Battle of the Woods Nollywood Versus Hollywood - 980 Words

The Battle of the Woods: Hollywood and Nollywood Cinema of the United States has played an undeniable role in the transmission and interpretation of many values that we hold today. We perceive real life situations based on what Hollywood has taught us. Some ninety years after the first huge success of American cinema, â€Å"The Great Train robbery† was released, we were introduced to a new brand of films. The cult classic â€Å"Living in Bondage† was distributed. This low- budget film produced in Onitsha, Nigeria set the scene for what would become an explosion. So impressed were the filmmakers and actors by their work, they coined the term Nollywood- the Nigerian Hollywood. The different environments and practices have resulted in obvious†¦show more content†¦Hollywood movies employ creative and bold methods to market their movies. A good deal of promotion and advertising is targeted to getting people into theatres. Media blitzes are launched to tout the movie s weeks before its release. Posters on buses, billboards, designed T-shirts, websites are used to promote Hollywood films. These films are then distributed to a diverse audience. Unless they are extremely unsuccessful, Hollywood movies are always first shown in cinemas across the world, before they are released on DVD. Nollywood films, on the other hand, do not put in a lot of money and effort on the marketing of their films. Other than the movie posters which are usually seen at the selling point of the films, not much advertising is employed. As all Nollywood films go straight to DVD and VCD discs, the industry thrives on direct-to-video marketing. As many as thirty new titles are delivered to Nigerian stores and market stalls every week. Producers rely on the fact that with this outpour of releases, their movies would most certainly be picked up among the crowd; hence, employing further marketing practices is unnecessary. Currently, the available cinemas in Nigeria do not exhibit any Nollywood movies. The costs, methods of distribution, and themes of Hollywood and Nollywood films reflect strongly their target audiences; how the target audience affects the production of a film and how the production of a movie is designed to capture a specific

