Black Boy :: essays research papers

Black Boy   Ã‚  Ã‚  Ã‚  Ã‚  Black Boy is a story written in first person through the black boy’s eyes. The story opens with the black boy cleaning eyeglasses at the sink during the morning hours before lunch. As the boy washed eyeglasses this day as all other days, Mr. Olin, a white man who ordered the black boy around hovered over him. While striking up conversation with the black boy, Mr. Olin asks a ridiculous question if the black boy is his friend. This question in the story is the first step in developing the plot. The black boy, fearful of the Mr. Olin and the power he has over him, decides to lie to him and tell him that he is his friend. Mr. Olin begins to trick the black boy in thinking that another black boy named Harrison wants to fight him because of words that were taken the wrong way. The black boy gets worried because he does not remember saying anything insulting to Harrison, and he wants to talk to him and make things right. Mr. Olin tells the black boy that he will go and speak to Harrison for him. During the black boys lunch break he goes and talks to Harrison himself about the situation, but soon they realize that they are being set up to fight each other in order to entertainment to the white men. Both black boys keep their mouths shut about speaking to each other and knowing the truth that neither of them wants to fight. Mr. Olin and Harrison’s boss both keep egging them on for weeks to fight each other and finally bribe them with five dollars to box fight. Harrison is interested because he wants a suit and this money will help, but the other black boy knows that this is shameful and does not want to fight no matter what the bribe is. For days Harrison and the black boy dispute whether to box or not, and they finally decided to box but to pretend. The day comes to fight and both stare each other in the face realizing that they do not have enough knowledge about fighting to fake the whole scene. The fight begins and the two boys angr y at themselves, each other, and their authority begin to fight and shed blood. After their fight both boys feel shame and degraded and never fight again although they are egged on many times after.

Day V Caton

Day v. Caton 119 MASS. 513 1876 FACTS: Plaintiff Day built a wall between two adjacent estates in Boston and required defendant Carton to pay for a portion of the wall. On the other hand, defendant Caton claimed that there was no express contract between Plaintiff Day and himself whereas his silence did not insinuate any promise to pay anything for it. In the trial court, the jury found for Plaintiff Day and defendant Caton filed the appeal. ISSUE OR QUESTION:Was the fact sufficient of itself to establish the existence of a contract? Whether the silence of a party seeing services which actually the party got the benefit DECISION: Upheld REASON OR RULE 1) NO. The fact that the plaintiff expected to be paid for the work would certainly not be sufficient of itself to establish the existence of a contract. Because the plaintiff expected to be paid for the brick wall ,though the defendant did not know that the plaintiff was acting with that expectation. ) Yes. Although a promise to pay fo r the wall would not be implied from the fact,which the building of the wall was not in accordance with the request of the defendant,the silence of defendant Caton was treated as evidence of an acceptance of paying for the wall. The defendant had the opportunity to reject the building of the wall , instead, he stood by in silence and saw valuable services rendered upon his real estate by the erection of a structure.A PERSONAL COMMENT In this case, the jury found for Plaintiff Day. I also agree with the decision. However, I want to emphasize that I think this lawsuit can be avoided. If plaintiff Day and defendant Caton can write down an agreement before building the wall, they will have an express contract. Plaintiff Day also can acknowledge defendant Caton that he will require a payment. ZHIBO ZHOU 02/03/2012

