European Television Channel with an American Television Essay

European Television Channel with an American Television - Essay Example are dissimilarities in how European and American advertisers see the function of the conduit, and if these outlooks are affiliated with the tactical passages to the befitting trials from the programs of the two countries. It is anticipated that the outlooks of European television will take into account outlooks conveyed by (Rantanen 2005) and other ones and display more bias for passages than their American counterparts. Study of the genuine programs should reveal more passages in an experiment of British programs. Analysis of CBF programs should display more passages by the British in four units, but for nations, more hardworking engagement / considering goods for the use of passages less often, while the reduced grade of participation / Products sentiment is anticipated to use most often. Source American European Report Programs TV: A Comparison The study of TV programs EU and the U.S. review was evolved by older advocating bureau in both nations, and then manages a content investi gation of TV programs. The reconsider displayed television more open mind-set in the direction of the conduit, and a very broad dream of the promise use of pathway between British institutions. The content investigation displayed an important boost in the conduit in America since the last study of significant connections, but less than the conduit experiment of European programs. Review of facts and numbers causes, investigation utilising Foote, Cone and Belding (FCB) has recognised several passages designing position in both nations, with the conduit most often utilised with the reduced participation of goods of Sense and least-often utilised with a high engagement / feeling and considering products. For the most part, the attitudes of heads of bureaus and contemplate the leverage of the... This paper approves that the outcomes of this study propose that advertisers in the U.S. and Europe as an entire sustain passages programs, but the British form is especially partial to its use. US-European dissimilarities are disclosed in the content investigation was verified through the programs of the television in both countries. The study displayed the main heading of British-style, a more affirmative variety of difficulties of this conduit can be accomplished and the stage of newspapers conduit that can be competently utilised, and the markets answer too many of channels. The most affirmative issue of outlook, the UK, this conduit can be utilised to help recall, comprehending and conviction is sustained by, and may be origin for U.S. advertisers to believe more broad channels. This report makes a conclusion that the study of passages in the U.S. and European TV programs review evolved structures advocating bureau in these two nations and then by carrying out a content investigation of TV programs. The outlooks of television of the bureau reflects the frequency and passages in their respective countries. This study examines one facet of British art programs and American - passages, as an authority style. Some observers contend that the British and American heritage, founded on some assumptions, which should be echoed in their programs. According to the scenario Lannon, British advertisers use gentler procedures of sale, which encompasses more passages than the hard deal, the form founded on clues, which it is superior in American programs.

Spanish Imperial Power at the end of World War I Essay

Spanish Imperial Power at the end of World War I - Essay Example By twentieth century Spain was in the full swing of economic modernisation. A national network of railroads linked Spain's cities and provincial capitals, and Spain was connected with the rest of the Europe. Because for its main lines Spain used a wider gauge track than France did, at places like Irun and Port Bou on the frontier, passengers and goods had to change their trains. Within Spain, the railroads overcame geographic barriers that had forever frustrated the development of a national economy. Steamships increased maritime commerce, both along Spain's coasts and with foreign ports. Spain exported citrus fruit, wine, olive oil, and the products of its mines, including coal and iron ore from the north and copper from the Rio Tinto. As manufacturing grew, stimulated by the spread of rails, iron ore soon headed for Spanish mills. (Pierson, 1999, p. 118) The outbreak of the First World War where on one hand resulted in the economic and social barriers like food shortages, economic dislocation and social distress, on the other hand Spain which at time considered to be the vanguard among its allies like Britain and France, experienced as much of the effects of the conflict as the other European states. Her official impartiality could hardly hide the intensity of the debate between the supporters of the Central Powers and those of the Allies, nor could it check the increasing militancy and ideological awareness produced by the impact of the war on the daily lives of the Spaniards. Having rested so far on the political apathy of most Spaniards, the Restoration system entered a period of crisis; a crisis of domination produced by the inability of the governing elites to face successfully the arrival of mass politics and