is Marvel, DC or Jump….McCloud exactly gives me a wider definition about comics.

Response to On the Rights of the Molotov Man

In this magazine, Joy agreed to give Susan credit for the photograph, but was unwilling to seek Susan’s approval for any further reproductions, which inspires many potential questions for us to think about: At what point could a derivative work be considered an original piece? What kind of freedom do artists have as far as adapting works of others?

Joy contends that a photographer’s job is, in part, “to provide the public with a record of events of social and history value,” which, in a way, strips away the connection between a photographer and his/her work.

How we define the role which photographers play in this society?   Do professional ethics to them is really much more important than their human nature?  What ethical parameters are embedded in capturing photos and sharing them with the public? If we think of photographers in the way Joy defined, we could think of photographers as reporters – who present the news and often raise awareness to various issues and ideas. Reporters are artists too, and have their own styles of presenting the material, just as photographers are mindful of their inspiration, photo composition, post-production, and a myriad of other nuances that contribute to their work. But perhaps we could just appreciate the pieces that derive from others’ — especially when the intentions are good.

 

Response to “the work of art in the age of mechanical reproduction”

This is my website screenshot. I add more elements from w3school.

Screen Shot 2015-02-02 at 2.25.46 PM Screen Shot 2015-02-02 at 2.26.14 PM

 

Here is my html code:

<!DOCTYPE html>
<html>
<head>
<title>Response to “The Work of Art in the Age of Mechanical Reproduction”</title>
<link rel=”stylesheet” href=”style.css” />
</head>
<body>
<h1>Arts Revolution</h1>
<img src=”http://www.artlex.com/ArtLex/a/images/art_word.painted.3d.JPG”/>
<!– comment !–>
<p>The cost of mechanical art reproduction’s appearance is the lost of art’s “aura”.
<a href=””></a></p>
<p>REASON: Namely, the desire of contemporary masses to bring things “closer” spatially
and humanly, which is just as ardent as their <br>bent toward overcoming the uniqueness of
every reality by accepting its reproduction. Every day the urge grows stronger to get
hold of <br>an object at very close range by way of its likeness, its reproduction (III).</p>
<p>The real challenge to traditional art—-<a href=”http://www.whatinfo.net/wp-content/uploads/2014/05/headshot-photography.jpg” id=”photography”>
photography</a></p>
<p>Photography’s Historic Meaning to Arts: The first time in world history,
mechanical reproduction emancipates the work of <br>art from its parasitical dependence
on ritual. To an ever greater degree the work of art reproduced becomes the work of
art <br>designed for reproducibility(IV).</p>
<h2>Movie</h2>
<img class=”ex1″ src=”http://091labs.com/wp-content/uploads/2011/09/movie_night.gif”/>
<p>Combine photography’s art value and science value into one. <a href=”http://en.wikipedia.org/wiki/Photographic_film” id=”filmphotography”>
film photography</a></p>
<p class=”ex2″>Negative Voice to Film: a pastime for helots, a diversion for uneducated, wretched,
worn-out creatures who are consumed by their <br>worries a spectacle which requires no concentration
and presupposes no intelligence which kindles no light in the heart and awakens <br>no hope other than
the ridiculous one of someday becoming a star in Los Angeles(XV Duhamel).</p>
<p class=”ex3″>Benjamin’s Voice to Film: Film’s art value does exist, just like architecture arts.
Architecture has always represented the prototype of a work<br> of art the reception of which
is consummated by a collectivity in a state of distraction. Same to film, people treat films as
pastime so<br> they don’t have to concentrate on them which buries film’s art value.</p>
<img class=”ex2″ src=”http://1.bp.blogspot.com/-k3B0flnGj_I/UzQ1ugCwnJI/AAAAAAAABZs/tC8RX5zz3mo/s1600/Bond-film.gif”>

<h3>Copy in Movie</h3>

<img class=”ex3″ src=”http://hkxforce.net/wordpress/wp-content/uploads/2010/08/Paprika_Inception.jpg”>
<p><a href=”https://www.youtube.com/watch?v=yh1sU6isRao”>Paprika vs Inception</p>

<address>
Written by Luke Xia.<br>
Email me via: <br>
lx373@nyu.edu
</address>

</body>
</html>

And css code:

body {
background-image: url(“http://img3.wikia.nocookie.net/__cb20090701214431/alphaprotocol/images/3/3a/Notebook_paper.gif”);
}
h1 {
color: green;
text-align: center;
}
h2 {
color: green;
text-align: center;
}
h3 {
color: green;
text-align: center;
}
p {
margin-left: 100px;
}
p.ex2 {
margin-top: 2cm;
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p.ex3 {
margin-top: 2cm;
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#photography{
color: blue;
}

#filmphtography{
color: blue;
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img {
margin-left: 720px;
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img.ex1 {
margin-left: 630px;
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img.ex2 {
margin-left: 100px;
}
img.ex3 {
margin-left: 50px;
}

Response to The Machine Stops

This science fiction’s main idea is focusing on that people’s excessively depending on machine in the future leads to the end of human civilization. Vashti, the mom, is one of the most typical examples of people who are crazy about machine–staying at her cell house “where buttons and switches everywhere–buttons to call for food for music, for clothing”(4) underground all the time,  having no interest in traveling even visiting her son Kuno. However, Kuno is an opposite example–a rebel who wants to visit the surface which is not permitted.

Human beings created machine. Machine obeys human’s order. But in that world, people worshiped machine as a god. On the air-ship, all the passengers were shouting “How we have advanced, thanks to the Machine!”(8) They completely forgot it is human who creates those machine.

It seems that Kuno is the only person who is clear about machine. He said “we created the Machine, to do our will, but we cannot make it do our will now. It was robbed us of the sense of space and of the sense of touch, it has blurred every human relation and narrowed down love to a carnal act”(13). Without machine, human has no longer any ability to survive. So the genocide of human is undisputed. Compared to other movies like I, RobotAI, this novel gives us a deeper cautionary that in no way will human beings get advantages if we over depend on machine.