What Is Balance in Art and Why Does It Matter

Balance in art is one of the basic principles of design, along with contrast, movement, rhythm,  emphasis, pattern, unity, and variety.  Balance refers to how the elements of art (line, shape, color, value, space, form, texture) relate to each other within the composition in terms of their visual weight to create visual equilibrium. That is, one side does not seem heavier than another. In three dimensions, balance is dictated by gravity, and it is easy to tell when something is balanced or not (if not held down by some means). It falls over if it is not balanced. On a fulcrum (like a teeter-totter), one side of the object hits the ground while the other rises.  In two dimensions, artists have to rely on the  visual weight of the elements of the composition to determine whether a piece is balanced. Sculptors rely both on physical and visual weight to determine the balance.​ Humans, perhaps because we are bilaterally symmetrical, have a natural desire to seek balance and equilibrium. Artists generally strive to create artwork that is balanced. A balanced work, in which the visual weight is distributed evenly across the composition, seems stable, makes the viewer feel comfortable,  and is  pleasing to the eye. A work that is unbalanced appears unstable, creates tension, and makes the viewer uneasy. Sometimes, an artist deliberately creates a work that is unbalanced. Isamu Noguchis (1904-1988) sculpture Red Cube  is an example of a sculpture that  intentionally looks off balance.  The red cube is  precariously resting  on a point, contrasting with the gray, solid, stable buildings around it, and it creates a feeling of tension and apprehension.   Types of Balance There are three main  types of balance that are used in art and design: symmetrical, asymmetrical, and radial. Symmetrical balance, which includes radial symmetry, repeats patterns of forms systematically. Asymmetrical balance counterbalances different elements that have equal visual weight or equal physical and visual weight in a three-dimensional structure. Asymmetrical balance is based more on the artists intuition than on a formulaic process. Symmetrical Balance Symmetrical balance is when both sides of a piece are equal; that is, they are identical or almost identical. Symmetrical balance can be established by drawing an imaginary line through the center of the work, either horizontally or vertically, and making each half identically or very visually similar. This kind of balance creates a sense of order, stability, rationality, solemnity, and formality. Symmetrical balance is often used in institutional architecture (government buildings, libraries, colleges, and universities) and religious art. Symmetrical balance may be a mirror image (an exact copy of the other side) or it may be approximate, with the two sides having slight variations but being quite similar. Symmetry around a central axis is called  bilateral symmetry. The axis may be vertical or horizontal. The Last Supper by Italian Renaissance painter Leonardo da Vinci  (1452-1519) is one of the best well-known examples of an artists creative use of symmetrical balance. Da Vinci uses the compositional device of symmetrical balance and linear perspective to stress the importance of the central figure, Jesus Christ. There is slight variation among the figures themselves, but there is the same number of figures on either side and they are situated along the same horizontal axis. Op art is a kind of art that sometimes employs symmetrical balance biaxially — that is, with symmetry corresponding to both the vertical and horizontal axis. Crystallographic balance, which finds harmony in repetition (such as color or shape), is often quite symmetrical. Its also called mosaic balance or all-over balance. Think of works by Andy Warhol with repeating elements, the Parlophone Hard Days Night album cover by The Beatles, or even wallpaper patterns. Radial Symmetry Radial symmetry is a variation of symmetrical balance in which the elements are arranged equally around a central point, as in the spokes of a wheel or the ripples made in a pond where a stone is dropped. Thus, radial symmetry has a strong focal point. Radial symmetry is often seen in nature, as in the  petals of a tulip, the seeds of a dandelion, or in  certain  marine life,  such as jellyfish. It is also seen in religious art and sacred geometry, as in mandalas, and in contemporary art, as in Target With Four Faces (1955) by the American painter Jasper Johns. Asymmetrical Balance In asymmetrical balance, the two sides of a composition  are not the same but appear to have an equal visual weight nonetheless. Negative and positive shapes are unequal and unevenly distributed throughout the artwork, leading the viewers eye through the piece. Asymmetrical balance is a bit more difficult to achieve than symmetrical balance because each element of art has its own visual weight relative to the other elements and affects the whole composition.  Ã‚   For example, asymmetrical balance can occur when several smaller items on one side are balanced by a large item on the other side, or when smaller elements are placed farther away from the center of the composition  than larger elements. A dark shape can be balanced by several lighter shapes. Asymmetrical balance is less formal and more dynamic than symmetrical balance. It may  appear more casual but takes careful planning. An example of asymmetrical balance is Vincent van Goghs The Starry Night (1889). The dark triangular shape of the trees visually anchoring the left side of the painting is counterbalanced by the yellow circle of the moon in the upper right corner. The Boating Party, by American artist Mary Cassatt (1844–1926), is another dynamic example of asymmetrical balance, with the dark figure in the foreground (lower right-hand corner) balanced by the lighter figures and particularly the light sail in the upper left-hand corner.   How the Elements of Art Influence Balance When creating an artwork, artists keep in mind that certain elements and characteristics have greater visual weight than others. In general, the following guidelines apply, although each composition is different and the elements within a composition always behave in relation to the other elements. Color Colors have three main characteristics (value, saturation, and hue) that affect their visual weight.  Transparency can also come into play. Value: Darker colors seem visually heavier in weight than lighter colors. Black is the darkest color and the heaviest weight visually, while white is the lightest color and the lightest weight visually.  However, the size of the shape matters, too. For example, a smaller, darker shape can be balanced by a larger, lighter shape.  Saturation: More saturated colors (more intense) are visually heavier than more neutral (duller) colors. A color can be made less intense by mixing it with its opposite on the color wheel.Hue: Warm colors (yellow, orange, and red) have more visual weight than cool colors (blue, green, and purple).Transparency: Opaque areas have more visual weight than transparent areas. Shape   Squares tend to have more visual weight than circles, and more complex shapes (trapezoids, hexagons, and pentagons) tend to have more visual weight than simpler shapes (circles, squares, and ovals)The size of the shape is very important; larger shapes are heavier visually than smaller shapes, but a group of small shapes can equal the weight of a large shape visually. Line Thick lines have more weight than thin lines. Texture A  shape or form with texture has more weight than one that is not textured. Placement Shapes or objects located toward the edge or corner of the composition have more visual weight and will offset visually heavy elements within the composition.  Foreground and background can balance each other.Items can also balance each other along a diagonal axis, not just vertical or horizontal. Any type of contrast can be employed in the striving for balance: still vs. moving, smooth vs. rough, wide vs. narrow, and on and on. Balance is an important principle to heed, for it communicates so much about a work of art and can contribute to the overall effect, making a composition dynamic and lively or restful and calm. Sources 5 Famous Op-Artists. Weebly. Andy Warhol. Weiner Elementary School. Beatles, The. A Hard Days Night. 2009 Digital Remaster, Enhanced, Remastered, Digipack, Limited Edition, Capitol, September 8, 2009. Biography. The Noguchi Museum, NY. Red Cube, 1968. New York City Public Art Curriculum. Target with Four Faces: Gallery Label. The Museum of Modern Art, 2009, NY. The Boating Party: Overview. National Gallery of Art, 2018. The Starry Night: Galley Label. The Museum of Modern Art, 2011, NY.

