Film Analysis Saving Private Ryan Movie Reviews

Introduction In 1998, Steven Spielberg directed a World War 2 film showing the events that happened during the Normandy invasion. The film was called â€Å"saving Private Ryan† and was based in Normandy and some parts of France. Screen play for the film was done by Rodat Robert with main actors being Tom Hanks as Captain John Miller, Tom Sizemore as Mike Hovarth, Barry Pepper as Daniel Jackson, Adam Goldberg as Stanley ‘Fish’ Mellish, Vin Diesel as Adrian Carpazo, Giovanni Ribisi as Irwin Wade, Jeremy Davis as Timothy Upham, and Matt Damon as Private James Rayan. The movie was produced to depict a very dramatic, strong, and serious theme. Indeed the result is that it was successful in proving the historical accuracy of the Normandy event despite the minor flows which are common in all movie productions. This hypothesis will be tested and proved in the following analysis and discussions. Story Telling The narrative structure of the film is in the form of an elaborative flashback that occurred in the 1940’s during World War 2. An old Private Ryan is in the cemetery paying his last respects when the film takes us back to the actual time that the Normandy war and saving of his life occurred. The plot of the film is in a chronological order; from the flashback the plot has been orderly arranged to show various events that led to the actual mission of saving Private Ryan. Therefore, the story takes place in Normandy and some parts of France where American soldiers attack the Omaha beach and in turn a chain reaction is set that ultimately leads to a mission whose sole purpose is to save private Ryan—Matt Damon—and return him to Iowa. There is a conflict of accurately showing the exact places where events occurred. This is solved by the producer naming new scenes and also indicating the exact years events occurred using sub-titles. There was also a conflict of whether it was worthwhile to save Private James Ryan, the last of four brothers all of whom died in action. Top administrators argue that it would be wasting resources but the chief of staff resolved the conflict by reading to them Abraham Lincolns letter to Mrs. Bixby. The letter made them pass a resolution to save the last brother. The same internal conflict also affected characters where several of them questioning the relevance of the mission. For instance, Hovath a cynical New Yorker was stating, â€Å"we are not here to do the decent thing but to follow fucking orders.† There is symbolism used in the film, the kind used are old weapons, aeroplanes, and boats all helping to depict the accurate time war took place. Metaphors are commonly used in the story with an instance such in the earlier scene where the chief of staff compares the scenario of a mother at risk of losing all her four sons at war to that of Mrs Bixbie during the American Revolution war. Furthermore, there is a situational irony where the German soldier that was spared by Captain Miller ended up killing him at the end of the film. Satire has also been used frequently where one of the characters retorts that,† Ryan better be worth it-he better go home and cure some disease or invent a longer lasting light bulb.† The film helps in relating with the storyline where it shows the pains that soldiers underwent in taking lives or losing their comrades. It also helps in painting the exact conditions that the soldiers underwent in the frontlines. The conditions were terrible with some of them wishing there was even a three star hotel nearby and even picking of apples in the field and eating them. However, the film does not address universal truths completely. Surely, there is the truth of showing accurate conditions that soldiers undergo in the frontlines, but it is incorrect for the film to show that Americans were the only ones who fought the Normandy wars. It has been proven that countries such as France, British helped out. Acting There are a total of nineteen actors with the major ones being: Tom Hanks as Captain John Miller, Tom Sizemore as Mike Hovarth, Barry Pepper as Daniel Jackson, Adam Goldberg as Stanley ‘Fish’ Mellish, Vin Diesel as Adrian Carpazo, Giovanni Ribisi as Irwin Wade, Jeremy Davis as Timothy Upham, and Matt Damon as Private James Ryan. The types of actors in the movie are: Matt Damon and Tom Hanks as stars; Edward Burns and Tom Sizemore as personality actors when the latter showing loyalty and the former playing the devil’s advocate; and Davis acts as an interpreter and personality actor where he is seen to know both French and German plus being timid and hiding when violence surrounds him at the end of the film. The acting in the movie is film acting with actors required by the director to use method acting technique. In the technique, thoughts and emotions of their characters were created so as to develop life like performances such as in the case of Harrison Young, the present day Ryan who wept when remembering the sacrifice of the soldiers who rescued him (Pramaggiore Wallis, 2005). Actors convey the story in the film through real emotions and thoughts which is helped by the director when he requires the usage of correct tone is communication, and focusing of the camera to a character when expressing emotions and thoughts. The movement of characters in the settings have