its subsequent challenge to clientelism and patronage as a source of power. (Salvado, 1999, p. 5) Pierson writes, "In August 1914 most of Europe went to war. Spain did not. Held in low esteem as a military and naval power, Spain was part of no alliance system, nor was there any sentiment in Spain that it should be. What international difficulties it had with France over the establishment of a French protectorate over most of Morocco had been settled in 1913 through diplomacy". (Pierson, 1999, p. 124) Spanish Dual Attitude One of the main causes for Spain's hypocrite or neutral attitude was the weakening of her political and social recognition along with no growth in the context of economic reforms. Military was also unorganised and depicted a poor economic reserve for instability. Under such conditions Spain had no choice other than to adopt a neutral behavior towards its allies and rivals. Furthermore, the dispute in Europe was not regarded as affecting Spanish interests, while there was always the hope that by maintaining an impartial position Spain could play the leading role in organising a peace summit and therefore gain in the diplomatic field what could never be achieved on the battlefield. (Salvado, 1999, p. 6) Aftermath Economy The repercussions of the First World War on Spain were dramatic in a sense that able

Peter Brooks The Shifting Point English Literature Essay

Peter Brooks The Shifting Point English Literature Essay Many famous and talented people, the representatives of different professions, among which are writers and singers, politicians and historians, actors and scientists, attract everybodys attention by their biographies. Of course, it is very interesting to know more about a man who has already had a great success in life and who can easily share his experience with others. Peter Brook is one of such people, who are worthy of respect and whose wise thoughts should be analyzed and discussed. I think that his book The Shifting Point is worth to be reading and analyzing because it is not just an autobiography of a talented man, a theater director and a well-known playwright and a wonderful screenwriter but also this book can be considered a so-called guide to the wonderful world of theater. My goal in this essay is to discuss Peter Brooks book The Shifting Point and to prove the fact that this literary work deserves attention of all the people who are not indifferent to theater as a form o f art. That is why I decided to organize my paper into several sections which will help to develop the theme. It is known that Peter Brook was born in London. His father, a Russian scientist, who came to Great Britain searching for the better life, was not a well-to-do man, nevertheless, Peter Brook got a good education. He studied at Westminster College, later at Oxford University where he was noticed as an active member of the amateur theater. His first amateur work on Jean Cocteaus play La Machine Infernale attracted attention of the famous playwright Barry Jackson who offered twenty-years-old Brook to put a rather difficult play Man and Superman written by Bernard Show on the stage of Birmingham repertory theater. According to Peter Brooks words, he always hung upon his feelings and the sixth sense in his work. It always helped him to be the first on the stage and in life. Brook was 21 when he was invited to Shakespeare Memorial Theater to produce Shakespearian plays. This unforgettable cycle of plays made him famous. Romeo and Juliet (1947) was a real sensation. It even set off a lively argument among the English theater critics. For the first time in his work Brook used the idea of empty space getting rid of many decorations. As a matter of fact, he was known for brave innovations on the stage and new styles of his productions. May be, his book The Shifting Point which was written in 1988, after about forty years of experience as a theater playwright, an opera playwright and a film producer has the main goal to represent Peter Brooks ideas and thoughts concerning William Shakespeares plays. There were a great deal of other plays, operas and films where Peter Brook showed his talent of a playwright and screenwriter. Among them are the following plays: King Lear (1962) Measure for Measure (1950) The Winters Tale (1952) Titus Andronicus (1958) Marat/Sade (1964) A Midsummer Nights Dream (1970) The full title of this book is The Shifting Point: Theater. Film. Opera. 1946-1987. It is quite obvious why Peter Brook decided to give his book such a long title. He wanted to show that he had the greatest experience in the sphere of the drama and film production. Forty years is quite a long period to become an expert whose innovations were highly appreciated. The book consists of numerous witty essays which include not only some commentaries concerning both the classic theater and the avant-garde theater but also different anecdotes which are connected with opera and film work. Besides, the book The Shifting Point touches upon the theme of Shakespeares plays. The author gives series of thorough explorations of Shakespeares plays. Peter Brook is well-known as the leading director of his generation who uses his own theater techniques and innovations. Some critics even call him a genius of our times. That is true. Everybody will agree with this statement after reading his book