Classical Hollywood Cinema Essay - 458 Words

Classical Hollywood Cinema Classical Hollywood cinema is a character-centered cinema. Its characters are more or less stable, knowable, and psychologically coherent individuals who possess clearly defined, specific goals. Although this cinema is also a plot driven or action cinema, characters stand in the center and interact with them. Over the course of the narrative characters struggle to achieve their goals or solve their problems. They overcome those who stand in their way (villains), triumphs over adverse circumstances (such as physical disabilities, nature or some other force) and /or transcend their own limitations (such as individual fears or weaknesses). The narrative ends with the†¦show more content†¦In Vertigo (1958) former detective Scottie Ferguson who suffers from acrophobia, becomes the unwitting victim of an elaborate murder scheme. By the end of the movie he solves the mystery and discovers the deception, even though he loses his true love during the process. This is a good example of the Problem Solving style of the film. In Seven Chances Buster Keaton has to get married by 7pm to inherit $7 million. Keaton literally runs through the rest of the movie looking for someone to marry. In 48 Hours, the detective gives Eddie Murphy 48 hours to catch a couple of cop killers, promising to reward if he succeeds. These are good examples of the style Through Time and space. Another feature of the Hollywood style is its High Artifice, Invisible Art. Most spectators are aware of the fact that films are not real. That is the blood they see in Psycho is actually chocolate sauce, and the ships and attacks in Star Wars is actually using miniature models. Movie going audiences engage in willing suspension of disbelief, because of the pleasure it provides. Another aspect of the classical Hollywood style is mise-en-scene. Films like Citizen Kane and Shadow of Doubt make use of dà ©cor and mise-en-scene. Camera angles and distance is also another aspect. Films like Citizen Kane uses the low angle shots as he stands in his deserted campaign head quarters and talks to his friend. InShow MoreRelatedClassical Hollywood Cinema1786 Words   |  8 Pages1927 marked the new age of synchronised sound in cinema. The feature film was a huge success at the box office and it ushered in the era David Bordwell describes as ‘Classical Hollywood Cinema’; Bordwell and two other film theorists (Janet Staiger and Kristin Thompson) conducted a formalist analysis of 100 randomly selected Hollywood films from the years 1917 to 1960 in order to fully define this movement. Their results yielded that most Hollywood made films during that era were centred on, or followedRead MoreClassical and Post-Classical Hollywood Cinema2550 Words   |  11 PagesFilm Studies Assignment 1 Classical and Post-Classical Hollywood Cinema Table of contents INTRODUCTION--------------------------------------------- 3 CLASSICAL HOLLYWOOD------------------------------- 4 Classical Gender Representation-------------------------------------- 4 Classical Style, form and content-------------------------------------- 5 GENRE TRANSFORMATION AND POST-CLASSICAL HOLLYWOOD------------------------------- 5 REFERENCES 8 BIBLIOGRAPHY 9 FILMOGRAPHY 10 INTRODUCTION DuringRead MoreEssay Classical and Post-Classical Hollywood Cinema2462 Words   |  10 PagesClassical and Post-Classical Hollywood Cinema INTRODUCTION During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. 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When viewing the critically acclaimed Three Colors: Red, a french movie that is apart of a larger anthology, I noticed that the film did not strictly fo llow the structure ofRead MoreIn Classical Hollywood Cinema, Most Films Are Voyeuristic1686 Words   |  7 PagesIn classical Hollywood cinema, most films are voyeuristic in nature. This paper examines two films that explain the main characters’ relationships but in styles that contrast classical cinema. The two films analyzed have some similarities but primarily are different than what most American audiences are accustomed to seeing. Annie Hall is a romantic comedy from the United States that explores sexual relationships. The movie is focused on the relationship between two main characters -Alvy Singer playedRead MoreWomen’s Roles in Classical Hollywood Cinema2574 Words   |  11 Pages Women’s roles in movies have changed dramatically throughout the years. As a result of the changing societal norms, women have experienced more transition in their roles than any other class. During the period of classical Hollywood cinema, both society and the film industry preached that women should be dependent on men and remain in home in order to guarantee stability in the community and the family. Women did not have predominated roles in movies such as being the heroin. The 1940’s film GildaRead MoreAnalysis Of The Film Theeb 1285 Words   |  6 PagesThe film Theeb, like other classical Hollywood narrative films, is governed by its appearance of being real and believable. The attempt to convey realism is through its narration. Narration is shaping our experience through film style (Bordwell 1986, p. 26). Classical narrative is made up of perfect balance and symmetry of style that aims to convey a message to the audience. It integrates all elements of the film t o reassure and satisfy the spectators. The film follows a set of norms and standardsRead MoreClassical Hollywood Style818 Words   |  4 PagesClassical Hollywood narrative Classical Hollywood cinema possesses a style which is largely invisible and difficult for the average spectator to see. The narrative is delivered so effortlessly and efficiently to the audience that it appears to have no source. It comes magically off the screen. John Belton, film scholar, Rutgers University Classical Hollywood narrative refers to the filmmaking tradition established in Hollywood during the 1920s and 1930s. It became the dominant style throughoutRead MoreMovie Analysis : The Heart Of Hollywood Cinema By Thomas Elsaesser And Warren Buckland Essay2207 Words   |  9 PagesStorytelling has always been at the heart of Hollywood cinema. Revisiting the theories of Propp we can see the difference between a films story and its discourse, a story is what is being told where as the narrative is how it is told - â€Å"[a story is] An account of a string of events occurring in space and time†¦ a narrative presents an order of events connected by the logic of cause and effect† (Pramaggiore Wallis, 2008) Thus, it is through a films narrative that Hollywood tells its audience the story. In ThomasRead MoreAnalysis of Classic Hollywood Cinema: Stagecoach 792 Words   |  4 PagesThe characteristics, features and conventions of Stagecoach (John Ford, 1939) allow this film to fit directly under the title of Classical Hollywood cinema. The film uses a few main characters that the audience members get to know well and create their own feelings for. In Stagecoach, there are nine main characters that the audience gets to know well, Dallas, Ringo Kid, Buck, Hatfield, Doc Boone, Lucy Mallory, Curley, Gatewood and the lieutenant. These characters are consistent throughout the story