Baseball Stats Free Essays

Appendix Data Set Howell and Huessy (1985) reported on a study of 386 children who had, and had not, exhibited symptoms of attention deficit disorder (ADD)—previously known as hyperkinesis or minimal brain dysfunction—during childhood. In 1965 teachers of all second-grade school children in a number of schools in northwestern Vermont were asked to complete a questionnaire for each of their students dealing with behaviors commonly associated with ADD. Questionnaires on these same children were again completed when the children were in the fourth and fifth grades and, for purposes of this data set only, those three scores were averaged to produce a score labeled ADDSC. We will write a custom essay sample on Baseball Stats or any similar topic only for you Order Now The higher the score, the more ADD-like behaviors the child exhibited. At the end of ninth grade and again at the end of twelfth grade, information on the performances of these children was obtained from school records. These data offer the opportunity to examine questions about whether later behavior can be predicted from earlier behavior and to examine academically related variables and their interrelationships. A description of each variable follows. †¢ ADDSCAverage of three ADD-like behavior scores †¢ GENDER1 = male; 2 = female †¢ REPEAT1 = repeated at least one grade; 0 = did not repeat †¢ IQIQ obtained from a group-administered IQ test †¢ ENGLLevel of English in 9th grade: 1 = college prep; 2 = general; 3 = remedial †¢ ENGGGrade in English in 9th grade: 4 = A, etc. †¢ GPAGrade point average in 9th grade †¢ SOCPROBSocial problems in 9th grad: 1 = yes; 0 – no †¢ DROPOUT1 = dropped out before completing high school; 0 = did not drop out The data are available at http://www. uvm. du/~dhowell/fundamentals7/DataFiles/Add. dat ASRIEEGSD DEEQ NN P0R DX PGG AC O S EL G PP C A RO TOU BT 45 10111232. 6000 5010102232. 7500 4910108244. 0000 5510109222. 2500 3910118233. 0000 6811 79221. 6701 6911 88222. 2511 5610102243. 4000 5810105311. 3300 4810 92243. 5000 3410131243. 7500 5020104132. 6700 8510 83232. 7510 4910 84222. 0000 5110 85232. 7500 5310110222. 5000 3620121143. 5500 6220120232. 7500 4620100243. 5000 5020 94222. 7511 4720 89123. 000 5020 93243. 2500 4420128243. 3000 5020 84232. 7500 2920127143. 7500 4920106232. 7500 2610137233. 0000 8511 82321. 7511 5310106232. 7510 5310109221. 3300 7210 91220. 6700 3510111222. 2500 4210105221. 7500 3710118243. 2500 4610103321. 7500 4810101133. 0000 4610101333. 0000 4911 95233. 0000 6511108233. 2500 5210 95332. 2510 7511 98211. 0001 5810 82232. 5001 4320100133. 0000 6020100232. 4000 4310107122. 0000 5110 95222. 7500 7011 97232. 6711 6911 93222. 0000 6511 81122. 0000 6320 8922 1. 6700 4420111243. 0000 6121 95211. 5001 4020106243. 7500 6220 83310. 6700 5910 81221. 000 4720115144. 0000 5020112233. 0000 5020 92232. 3300 6520 85221. 7500 5420 95323. 0000 4420115243. 7500 6620 91242. 6711 3420107143. 5000 7420102200. 6700 5721 86332. 2500 6020 96133. 0010 3620114233. 5000 5010105221. 7500 6010 82211. 0000 4510120233. 0000 5510 88211. 0001 4410 90132. 5000 5720 85232. 5000 3320106143. 7500 3020109143. 5000 6410 75321. 0010 4911 91232. 2500 7610 96221. 0000 4010108232. 5000 4810 86232. 7500 6510 98220. 7500 5010 99221. 3000 7010 95211. 2500 7810 88331. 5000 4410111223. 0000 4810103212. 0000 5210107222. 0000 4010118222. 5000 How to cite Baseball Stats, Papers