The Shi fting Point. Now Id like to turn to the contents of the book. There are nine chapters (or parts) in the book The Shifting Point: A Sense of Direction People on the Way a Flashback Provocations What is a Shakespeare? The World as a Can Opener Filling the Empty Space The Forty Years War Flickers of Life Entering Another World Part I The First Part A Sense of Direction. There are six essays in this part. The Formless Hunch is a rather interesting essay where Brook tells us about the way he usually organizes his work on play, the process of preparation his play for the stage: costumes, color, his rehearsal work. The Stereoscopic Vision is another essay from the first part. Here the author continues his discussion concerning the role of director in the theater. For him being a director is taking charge, making decisions, as well as saying the last word. There is Only One Stage is the title of the next essay. Here Brook tells about the great misunderstanding which takes place in the present-day theater. Brook compares the work of director with a potter who molds his pot and then sends it into the world. It is a misunderstanding. Brook states that the process consists of two phases: First: preparation. Second: birth. Misunderstandings is another essay which continues the theme of work in the theater. Here Brook tells how he came to a famous producer and said to him: I want to direct films. Brook was 20 at that time and had already directed an amateur film A Sentimental Journey. Of course, he was too young to direct films. Brook prepared his script as for a film. The first scene in this play was a dialogue between two soldiers. Brook did not know how a professional rehearsal starts. I Try to Answer a Letter is a small letter written by Brook to Mr.Howe, telling about how to become a director. He said that all the directors in the theater are self-appointed and one can become a director by calling himself a director and bringing other people to believe in it. He advices to be active and not to waste time in achieving the goal. A World in Relief, the last essay in the first part of the book, continues Brooks discussion about directing. Here he again repeats all the duties of a director in the theater. He speaks about a special directors language where an actor is only a noun, but an important one. He pays attention to the phenomenon akin to holography in the theater. Brook speaks about the golden rule which says that any actor must remember that the play is greater that himself. Part II The second part is People on the Way A Flashback. It contains nine essays. The first one is Gordon Graig. This essay tells how Brook met Gordon Graig, a person whose life is closely connected with the theater. He is an actor but many years ago he gave up this profession and began to direct a tiny number of productions. Before the First World War, he staged his last production. Now he is 84. He lives in pension de famille in the South of France. His life story is an interesting one. The Beck Connection is one more Brooks essay which tells about Julian Beck and Judith Malinas production of Jack Gelbers play The Connection. Here Brook touches upon the theme of different forms of theater, the meaning of the the term lying in relation to the theater and cinema. Happy Sam Beckett, the next essay of the second chapter. Here the author writes about the new Beckett play Happy Days which impressed him greatly by its objectivity. Bouncing, another essay represents Brooks point of view concerning the routine work in the theater. He says that it is useless to make plans. He compares all the theater staff with ping-pong balls bouncing off the net of events. In this essay Brook touches upon his play The Balcony which was postponed due to some circumstances, he recalls Marilyn Monroe who came to the rehearsal of his play View from the Bridge without Brooks permission and criticized his actress Mary Ure. Grotowski is the title of the other Brooks essay included into the second part of The Shifting Point. In this essay Brook shows his relation to Grotowski who is known for his investigation the nature of acting, its phenomenon, its meaning, the nature and science of the processes including mental, physical, emotional points. Artaud and the Great Puzzle. In this essay Brook continues his story about Grotowskis skills and experimental works in theater. Brook and Grotowski had a lot of common ideas but their paths were different. How Many Trees Make a Forest? This essay with such an unusual title tells about Brooks first meeting with Brecht. He compares Brecht, Graig and Stanislavski and decides how many decorations must be put on the stage to make a forest. It Happened in Poland. In this essay Brook tells about his friend Jan Kott whom he met in a nightclub of Warsaw. He was a Professor of Drama and was known for his writings about Shakespeare. Peter Weisss Kick. In this essay Brook discusses the problems of theater, finds the answer to the question concerning the difference between a poor play and a good play and gets acquainted with Peter Weiss works. Part III In the third part of the book which has the title Provocations. Cruelty, Madness and War, you can find five essays by Peter Brook. The first one, Manifesto for the Sixties, is represented by a number of quotes which are worth thinking of. For example, Culture