Riley Arp

WESEN: as a noun, it would mean essence. As a verb, it would be essence and as a way of being. Essence is a way of being that is historical. It is in time and in place One essence that belongs to being human across time and history, is that humans are thinking beings.  The humans being in time are the ones who question their own being.  How someone “is”: that’s being.  We’ve forgotten about being and forgotten about asking the question of being in this age, instead we calculate and strive for e

Film Noir originated in America, combined with the ideals of hard-boiled fiction & German expressionism When the period of Film Noir end's and begin's is hazy and often debated. Noir is almost entirely a creation of postmodern culture. A way of reading into classical Hollywood through a filmic lenses birthed during the cineaste (scholarly film writing) that came from the French New Wave. By stating Noir is a history of ideas, it showcases that it wasn't just attached to cinema because of it's a

"If film noir is not a genre, it is nevertheless recognizable". suggesting that noir's representation of women is an important aspect of its recognizability. Film noir as a filmic space that 'expresses' and 'challenges' patriarchal constructions of women. Said to have birthed out of the ambiguous roles of women in society after WWII Janey Place - identifies that film noir is a male fantasy centered around their pov and desires, but that the vibrancy of the villainous female character are centr

The term “neo-noir” originated as a means of breaching an apparent impasse in noir criticism, admitting links between classic and contemporary noir while also maintaining a division between them Neo-noir only became a true genre in the 1980’s, considering examples in the 60s and 70s as in their embryonic state Erickson also states that, although there is many example of neo-noir films, many don’t succeed as authentic noirs What renders neo-noir distinct from its forbear is self-awareness, conten

The Noir Photographic Style: Antitraditional Lighting and Camera Noir lighting is low-key: The ratio of key to fill light creates areas of high contrast and rich, black shadows. Due to this, the shadows are able to oppose difference of light and dark, hide faces, landscapes, and characters true intentions. Actresses were shot in tough, unromantic close-ups of direct, un-diffused light, which creates a hard, statuesque beauty that seems more seductive, but less attainable. The key light could b

Martin Rubin calls the musical an imposible genre, meaning that numbers are impossible from the realistic side of the narrative. As well, the impossibility comes from a spatial point of view. This also occurs into the sense of its impact to an audience from a real-life theater musical (for instance, continuity editing changes experience) - makes the experience realistically impossible. This makes the space become cinematic, rather than being 'true to life' and limited to a single human perspect

Was first given as a public lecture Oct 28, 1945, just after end of WWII Sartre makes 4 main arguments 1. Humans were not created to serve a preexisting purpose 2. To a great extent, people are self-creating 3. Individual consciousness is not causally determined to construct a particular identity of particular ends.  4. Values are subjective. Something is valuable because I choose to value it Purpose of the lecture was to defend existentialism Existentialism was accused of inciting people to dwe

Voice-over technique as important staple of film noir, began in the 1940's. Other 40's genres use voice-over primarily to accentuate the verisimilitude of and to increase audience identification with their narrators' stories. narrator's often contain weak, powerless narrators who tell a story of their past failures. Usually done in a confessional/investigative mode. The voice-over penetrates into the past of the character's psyche that will arrive to a fundamental truth that is causing an ind

musicals conceived as 'pure entertainment' - the prime determinant of them. What the musical is assumed to be, how it is entertainment, is decided by the people responsible for providing it in concrete form. descriptions of entertainment as 'escape' and 'wish-fulfilment' point to its central idea, utopianism. The utopianism is contained in the feelings it embodies. music as a non-representation icon works as we are emotionally moved by it, but its the least obvious representation of reality.

Pharmacology: The scientific study of the actions of drugs and their effects on a living organism Pharamacokinetics: The branch of pharmacology concerned with the actions of a body on an administered drug.  Absorption: The process and mechanisms by which drugs pass from the outside world into the bloodstream.  Fat-soluble: Also called lipid-soluble, this refers to substances that dissolved in fats or oils.  Water-soluble: Substances that dissolve in water.  Bioavailability: The degree to wh

Neurons: a nerve cell that receives and sends signals within the body Sensory neuron: a nerve cell that carries information into the brain and spinal cord.  Motor neuron: A nerve cell that sends instructions from the brain and spinal cord out to nerves, muscles, and glands.  Neurogenesis: The production of new neurons Neuroglia: Nerve cells that support neurons and aid in neurotransmission Neurotransmitter: A chemical substance released from a neuron that binds to a receptor and affects ano

Usually thought of as cinematic, a break from the stage-bound camera style of early musicals. importance of the continuity between Berkeley's film style and preceding theatrical forms-based on creating feelings of abundance, variety, and wonder. Musical genre in state of suspension between spectacle and narrative, between aggregation and integration. Berkeley considered an innovator of intricate and offbeat rhythms. assisted in building integrated musical comedy forms. Pushed for external nov

Art musical: idea of early-musical films having a need for verisimilitude, where the numbers are done in the context of a show. Making it a self-referential form From 49-53, The Barkleys of Broadway, Singin In The Rain, and The Band Wagon contrast between performances that fail to please audiences and performances that do. Musicality isn't limited to onstage numbers, they create a myth that musical entertainment permeates ordinary life. Art musicals are similar to myths, in that they both seek

Part I Willing my own freedom depends upon the freedom of others. We need others to be free because their own freedom aims towards opening a future we need others to assist in opening it up for us.  We are thrown into a world that others have already established, and only the freedom of others that allows them to establish the world keeps each of us from hardening into the absurdity of facticity. We need others to be free in order to recognize the significance of the world that we are disclosing

Drug: any chemical entity or mixture, other than those required for the maintenance of normal health (such as food), which alters biological function or structure where administered. In 2017, 5% of the world's adult population (250 million people) report using an illicit drug at least once. The United States has 4.4% of the world's population, but consumes 65% of the world's supply of illicit drugs and a 1/4 of drug related deaths. Substance Abuse and Mental Health Administration Survey Age:

Dualism or Binaries- one term that’s set up in relation to another term.  Interiority/exteriority One/other Mind/body For-itself/In-itself  No absolute exclusion, we can live both lives, due to temporality. Understand their ambiguity We Begin as Children The Serious World of ready-made values and established authorities We are creators of the meaning and value Metaphysically privileged existence  Enslavement and Complicity For Beauvoir, those enslaved may be forced into a serious world of imp

Da-Sein means “being there” or “being here” In Being there, design is essentially primordially from the beginning that is always already a spatial being There is no division of for itself (the consciousness) and in itself (the body) since consciousness is arelady embodied in a world, and it can only be in a world The problem of the cartesian subject is that its a subject that only encounters the world it represents to itself (you can’t be sure that the world is actually real) It only encounters