enhanced the understanding of traits of the actors. For instance, hiding of Davis showed that he was a coward in the field while self less act of Howarth of allowing the team to move ahead while he fought the enemy in the end showed his bravery. Cinematography The appearance of the mise en scene in the film is the reality of war where there were numerous bodies of war casualities, blood, destroyed buildings and property. Furthermore, there were no civilians signifying that they had been displaced. The lighting of the scenes in the film was different where in the present day scenes it was less diffused compared to war times. This contrasting lighting signified differences in times where in olden times the technology was not advanced. Furthermore, saturated colour is used in scenes showing present day while unsaturated colours depicted old times. The shutter timing was set at 450 or 900 as opposed to the normal 1800 timing. In that timing, a special staccato movement of characters and crispness of explosions make the film more realistic (Pramaggiore Wallis, 2005). The camera in the film is subjective where if focuses more on movements, actions, and communications of American soldiers. This is advantageous in the sense of showing a good impression of life for soldiers. However, it was disadvantageous in giving the overall picture of war on the part of losers which in this case were the Germans. However, the director covered the flaws in the movie by introduction of special effects such as actual blood, penetration of bullets under water and hitting soldiers, and usage of real amputees in scenes. Editing The movie is divided into five scenes which are: the introduction showing an older Ryan visiting the Normandy grave in present time; scene of the attack at Omaha beach; scene back in America showing the mother of the Ryans and Chief of staff of the army; scene showing the rescue of the last Ryan; and the last scene is back at the cemetery. The shots in the scene were in a subjective form where the audience would view what the character views. The shots signifying the scenes were blended together in form of a cut (jump cut) where it seems inconsistent with the next shot. This is used to anchor the image of scenes being at different eras and places. Coverage is used when showing the important themes in scenes that would aid in making the film organized (Pramaggiore Wallis, 2005). This is used in scenes such news of three brothers being killed being noticed combined with breaking of news to their mother. The editing style used is continuous where it aims at achieving logical coherence in the film that contains scenes from various time zones. This is used in the film since there is a flashback by the older Ryan. There was also editing of actions that cannot be seen, an example is when the army arrived at the home of the Ryans, the mother collapsed in anguish even before being told of the bad news and then the scene changed without the messengers conveying their message. The rhythm of the film is not uniform since shots have different lengths. Furthermore, there is no instance of slow motion in the film signifying that it was indeed a real life event. Sound The film has few music tacks which are limited to the beginning and at the end of the movie. The music genre is a slow ballad specifically intended to illicit emotions that are to accompany the scene. However, natural sounds cover majority of the movie such as sound of rain, cows mooing, crickets creeping. Limited music is used to strengthen the realistic aspect of the movie where only dialogue amongst people and sound of weapons can be heard (Chick, 2008). Furthermore, sound effects are majorly used in combats where they are used to highlight the intensity and seriousness in which the mission was. However, there is no voice-over narrator as the film scenes are self explanatory. Style and Directing The director Steven Spielberg has shown technical competence where he has managed to portray an actual real life impression of how the Normandy war was. This was done by setting the camera to be subjective hence more expression of thoughts and feelings of soldiers. The editing, weapons, technology, and fashion used in the film show that the director did a lot of research to accurately place the timing of the movie. For instance, guns used were similar to the ones used in World War 2 and the shooting of underwater battles in the attack at Omaha beach showed that he used the best technology in shooting the scene. The director’s point of view is evident as actors in the film seemed like they were comfortable in their roles hence showing they rehearsed for a very long time. The usage of few musical sound tracks, natural sound tracks, and extreme action movements also showed that he wanted a more realistic film. In addition, the film is similar to Spielberg’s past works which all have the basic concept of life in the World War 2 era. Other works of his having the same theme are 1941, and empire of the sun (Chick, 2008). Since the author is trying to bring out an image of World War 2, there is no non-traditional story telling techniques in the film. What he wants to communicate through the film is that indeed the War killed many people and that even survivors were affected for many years. Societal Impact The movie makes one feel like escaping the daily life since all aspects of the society shown signify society in the World War 2 era. However, dialogue between characters in the movie betray what the director intended to accomplish. Language and tone used is modern for instance â€Å"fucking son of a bitch.