has never done anyone any good whatsoever. No work of art has yet made a better man. The Theater of Cruelty. This essay tells about Brooks work with a group of actors who presented some theater experiments in public. He states that national theater, musical comedy and experimental theater are the main parts of the healthy theater. U.S. Means You. U.S. Means US. In this essay Brook gives explanations concerning the fact that The Royal Shakespeare Theater used public money to stage a play about Americans at War in Vietnam. A great deal of contradictory reactions appeared in connection with this. Twenty five actors together with the team of authors investigated the situation in Vietnam. Brook and his partners were against the idea to use the theater as a television documentary, as lecture hall, as vehicle for propaganda. The Theater Cant Be Pure is another essay which explains the difference between words true, real, natural in relation to the theater. Here Brooks compares theater with the stomach where food metamorphoses into two equalities: excrement and dreams. A Lost Art. In this essay Brook argues on the issue of acting. He took Senecas play Oedipus where there is no external action and he calls this theater liberated from scenery, free from costume, stage moves and gestures. In this essay Brook represents his ideas concerning the actors nature and the psychological aspect in acting. Part IV Shakespeare isnt a bore. Shakespeare has an incredible dramatic quality of the plays. Romeo and Juliet is described as a love story, which is sentimental, also includes violence, intrigues and excitement. An open letter to Shakespeare, or, as I dont like ità ¢Ã¢â€š ¬Ã‚ ¦ Most of the plays of Shakespeare are miraculous, except As you like it. But despite that, the public loves them all. What is a Shakespeare? Not much is understood about Shakespeare, as he is different in kind. The two ages of Gielgudà ¢Ã¢â€š ¬Ã‚ ¦ John Gielguds reputation inspired love and awe, and each actor was thrilled to be there. The author says that John I unique and that he is always in the present. He is also traditional, for his passionate sense of quality comes from his understanding of the past. Shakespearean realism. For centuries our practical understanding of Shakespeare has been blocked by the false notion that Shakespeare was a writer of far-fetched plots which he decorated with genius. Lear- Can it be staged? The author doubts that there is any designer that has patience to work with him. Exploding stars. Within the galaxy of plays there are plays that move closer to us at certain moments in the history and some that move away. Points of radianceà ¢Ã¢â€š ¬Ã‚ ¦ When I started work on Shakespeare, I did believe to a limited extent in the possibility of a classical word music, that each verse had a sound that was correct, with only moderate variations. Shakespeare is a piece of coal. The author is interested in the present. History is a way of looking at things, but not one that interests me very much. Shakespeare does not belong to the past. The play is the message. Considering the theme of a Midsummer Nights Dream, at the center of a Dream there is the love. This theme touches all men. Part V The international centre. People do research. The purpose is to be instruments that transmit truths which otherwise would remain out of sight. Structures of sound. The theme of the first years work of the International Centre of Theatre Research was to be a study of structures of sounds. The theatre tries to reflect the real world. Life in a more concentrated form. The effect is rather intense if the group of actors includes people with different backgrounds. With an international company, a deep understanding can be touched between people who seem to have nothing in common. Brooks Africa. An Interview by Michael Gibson. As a result, nothing had a better effect on the actors than the stillness of the African audiences. It is very natural to most Africans not to manifest. Te world as a can opener. Everyone can respond to the music and dances of many races other than his own. For the actors the power of myths can be as a challenge. Understanding through identification is normal in the theatre. An aborigine, I presume. A lot of gesticulating and interpreters help in telling the stories. The story describes people who live in their countries and do not fully know them. Part VI Space as a tool. Author thinks that the theatre is based on a particular human characteristic, which is the need at times to be in a new and intimate relationship with ones fellow men. Les bouffes du nord. The author describes that his stroke of luck was having Micheline as a partner it was her brilliance and originality of vision that enabled us year after year to cross the tightrope of survival. The conference of the birds. The illusions have less body, because they havent got the ferocious attachment to the very forces that make the illusions in life so impossible to break. Butter and the knife describes the specifics of the theatre, the possibility to have butter and knife by other means, the Ubu Roi, the plays The Bone and The Conference of the Birds. The Cherry Orchard describes the work of Chekhov, and the author says that in Chekhovs work death is omnipresent, as he knew it well. The Mahabharata describes the difficulties in the traditional