I have a little bit of a pet peeve about how the middle class is depicted in movies. I feel like they tend to be either depicted in a very sentimental way, where everybody has a heart of gold except for the villains you're supposed to hiss at, or there's a sort of indie-style version... When it's done well, it's brilliant, it's 'Blue Velvet.'
The staunchest conservatives advocate a range of changes which differ in specifics, rather than in number or magnitude, from the changes advocated by those considered liberal... change, as such, is simply not a controversial issue. Yet a common practice among the anointed is to declare themselves emphatically, piously, and defiantly in favor of 'change.' Thus those who oppose their particular changes are depicted as being against change in general. It is as if opponents of the equation 2+2=7 were depicted as being against mathematics. Such a tactic might, however, be more politically effective than trying to defend the equation on its own merits.
The future depicted in a good SF story ought to be in fact possible, or at least plausible. That means that the writer should be able to convince the reader (and himself) that the wonders he is describing really can come true... and that gets tricky when you take a good, hard look at the world around you.
Painters and sculptors under the Nazis often depicted the nude, but they were forbidden to show any bodily imperfections. Their nudes look like pictures in physique magazines: pinups which are both sanctimoniously asexual and (in a technical sense) pornographic, for they have the perfection of a fantasy.
Only about one per cent of my paintings show family members. Do they help me deal with problems? It's likely that these problems can only be depicted. But photographs, private ones and others, keep appearing that fascinate me so much that I want to paint them. And sometimes the real meaning these images have for me only becomes apparent later.
One of the best parts of Thanksgiving for me is re-watching some of the classic holiday blunders that have been depicted on television. I remember laughing uncontrollably on the set of 'That Girl' back in 1967 when we shot the episode, 'Thanksgiving Comes But Once A Year, Hopefully' during our second season.
I grew up accepting that my nationality was not depicted on TV or film. To be honest, it was something I didn't acknowledge as a kid. But once I realized my love for acting and the possibility of pursuing a career in it, I quickly noticed the absence of Asians in general and thought, 'Well, I'm gonna try to change that.'
Vincent Rodriguez III
We regard the photograph, the picture on our wall, as the object itself (the man, landscape, and so on) depicted there. This need not have been so. We could easily imagine people who did not have this relation to such pictures. Who, for example, would be repelled by photographs, because a face without color and even perhaps a face in reduced proportions struck them as inhuman.
When I got large enough to go to work, while employed I was reflecting on many things that would present themselves to my imagination; and whenever an opportunity occurred of looking at a book, when the school-children were getting their lessons, I would find many things that the fertility of my own imagination had depicted to me before.
There were details like clothing, hair styles and the fragile objects that hardly ever survive for the archaeologist-musical instruments, bows and arrows, and body ornaments depicted as they were worn... No amounts of stone and bone could yield the kinds of information that the paintings gave so freely
There were details like clothing, hair styles and the fragile objects that hardly ever survive for the archaeologist-musical instruments, bows and arrows, and body ornaments depicted as they were worn... No amounts of stone and bone could yield the kinds of information that the paintings gave so freely.
They take the circuits out of people's brains that make it possible for them to think for themselves. Their world is like the one that George Orwell depicted in his novel. I'm sure you realize that there are plenty of people who are looking for exactly that kind of brain death. It makes life a lot easier. You don't have to think about difficult things, just shut up and do what your superiors tell you to do.
Jeff always says, "In the cinema, everybody goes to sci-fi. Those are the biggest movies. But, in television, nobody wants to touch it with a barge pole." It's strange. I think it's because maybe there's a legacy of television shows that depicted sci-fi in a certain way that turns off a lot of viewers, so maybe there's a negative connotation.
I hope it's water under the bridge, but Richard Carpenter is a complicated individual, and he's also entitled to his own opinion on how his sister is depicted. The film has lived on and survived, and to me is ultimately is an affectionate celebration of Karen Carpenter. I hope that wins out in the end.
He remembered that in the art books he had leafed through at Leader's, many paintings depicted death. A severed head on a platter. A battle, and the ground strewn with bodies. Swords and spears and fire; and nails being pounded into the tender flesh of a man's hands. Painters had preserved such pain through beauty.
The Bible never tells us what Jesus looked like, and in the earliest surviving paintings of him, he is sometimes depicted as short-haired, sometimes as beardless, with no authoritative version winning out over the others. Yet around 400 A.D., all of the other competing images were replaced by the long-haired, bearded Jesus we know today.
My first car was, as depicted in 'Sleepwalk with Me,' my mother's '92 Volvo station wagon that had 80,000 miles on it, and I had put 40,000 miles on it, so by the time it retired it had 120,000, and I basically killed it. It served me well, and my mechanic was always very angry with me because I just didn't properly care for it.