† Furthermore, there is so much violence in the movie shown by the uncensored version of the movie that I managed to view. The live maiming of humans and bloody combats even resulted to certain parts of the society like Malaysia banning the film (Independent, 2006). However, the film manages to address political and societal issues such as long term effects of wars on families and survivors, pressure on political leaders to go to war, and the hard task it is for soldiers to take human life despite it being their duty. The movie can be seen as an allegory for the negative impact of wars to families. This was seen in the movie when a mother was at risk of losing all her four bo ys in the war in an instance. Also, the old Ryan in the movie was so engulfed in pain and agony as he recalled the events as if they were recent. This assessment is true in real life, as when war veterans saw the movie in theatres, they could not finish it without their emotions taking over because of the real depiction of what happened (Independent, 2006). Genre The film is in the category of an epic film with characteristics such as: being set in a time of war or during a crisis; and covers a long span of time (Pramaggiore Wallis, 2005). The historical setting of the film is in the World War 2 hence the reason why it is an epic film. The film is a pure genre film since there is no blending and the storyline being similar to real life story of the Niland Brothers. Elements such as honour, sacrifice, valour, and historical contexts can help one understand the film better. The film is however similar to western genres but deviates from it when the historical context of the film is set in a time of civilization. Film Criticism and Analysis The referential content in the film is the mission of saving Private Ryan. Every action and movement is geared towards finding the private and returning him home. However, it is ironical that when the team find the Private he did not wish to return back home which makes the title of the movie seem out of place. The explicit content in the movie is patriotism for Americans where, the country decided to save a lone soldier—a private—so that a mother can be saved from the misfortune of burying all her four children. Despite the bravery and patriotism, the soldiers who carry out the mission ridicule the move with some terming it as a misallocation of military resources. On the other hand, the implicit content of the movie is that of honour when, the older private Ryan at the beginning and at the end of the movie is seen to always remember and honour the fallen heroes that saved him. This is seen when he talks to Captain Miller’s grave saying he lived his life to the fullest. The symptomatic content that can be used to analyze the film is the field experience of soldiers on the battle field and the grave scene that contained the older Ryan. The two contents provide proof of honour, pride, pain, and life experiences that occurred in the era of World War 2. Furthermore, in analysis of the film the best approach that can be used is a realist approach where the film is examined by how it represents reality (Pramaggiore Wallis, 2005). This is evident when the director used natural sound tracks and no slow motion in the pictures to create a real impression of the situation. In doing so the director managed to make the audience experience emotions. Conclusion The movie saving Private Ryan was successful in depicting actual events that occurred in the World War 2 events of Omaha assault and battle in Normandy. The pictures were graphic, strong, and realistic up to the level of realism. The historical context was also accurate enabling it to become one of the best epic films in the last century. Despite many criticisms of violence, the actors and director were successful in painting the picture of life on the front lines of World War 2. The only demerits of the film were that it did not show the contribution of other countries like Britain in the Omaha assault, and the dialogue between characters was too modern to be put in the 1940’s era. However, the film was excellent and the producer Steven Spielberg managed to sell his view point of World War 2 to the audience. References How we made the best movie battle scene ever. Independent. June 7, 2006. http://www.independent.ie/unsorted/features/how-we-made-the-best-movie-battle-scene-ever-91583.html. Pramaggiore, M., Wallis, T. (2005). Film: a critical introduction. London: Laurence King Publishing. Pp. 6+ Tom Chick (December 8, 2008). A Close Encounter with Steven Spielberg. Yahoo! Available at: http://videogames.yahoo.com/celebrity-byte/steven-spielberg/1271249. Tom Hanks et al., (1999). Saving Private Ryan. Directed by Steven Spielberg

Importance of Technology in Education Essays - 1310 Words