theatre from the East, which is admired even without understanding. Dharma is something that can not be answered and the only thing that can be said about it is that it is the essential motor. The Goddess and the Jeep. There is a decline and fall of religious theatre described in The Goddess and the Jeep. Part VII The art of noise describes the Opera and people making noise when they came out of their caves. Eugene Onegin. Here is described the theatrical weakness of the work the last scene. The work also demands realistic style of staging. Carmen describes the interview with Philippe Albera after the opening of La Tragedie de Carmen at the Bouffes du Nord in November 1981. The taste of style is about the facts and symbols of our time. As well, the style is described, along with the peculiarities of the theatre. Part VIII Filming a play describes cases and peculiarities of filming the plays. As well, the principles of television and filmic equivalents are described. The reality of the image gives to film its power and its limitation. Lord of the flies described the Goldings book, which is a history of man. My experience showed me that the only falsification in Goldings fable is the length of time the descent to savagery takes. Moderato Cantabile describes the story written by Marguerite Duras and about the idea of making it into a film. Filming King Lear. There were efforts to evolve an impressionistic movie technique, cutting language and incident to the bone, so that the total effect of all the things heard and seen could capture in different terms Shakespeares rough, uneven, jagged and disconcerting vision. Tell me lies is a feature film based on the Royal Shakespeare Company production of US. Meetings with remarkable men is not totally truthful story, sometimes accurate, sometimes not, sometimes in and sometimes out of life, like a legend. Part IX The mask- coming out of our shell- is a story about masks. What is the mask doing: the thing you are most afraid of losing, you lose right away your ordinary defenses, your ordinary expressions, your ordinary face that you hide behind. People are imprisoned and there is a capacity to open eyes wider and raise the eyebrows higher than people done ever before. The essential radiance it describes the theatres that exist at the precise moment when these two worlds that of the actors and that of the audience meet: a society in miniature, a microcosm brought together every evening within a space. The culture of links is all about the cultural peculiarities. Fragmentation of the world deals with the discovery of relationships, and there are certain aspects that are imprisoned in the culture. Conclusion In conclusion of my essay I should say that Peter Brooks book The Shifting Point can be the guide to the world of art because the author gives too many ideas and explanations concerning theater, opera, film production as well as his own understanding of the outer world. We learn about his feelings, emotions, achievements, and failures. All critics have a considerable respect for Peter Brook. Now he is 85 but he is full of energy. He continues his writing and his new books impress his readers.

Of Mice And Men :: John Steinbeck

"Ain’t No Good to Himself nor Anybody Else" â€Å"You seen what they did to my dog tonight? They says he wasn’t no good to himself nor anybody else. I wish somebody’d shoot me when I ain’t no good no more.†(60) Candy spoke these words implying that death is better than being no good to himself or anybody else. The same is true for Lennie. Lennie wasn’t good for himself because he couldn’t survive on his own. He can’t stay out of trouble and without George he would have been dead a long time ago. He’s no good to others because he doesn’t now his own strength and can’t control himself. He had murdered a woman because of his curiosity and his self-uncontrollability. â€Å"I ought to of shot that dog myself, George I shouldn’t ought let no stranger shoot my dog.†(61) As Candy said he had the choice of saving his dog from himself and others. So did George but unlike the regretful Candy, George made the right decision in saving Lennie from himself and others. Candy’s dog was no good to itself and was going to be shot by strangers. It would have been better for Candy to shoot him himself. It would have been better for Candy’s dog to be saved from himself by a friend than by a stranger. George was in the right by ending Lennie’s life himself. There was no stopping the inevitable. The workers would have gotten the dog killed any way they could. The same is true for George. Curly and the workers no matter what would have killed Lennie. George could not stop them from killing Lennie. He could only save Lennie from the fear and loneliness he would feel if a stranger killed him. Who knows what they might have done to Lennie if George wouldn’t have saved him from them? They might have shot him in a place where he would have died slowly or they might have hung him or a combination of both and he would have died alone and afraid. In discussing the guilt of George you have to consider the time setting of this novel. It was set in the 1930’s. The reason you must consider the time setting is because things change with time. What may have been allowed then may not have been allowed now. What happened then may not have happened now.