The idea that women are innately gentle is a fantasy, and a historically recent one. Kali, the Hindu goddess of destruction, is depicted as wreathed in male human skulls; the cruel entertainments of the Romans drew audiences as female as they were male; Boudicca led her British troops bloodily into battle.
I cannot believe that violence depicted onscreen actually causes people to act out violently. That's oversimplifying the issue. If somebody commits a violent act after seeing violence in a movie, I think the question that needs to be asked is: would that person still have committed the act if he had not seen a violent film?
The sense of Islam as a threatening Other - with Muslims depicted as fanatical, violent, lustful, irrational - develops during the colonial period in what I called Orientalism. The study of the Other has a lot to do with the control and dominance of Europe and the West generally in the Islamic world. And it has persisted because it's based very, very deeply in religious roots, where Islam is seen as a kind of competitor of Christianity.
Intellectually, perspective [drawing] is a breakthrough, because here, for the first time, the physical space we live in is being depicted as ifit were an abstract, mathematical space. A less obvious innovation due to perspective is that here, for the first time, people are actually drawing pictures of infinities.
Virtually the entire inflow was therefore Asiatic, and all but three or four thousand of that inflow originated from the Indian subcontinent... It is by 'black Power' that the headlines are caught, and under the shape of the negro that the consequences for Britain of immigration and what is miscalled 'race' are popularly depicted. Yet it is more truly when he looks into the eyes of Asia that the Englishman comes face to face with those who will dispute with him the possession of his native land.
Iconography becomes even more revealing when processes or concepts, rather than objects, must be depicted for the constraint of a definite "thing" cedes directly to the imagination. How can we draw "evolution" or "social organization," not to mention the more mundane "digestion" or "self-interest," without portraying more of a mental structure than a physical reality? If we wish to trace the history of ideas, iconography becomes a candid camera trained upon the scholar's mind.
Stephen Jay Gould
The decisive moment, the popular Henri Cartier-Bresson approach to photography in which a scene is stopped and depicted at a certain point of high visual drama, is now possible to achieve at any time. One's photographs, years later, may be retroactively rephotographed by repositioning the photographer or the subject of the photograph, or by adding elements that were never there before but now are made to exist concurrently in a newly elastic sense of space and time.
Be passive. In your passivity, God comes. Be feminine. In your femininity, God comes. Have you not watched it? Buddha looks very feminine, Krishna looks very feminine. Why? - because it is simply a metaphor. They have been depicted as feminine, graceful, to show that that is their inner quality - receptivity. When you are doing something you are being aggressive. When you are not doing anything you are non-aggressive. And God cannot be conquered; you can only allow him to conquer you.
He lay still, his bloodshot eyes staring blankly before him, and drifted into dreams of his problems, compulsively living out dialogues, summing up emotional scenes with his mother, Dot, and his friends. Repeatedly he chided himself to go to sleep, but it did no good, for he was hungry for these waking visions that depicted his dilemmas, yet he knew that such brooding did not help; in fact he was wasting his waning strength, for into these unreal dramas he was putting the whole of his ardent being. The long hours dragged on.
In contrast, the 'Old Europe' channels were showing film from reporters who had embedded themselves at the wrong end of the Baghdad blitz and the Basra bombardment. These films depicted the shattered homes, the killed and grieving civilians and the infrastructure chaos our armed forces are creating daily. Since this footage (none of it bearing the al-Jazeera logo) clearly exists, why does the Western media studiously ignore it or, when confronted by it, claim it to be Iraqi propaganda.
Western movies always seemed to show Indian women washing clothes at the creek and men with a tomahawk or spear in their hands, adorned with lots of feathers. That image has stayed in some people's minds. Many think we're either visionaries, 'noble savages,' squaw drudges or tragic alcoholics. We're very rarely depicted as real people who have greater tenacity in terms of trying to hang on to our culture and values system than most people.
The member of a culture ... purposely avoids the relationship of intimacy; he wants the object somehow depicted and fictionalized. ... He is embarrassed when this is taken out of its context of proper sentiments and presented bare, for he feels that this is a reintrusion of that world which his whole conscious effort has sought to banish. Forms and conventions are the ladder of ascent. And hence the speechlessness of the man of culture when he beholds the barbarian tearing aside some veil which is half adornment, half concealment.
Richard M. Weaver
The incommensurability between the modern economic system and the people who staff it explains why modern workers have so often been depicted as 'cogs' in the larger 'machinery' of industrial civilization; for while the practical rationalization of enterprise does require workers to be consistent, predictable, precise, uniform, and even to a certain extent creative, it does not really require them to be persons, that is, to live examined lives, to grow, to develop character, to search for truth, to know themselves, etc.