Everyday life involves technology. Everyday life is no longer simple. If one is not tech savvy, he or she may struggle to make his or her way through the day. In recent times technology has reached a new level of advancements and is taking over everywhere, including the classroom. Which is why San Angelo schools should incorporate more into elementary classrooms. Technology is used for basic actions but can also make activities easier for students. Research shows when technology is integrated into the classroom students can benefit a great deal. Technology should be integrated in the SAISD classroom for daily use. One problem that is faced by the teachers is that they do not know how to use the technology available to them and they are†¦show more content†¦What many do not realize is that with the help of a strong school board and other fellow teachers who are younger/ more technological efficient in the areas that are being taught can be relayed and taught to the older generation of teachers to help the youth of this current generation. The best way to better prepare teachers is to require workshops because â€Å"Multimedia digital technology, computers, and all that goes with them have exploded in terms of need and opportunity concerning K-12 schools throughout the United States. National and state level educational organizations have made recommendations or laws pertaining to the skills teachers should have in the area of technology and its integration across the curriculum† (Rogers, R., Wallace, J. 2011, p.28-61). Many in the field of education do not tend to realize that the schools want to have a greater advancement in the classroom with technology not only due to the students now, but so they can stay ahead of the curve and be ready for the next part of this curveball that science has thrown at us. No one would have thought that we would be where we are at today in education. 15 years ago students were still taking accelerated reader tests off of computers that used dial up for the internet. The greater issue is adapting it into the lesson plans in early childhood education and I believe that this article is the right proposal for it. To start, oneShow MoreRelatedThe Importance Of Technology In Education823 Words   |  4 Pagesamount of technology on the shelves at ROWVA community School District 208 is very impressive for such a small, rural district. While looking at the vast opportunities available for learning, one may assume that technology is the focus of education, that is not the case. 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How about when you called someone who was currently on the dial up internet, the phone would make that dreadful noise because when using dial up internet you couldn’t use the phone and the internet at the same time. Then times changed and wireless internet came out and wasn’t that just the best creation ever. Who knew you couldRead MoreImportance Of Information Technology In Teacher Education1566 Words   |  7 PagesInformation and Communication Technology in Teacher Education in India: Benefits and Barriers Abstract: Teacher education plays a vital role in developing quality education which is the present requirement in the modem information communication era. Teacher educators are the basis producing the future teachers who are the pillars of nations. The quality of teacher education programmes depend on the quality of teacher educators who are the teachers of teachers. They should be well equipped with

Employee Portfolio Management Plan Free Essays

As a manager at Riordan Manufacturing I recently had three employees take a series of self-assessments. I did this so that I could help manage them effectively. Now that I have these assessments, I will create an Employee Portfolio for each of the employees as a help guide in developing ways to manage them. We will write a custom essay sample on Employee Portfolio Management Plan or any similar topic only for you Order Now The first assessment taken was, how satisfied am I with my job? This basically is your general attitude about the job. The higher the score the more satisfied the employee. Amber scored the highest at 73 points. Amber is a highly motivated employee, but complains very openly when she is upset. Chris scored a 62 on the assessment. He is a positive employee but could be more flexible on his working habits. Last is Taylor, who scored a 58. She is motivated but likes to go out of her way to help others. This has caused a few problems in branch she works in. The second assessment taken was the am I engaged? This scale measures work engagement. The higher the score, the more engaged an employee. Taylor scored the highest on this assessment with a 35. Taylor is determined to do the job right but sometimes gets too detail oriented. This causes her work to be late. Chris scored a 32 on the assessment. Chris is a natural leader but has a tendency to get too involved with some of his surroundings. Last is Amber who scored a 25. Amber is persistent which can result in unnecessary talking. The third assessment is how are you feeling right now? This scale ranges 10 to 50, the higher the score the more positive the emotions. Taylor scored the highest at 39; she is a very upbeat young lady who can be emotionally sensitive at times. Next is Chris with 32, he is a self-confident young man but sometimes is insensitive to the needs of others. Last is Amber who scored 27. Amber is a happy individual but gets easily depressed if something upsetting happens. The next assessment is what’s my affect intensity? This assessment measures the strength of an emotion. Scores range from 10 to 50, the higher the score; the more intense the emotion is felt. You can read also Portfolio Management Quizzes Taylor scored a 35, Amber scored a 28, and Chris scored a 23. My recommendations to the three employees are as follows: Taylor should complete her task in the time allowed and not worry about the small insignificant details. Amber should not get too caught up in non-work related conversations. This takes away from the company and allows for personal problems to take place. My recommendations to Chris are that when in social settings, keep it social. When at work, keep it work related. How to cite Employee Portfolio Management Plan, Papers