Minimum Wage Essay

In this year’s State of the Union Address to Congress, President Obama recommended raising the minimum wage to benefit workers who cannot support themselves and their families with their current salaries. The articles, Why We Need to Raise the Minimum Wage and Why We Shouldn’t Raise the Minimum Wage tell us that there were some controversies in raising the minimum wage. As an economics major, I believe it is a bad idea to raise the minimum wage because it creates more unemployment, and it will reduce entry-level jobs. Since increasing minimum wage is not the solution to the poor people, the government should rather increase the earned income tax credit than minimum wage. In the article Why We Need to Raise the Minimum Wage by Andy Stern and Carl Camden, the authors support raising of minimum wage. They argue that raising the minimum wage could reward hardworking Americans by providing basic needs such as basic medical insurance and living in secure housing. Since the low wages are not enough to get those basic needs, workers are getting paid in cash because they can avoid tax responsibilities. The authors allege that raising the minimum wage will restore dignity and value to low-wage work. Conversely, in the article Why We Shouldn’t Raise the Minimum Wage, author Kevin A. Hassett and Michael R. Strain argue that raising the minimum wage does not recover from poverty, and it is a dishonest approach to hide the true cost of the government policy. According to the authors only 11.3 percent of workers from the poor would benefit from raising the minimum wage. Many people who live in poverty do not work, and workers who earn the minimum wage are normally not the primary breadwinners in their households. Hasset and Strain assert that increasing the minimum wage is an insincere approach of the politicians because minimum wage law could provide an opportunity to score political points easily. Even though, expanding the earned income tax credit is much more efficient, the government do not want it because they do not want to use money directly out from treasury. In the economical perspective, raising the minimum wage is a bad idea because it creates more unemployment and reduces entry-level jobs. From the point of view of basic supply and demand, employers and workers adjust the quantity of supplied labor according to wages until the quantity of labor demanded equals to the quantity of labor supplied, reaching an equilibrium wage. However, the minimum wage policy ignores the market price by setting a price floor higher than the equilibrium wage. According to the law of demand, few employers will be willing to hire workers if the minimum wage is increased, and it will create unemployment. Moreover, if minimum wage increases there will be fewer entry-level jobs than before because firms will no longer hire unskilled workers at higher cost. Entry-level jobs are good for younger and unskilled workers. Eliminating these jobs makes it difficult for the low skilled and younger workers to find suitable employment. As mentioned in Hasset and Strain’s article raising the minimum wage is not the solution to poverty because workers who earn the minimum wage are generally secondary earners like an elderly parent earning some retirement income, a spouse with a part time job, or they are young people living with their parents. According to the Center on Budget and Policy Priorities, in 2009, expansion of EITC lifted 3.1 million people out of poverty. In conclusion, earned income tax credit will be a more efficient tool than minimum wage policy.

Film as Mirror in Hitchcock’s Vertigo Essay

Alfred Hitchcock’s Vertigo is a master’s class in subtle and effective filmmaking – its noirish tale of obsession and loss is considered one of his best works. This is due in no small part to the directors’ use of the various elements of film as a mirror. Hitchcock intends to create a sense of repetition and a cyclical nature to the life of the characters in the film; following Scottie (James Stewart) through his descent and ascent into madness deals significantly with themes of duality and obsession. Furthermore, the use of film as a mirror onto ourselves is made very clear in the audience’s relation to Scottie throughout Vertigo. In this paper, three instances of the film as mirror will be detailed in Vertigo, as well as how they inform the concept of film as mirror through their existence and varying properties. Metz describes film as a mirror in that â€Å"the cinema involves us in the imaginary: it drums up all perception, but to switch it immediately over into its own absence, which is nonetheless the only signifier present† (p. 250). The audience, like a child, sees themselves as an other; by identifying itself with its ‘other’ other, it can separate itself from that subject and look at the mirror objectively. In the case of Vertigo, the ‘other’ is Scottie, and look at his visage on the screen as a mirror unto itself. Thus, we can project our own feelings and insecurities onto Scottie, which helps us relate to his desperation and madness. The first scene in Vertigo that demonstrates film’s ability to hold a mirror to the individual watching it, and elicit the emotions of the character in the audience, is the first scene of the film itself. The very first shot of the film is a pair of hands desperately grasping a ladder rung in extreme close up. This connects the audience from the beginning with the desperation and fear that comes from hanging from a great height. This pulls back to reveal a shot of a cityscape, focused on the top rungs of a ladder leading to the roof of a building, as we follow the resolute climb and pursuit of a criminal by Scottie and his partner. This shot establishes the faces of the characters