Craig M. Gay
In books and movies, all the loose ends are tired, things are resolved, mysteries are solved, they catch the killer, the boy gets the girl, a sick baby is miraculously healed. In reality it doesn't always work that way. The killer gets away, the girl is in love with another boy, things just get buried under new dramas and don't get resolved. Life is far more complicated than the life depicted in a book or a movie.
What do you think? Who are these people who have depicted heaven as a playboy Club - who are these people? Starved, poor, who have missed their life - they are projecting their desires in heaven. In heaven there are rivers of wine... who are these people who are imagining rivers of wine? They must have missed here. And there are wish-fulfilling trees. You sit underneath them, desire, and the moment you desire, immediately it is fulfilled.
You have to question a cinematic culture that preaches artistic expression, and yet would support a decision that is clearly a product of a patriarchy-dominant society, which tries to control how women are depicted on screen. The MPAA is okay supporting scenes that portray women in scenarios of sexual torture and violence for entertainment purposes, but they are trying to force us to look away from a scene that shows a woman in a sexual scenario, which is both complicit and complex. It's misogynistic in nature to try and control a woman's sexual presentation of self.
Some religions actually go so far as to label anyone who belongs to a religious sect other than their own a heretic, even though the overall doctrines and impressions of godliness are nearly the same. For example: The Catholics believe the Protestants are doomed to Hell simply because they do not belong to the Catholic Church. In the same way, many splinter groups of the Christian faith, such as the evangelical or revivalist churches, believe the Catholics worship graven images. (Christ is depicted in the image that is most physiologically akin to the individual worshipping him, and yet the Christians criticize "heathens" for the worship of graven images.) And the Jews have always been given the Devil's name.
Anton Szandor LaVey
In the language of the day it is customary to describe a certain sort of book as 'escapist' literature. As I understand it, the adjective implies, a little condescendingly, that the life therein depicted cannot be identified with the real life which the critic knows so well in W.C.1: and may even have the disastrous effect on the reader of taking him happily for a few hours out of his own real life in N.W.8. Why this should be a matter for regret I do not know; nor why realism in a novel is so much admired when realism in a picture is condemned as mere photography; nor, I might add, why drink and fornication should seem to bring the realist closer to real life than, say, golf and gardening.
We have then, in the first part of The Faerie Queene, four of the seven deadly sins depicted in the more important passages of the four several books; those sins being much more elaborately and powerfully represented than the virtues, which are opposed to them, and which are personified in the titular heroes of the respective books. The alteration which made these personified virtues the centre each of a book was probably part of the reconstruction on the basis of Aristotle Ethics. The nature of the debt to Aristotle suggests that Spenser did not borrow directly from the Greek, but by way of modern translations.
What Waringa tried hard to avoid was looking at the pictures of the walls and windows of the church. Many of the pictures showed Jesus in the arms of the virgin Mary or on the cross. But others depicted the devil, with two cow-like horns and a tail like a monkey's, raising one leg in a dance of evil, while his angels, armed with burning pitchforks, turned over human beings on a bonfire. The Virgin Mary, Jesus and God's angels were white, like European, but the devil and his angels were black.
NgÅ©gÄ© wa Thiong'o
In this world, there is no absolute good, no absolute evil, " the man said. "Good and evil are not fixed, stable entities, but are continually trading places. A good may be transformed into an evil in the next second. And vice versa. Such was the way of the world that Dostoevsky depicted in The Brothers Karamazov. The most important thing is to maintain the balance between the constantly moving good and evil. If you lean too much in either direction, it becomes difficult to maintain actual morals. Indeed, balance itself is the good.
In this world, there is no absolute good, no absolute evil," the man said. "Good and evil are not fixed, stable entities, but are continually trading places. A good may be transformed into an evil in the next second. And vice versa. Such was the way of the world that Dostoevsky depicted in The Brothers Karamazov. The most important thing is to maintain the balance between the constantly moving good and evil. If you lean too much in either direction, it becomes difficult to maintain actual morals. Indeed, balance itself is the good.
I found everything so remote but, at the same time, familiar when I occasionally looked into the mountains, rocks, pine trees and plums depicted in old literati paintings. My innermost feeling which was awakened by the same mountains, rocks, pine trees and plums has been totally and utterly changed. Moreover, like an apparition, it hides deep down in my vessels. The very trees and rocks have become the storage of memories and emotions from various eras. Forced by the rapid change of time and perspective, I cannot help but feel urged to face up to these things once again.