Henri Cartier

Henri Cartier-Bresson has been called equivocal, ambivalent and accide Essay Henri Cartier-Bresson has been called equivocal, ambivalent and accidental1 since his debut as a photojournalistHenri Cartier-Bresson has been called equivocal, ambivalent and accidental1 since his debut as a photojournalist. Amplified and enriched, the work of the photographer is revealed in all its grandeur. While he may appear to be a hurried man or a traveler without luggage2, to quote a few of his titles, he is a poet, attentive to the act of love made with each photograph, and this is where the genius is revealed. From a desired distance, we discover simultaneously the geographer, who analyses the permanence or vulnerability of cultures; the ethnographer, who captures gestures of work and rituals of religion; the anthropologist, who reflects the spectrum of emotions; and the sociologist, who reveals the development of destinies and histories.3 Cartier-Bressons dependence and uncompromising view of photography; to rely solely on the moment in time, is why he will always be remem bered. Born in 1908, Cartier-Bresson studied painting with Andre Lhote in Paris, then painting and literature at Cambridge University in 1928 and developed a serious interest in photography in 1931. His work was first exhibited at the Julien Levy Gallery, New York, and first published in Vu magazine in 1932. He has been involved in numerous films, such as La Vie est a nous (1936), Le Regle du jeu (1939), his documentary film on the hospitals of Republican Spain in 1937 and his film on the liberation of the concentration camps with Richard Banks called Le Retour (1945). His work has been exhibited at the Museum of Modern Art, New York in 1946, and in 1947 he became co-founder of The Magnum photographic agency. He has published over a dozen books and has had his photographs printed in hundreds of magazines. Cartier-Bresson traveled the world so that he may document and present to others the human condition. His photographs transcend any particular time or place. Instead, they capture the very essence of life, be it Harlem, Madrid, Shanghai or the Paris rue Mouffetard (Ill. 2)4. In rural Europe, silent in the absence of the engine, and where everything was still done by animals and human beings, he portrays, unaltered, a societys captivating traits. At times his poetic intention towards subject matter is inadvertently socially charged, which makes his work all the more intriguing5. Each of Cartier-Bressons photographs presents itself not as part of a series, an archive selected among others, but as a singular work of art which, with its own formal qualities and unique meanings, exists in itself. Throughout his career, he upheld his own philosophy of individuality and spontaneity in the photographic process. He feels that you have to be yourself and you have to forget yourself in order to discover the exact instant and position from which the photographer extracts a moment of meaning from ongoing existence6. Thus results in a style rooted in the own photographers personality and commentary. It is in 1955 that the album Les Europeens, conceived and laid out by Teriade, with a cover page by Juan MirF3, was published. This piece presented a dense portrait of a Europe where, ten years after the war, accumulated ruins, as well as traces of hunger and misery on peoples faces were still clearly visible. In the preface, Cartier-Bresson states that whether we are just passing or settled down in a particular place, in order to express a country or situation, one needs to have somehow established a close working relationship, to be supported by a human community; living ! takes time, and roots take shape slowly One must wonder in the taking of Sunday on the Banks of the Marne (Ill. 5), how much time Cartier-Bresson spent relating to these rural townspeople. His position and proximity behind these men and women suggests an amiable relationship between artist and subject matter. This intimacy is even more evident in his portraiture of Henri Mattise, Ve nce (Ill. 3). The circumstances of the portrait tell us that Cartier-Bresson has allowed us into Matisses home, and most significantly, his life. Compositionally is where Cartier-Bresson shines. He has a tendency to have his primary subjects; ordinary men and women, in dramatic movement, thus illustrated in Place de lEurope (Ill. 1), Hyeres (Cover), and Siphnos (Ill. 4). This occasionally results in the blurring of the subject, resulting in a silhouette. This however sets the subject apart to become the focal point of