2 resultados para Orvis Brothers
em Dalarna University College Electronic Archive
Resumo:
The history of rhetorics in documentary film is a long one. The French brothers Louise and Auguste Lumire were among the first persons who produced a documentary and their work has had a big impression in the history of documentary during the 1900 century. John Grierson has been called the father of documentary film. He produced films in the English speaking part of the world and he is the founder of the concept documentary film. Propaganda filming has a big part in the history of documentary film. Most frequently it appeard in Germany before and during the secound WW II, but propaganda films has been produced in Great Britain and USA as well as in other parts of the world. Rhetorics are of current interest today. It effects the news, papers, magazines, books and movies. The purpose with this essay is to investigate the rhetorics in Michael Moores controversial documentary of September 11th, Fahrenheit 9/11. The main question is: what rhetorical tools does Michael Moore use in order to communicate his politcal message in Fahrenheit 9/11? The rhetorical analysis includes exordium, narratio, propsitio, argumentatio and conclusio as well as ethos, logos and pathos. In order to conduct the analysis I have used Kurt Johannessons book Retorik eller konsten att vertyga, Maria Karlberg and Brigitte Mrals book Heder och pverkan. Att analysera modern retorik. And at last a chapter by Brigitte Mral named Retorikanalys in the book Metoder i kommunikationeverenskap, by Mats Ekstrm and Larske Larsson. For the background about the history of documentary film I have used Barsam M. Richard, Nonfiction Film A Critical History and Bjrn Srenssens book fange virkeligheten Dokumentarfilmens rhundre.The analysis shows that Moore uses different rhetorical tools in order to point out that George W Bush is the wrong man for the role as the president of United States of America. Some of the most effective tools that Moores uses are his own voice, pictures who awakes emotions, recordings and sharp arguments. His way of using ethos, logos and pathos is very clear. The disposal can also be distinct discern, however there are some exceptions towards the classical rhetoric. One example is that Moore doesnt describe the arrangement of the movie in exordium.
Resumo:
Theaim in this chapteristo develop a deeper understanding about the informalBjrling 'School' in Sweden. Contextually the example is related to the micro history of opera education contributing to the macro perspective illuminating a provincial example of the concept of domestic opera schooling.The specific focuswas onKarl David Bjrling (1873-1926), the teaching parent of the Swedish tenorJussi Bjrling (1911-1960) and his brothers Gsta and Olle. The Bjrlingfamily model of opera schoolingbelongs tothe classical canon of domestic home education whichwas common during theepoch. The phenomenon is also within the field of opera singing an important reference to the historical context of the Nordic opera history of vocal education. The uniqueness concerning the Bjrling School seems to be the rigorous andexceptionally early training. David Bjrlings pedagogywas rooted inearlier Germantheories of musical upbringing.It's clear from hisresults thathe was familiar with the neo-humanistic ideal onwhich reformed music education was based. Of aspecific interest is the term Gesang als Unterricht as a concept for developing childrens musical and memorising capacities. Conceptually the roots of theBjrlingmodel are in the eighteenth-century Romantic view of prodigies and their abilities. Theextensive touring is connected to the promotion of wonder-children, and David Bjrlingseducational style to the conservative Master-pupil tradition. David Bjrling's vocal ideal was a part of the contemporary debate about The decadence of the singing art,and seemsto have itsroots in an older Italian tradition. There arerecurring similarities betweenhis educational methods and the didactic principles of the Lamperti School: Enjoying a revival around the late 1800sand early 1900s, it has been called the natural or the national school. Nevertheless, through authentic experiences and gramophone recordings the Italian tenor Enrico Caruso became David Bjrlings pedagogical role model.