and establishes the stakes; the criminal is panicked, and Scottie and his partner are determined and aggressive. The next shot in this scene s a wide shot of the rooftop where the chase is occurring; the blurry, obscured background indicates great distance, and the dull blue lighting indicates dusk. Combine that with the heights at which this chase is happening, and the scene carries the same unease that is placed in the audience during this scene. The real moment of ‘film as mirror’ occurs when Scottie misses a jump and grips onto a storm drain for dear life. The point of view shot used to demonstrate Scottie’s acrophobia is the key to creating the effect of the mirror in the scene, and is one of the most famous recurring shots in the film. As a point of view shot, Scottie’s eyes become our eyes, and what he sees is reflected back at us. In this case, it is the dangerous and intimidating view of the hard, concrete ground dozens of feet below him. In order to punctuate the terror of this moment, and the fear that Scottie (and the audience) feels, Hitchcock accompanies this static shot with a simultaneous zoom in and track out. This is a camera trick used to disorient the viewer and create unease; with the threat of death from falling fully established, the film becomes our mirror to our own fear of heights. While it is exaggerated in Scottie, the film touches on our own sense of fear at this moment. The second scene in Vertigo that elicits the film as mirror conceit the most is the first scene at Ernie’s Restaurant, the one which kicks off the plot thread of Scottie following Madeleine. At first, the camera moves towards a door consisting of bright red glass; the door is a barrier, containing something forbidden. Despite this, the camera (like us) is dying to know what is inside, as Scottie wants to find and pursue Madeleine. We next fade directly to a shot of Scottie, who is clearly scanning the restaurant for her. His eyes search, and so the camera follows his search, panning around the restaurant. This movement is slow and elegant, allowing us a full view of everyone. Soon, like Scottie’s eyes presumably do, the camera fixates on a woman dressed in green, slowly moving toward her. Cutting back to Scottie, we see his eye is fixed on her as well. All of this work Hitchcock places in the scene serves to show us our own sense of voyeurism, as reflected by Scottie’s own snooping and obsession over Madeleine. Through our connection to Scottie, the camera becomes an extension of him; his search becomes our search, and we see our own search for the woman at the heart of this investigation reflected in Scottie. The smoothness of the camera movement indicates the confidence that Scottie feels in his professionalism; this mirror reflects Scottie’s subconscious desire to demonstrate his certainty and calm in the face of pressure, which matches our own. The third scene in Vertigo to elicit the film as mirror conceit is the scene that depicts Scottie’s guilt-induced nightmare after Madeleine’s apparent suicide. After an establishing shot of the city, which reminds the audience of the opening scene of the film, we settle on a close-up shot of Scottie’s face. Tossing and turning in bed, the shot is long and unflinching, remaining on his face for a long time. This gives the audience time to get accustomed to the series of flashing colors that wash over him, and to put ourselves in his place. This brings us deeper into identifying with Scottie’s guilt and curiosity-induced fever dream, which continues the varying flashes of multicolored light, as well as images of animated falling papers and leaves. After nebulous, confused walking toward a freshly dug grave, the audience is treated to a bizarre sequence where Scottie’s disembodied head falls down a tunnel, wind blowing in his hair while the colors continue to flash. Cutting in and out, Scottie’s head falls closer and closer to the audience, closing the gap between audience and character with the screen as the meeting point. By holding this deep connection with Scottie’s face the whole time, his confusion reflects ours; the surreal nature of the whole scene is just as perplexing to Scottie as it is to us. With this in mind, Scottie joins us in wondering about what is going to happen next in the events of the film, becoming the audience incarnate, reflected on the screen. Film as a mirror is showcased deeply through the character of Scottie; just as he watches Madeleine, we are watching him. Just as Scottie believes that Judy looks like Madeleine, we believe they look the same as well. Furthermore, Scottie wants Judy to become Madeleine, the woman he loved; this desire is mirrored in us. The use of mise-en-scene and a strong performance by James Stewart helps us put ourselves in Scottie’s place, and allows us to experience his paranoia, guilt, and fear of heights, among other things. Hitchcock uses all the tools in his film cabinet to help the audience identify and relate to the characters and the events within it, and allows us to identify with Scottie on a psychological level. Hitchcock’s use of surreal imagery and presentational camera tricks bring us into Scottie’s mind and see our own guilt, fear and confusion reflected within. Hitchcock’s Vertigo uses elements of mise-en-scene, cinematography, editing and acting, amongst other film techniques, to reflect the protagonist’s personality and inherent flaws onto the audience. He makes the audience viscerally feel the disorientation and fear of heights, and thus makes Scottie a reflection of the audience’s anxieties throughout the film. This makes the film succeed all the more in creating suspense and anticipation; we become the investigators and acrophobes because Scottie is the ‘other’ reflected back at us.