the composition, and breathes life into the moment itself. The aforementioned photographs also demonstrate his ability of capturing a moment from twenty to thirty feet away, without losing its intensity. This ability of his, to freeze people in the most extraordinary or fantastic of circumstances, creates an almost surreal aura admist the picture plane. Henri Cartier-Bresson is consistent with the style of The Magnum Agency, which he co-founded with fellow photojournal ists Robert Capa, Chim and Rodger high levels of contrast and distant shots, where strong composition is only improved upon by its compelling subject matter. This is evident in Rene Burris Tien An Men Square. However Cartier-Bresson apparently utilizes railings and vertical repetition within his compositions more effectively. It is this repetition that allows him to clarify a photos focal point. The photographer was inspired primarily by Kertesz, whose sensitivity and personality remained dominant within his work depite its wide publication and commision. Cartier-Bressons most captivating work has been done on his travels, and are unintentionally politically or socially charged. Since 1932 and his first Leica: Spain and Italy, which he visited in particular with Andre Pieyre de Mandiargues, he has brought back photographs since become unforgettable. In France, the experience of the Front Populaire and paid vacations in 1937, which he covers closely, offers a lyrical and budding pro mise to his work7. After 1955, his collection is enriched with new travels, in particular to Germany, and to East-Berlin in 1962. His book Images a la Sauvette was published in 1952 in Paris (The Decisive Moment, New York) and in 1955 he produced The Europeans. His philosophy of the decisive moment resulted in his influence on Robert Doisneau, Willy Ronis, Izis and Edouard Boubat8. ! Consider the composition of Doisneaus Three Children in the Park (1971)- a Classical statue gives way to the three playful children in the distance. Like Cartier-Bresson, there is a sublime magic at work; the tiny subjects become dominant within their awkward surroundings. Henri Cartier-Bressons work, at times, appears to be a dream. Have these moments really existed, these crowds really met, these posters calling people to fight really been posted, these kisses really been exchanged, these plates really been used, these encounters really occurred? The characters, faces, expressions, clothing, scenery, streets, houses, the ways of moving, of tending or bending an arm, have changed so much over half a century, it is as if we are the inheritors of history written before our very eyes. Everything would be but illusion, if it were not for the roll of film, which turns faithfully to preserve an everlasting trace Twenty years ago, Cartier-Bresson put down the camera and resumed where he started painting and drawing. Photography is to put in the same line of sight the head, the eye and the heart Henri Cartier-Bresson. .ue27aaee57c3ea342b031f8e3cbea73c1 , .ue27aaee57c3ea342b031f8e3cbea73c1 .postImageUrl , .ue27aaee57c3ea342b031f8e3cbea73c1 .centered-text-area { min-height: 80px; position: relative; } .ue27aaee57c3ea342b031f8e3cbea73c1 , .ue27aaee57c3ea342b031f8e3cbea73c1:hover , .ue27aaee57c3ea342b031f8e3cbea73c1:visited , .ue27aaee57c3ea342b031f8e3cbea73c1:active { border:0!important; } .ue27aaee57c3ea342b031f8e3cbea73c1 .clearfix:after { content: ""; display: table; clear: both; } .ue27aaee57c3ea342b031f8e3cbea73c1 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ue27aaee57c3ea342b031f8e3cbea73c1:active , .ue27aaee57c3ea342b031f8e3cbea73c1:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ue27aaee57c3ea342b031f8e3cbea73c1 .centered-text-area { width: 100%; position: relative ; } .ue27aaee57c3ea342b031f8e3cbea73c1 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ue27aaee57c3ea342b031f8e3cbea73c1 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ue27aaee57c3ea342b031f8e3cbea73c1 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ue27aaee57c3ea342b031f8e3cbea73c1:hover .ctaButton { background-color: #34495E!important; } .ue27aaee57c3ea342b031f8e3cbea73c1 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ue27aaee57c3ea342b031f8e3cbea73c1 .ue27aaee57c3ea342b031f8e3cbea73c1-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ue27aaee57c3ea342b031f8e3cbea73c1:after { content: ""; display: block; clear: both; } READ: Romeo And Juliet Star Crossed Lovers Essay REFERENCES 1 Clair, Jean, Henri Cartier-Bresson, http://www.picture.fr/mep/us/cartier1.htm 2 Fetterman, Peter, Henri Cartier-Bresson, http://www.visualradio.com/photoarts/fetterman/exhibits/bresson/bresson-bio.ht 3 Rosenblum, Naomi, A World History of Photography, Cross River Press, New York, 1984. 4 Gernsheim, Helmut, A Concise History of Photography, Dover Publications, New York, 1965. 1 Sheed, Sheila Turner, Henri Cartier-Bresson (interview), Popular Photography, May, 1974, p.142 2 Clair, Jean, Henri Cartier-Bresson, http://www.picture.fr/mep/us/cartier1.htm 3 Ibid. 4 Fetterman, Peter, Henri Cartier-Bresson, http://www.visualradio.com/photoarts/fetterman/exhibits/bresson/bresson-bio.html 5 Rosenblum, Naomi, A World History of Photography, p. 513 6 Newhall, B., The Instant Vision of Henri Cartier-Bresson, p.4857 Op. Cit., Clair,Jean 8 Op. Cit., Rosenblum, Naomi, p. 483