Way Ahead1 (Unit 4 game 1 VCB)

Way Ahead 1 game 3 - 3 questions revision

Auteur Theory is a way of looking at films that state that the director is the “author” of a film. A film is a reflection of the director’s artistic vision; so, a movie directed by a given filmmaker will have recognizable, recurring themes and visual queues that inform the audience who the director is (think a Hitchcock or Tarantino film) and shows a consistent artistic identity throughout that director’s filmography. The 3 Components of Auteur Theory Andrew Sarris, film critic for The New York Times, expanded on Truffaut’s writing and set out a more comprehensive definition for auteurs according to three main criteria: technical competence, distinguishable personality, and interior meaning. 1. Technical competence: Auteurs must be at the top of their craft in terms of technical filmmaking abilities. Auteurs always have a hand in multiple components of filmmaking and should be operating at a high level across the board. 2. Distinguishable personality: What separates auteurs from other technically gifted directors is their unmistakable personality and style. When looking at an auteur’s collected works, you can generally see shared filming techniques and consistent themes being explored. One of the primary tenets of auteur theory is that auteurs make movies that are unmistakably theirs. This is in sharp contrast with the standard studio directors of the era who were simply translating script to screen with little interrogation of the source material or editorial input. 3. Interior meaning: Auteurs make films that have layers of meaning and have more to say about the human condition. Films made by auteurs go beyond the pure entertainment-oriented spectacles produced by large studios, to instead reveal the filmmakers unique perspectives and ruminations on life. https://www.masterclass.com/articles/film-101-what-is-an-auteur#3ClNjwO6Gkgjd8ix2Cm5qI Who is the author of a TV program? It seems like it ought to be an easy question to answer, but it is not. There are, of course, scriptwriters, who are the literal authors of episodes in the sense of generating words that an actor eventually speaks, but in a soap opera or a sitcom there may be a dozen or more scriptwriters working on dialogue as the months go by. Is any one of them truly responsible for the overall tenor of the show, or are they just following rigid guidelines set down by other scriptwriters ahead of them? And the script is just the blueprint of an episode anyway. Actors, production designers, directors, videographers, editors, and on and on, are all necessary to construct an episode from that blueprint. Should we call one of them the author? And, at a more basic level, should we even bother looking for authors in television? Do viewers need to know who created a program in order to enjoy it? What does it add to our appreciation or understanding of television if we assign authorship of a program to an individual? In the closely related medium of the cinema, questions such as these have been answered by the auteur theory, which stems from the French word for “author,” auteur. Its basic precept is that a single individual is, and should be, the “author” of a work in order for it to be a good, artistically valuable work. A book, poem, film, or television show should express this individual’s personality, his “vision” (the masculine pronoun is significant; auteurist studies almost all focus on men). This notion stems from the nineteenth-century Romantic image of the author as a figure who sits alone in a dingy room, scratching out angst-ridden poems with a quill pen. The tormented, misunderstood author or artist is a cherished character type that can be traced back to the poet Lord Byron (1788–1824) and observed in numerous portrayals of demented painters, musicians, and writers in television programs and other media. Consider this: Have you ever seen or read a story about a creative person who wasn’t somehow strange or crazy? The auteur theory originated in French film criticism of the 1950s, where it was initially theorized that auteurs could be drawn from the ranks of producers, directors, scriptwriters, actors, and other filmmaking personnel.1 However, the vast bulk of auteurist film criticism has been about directors: Alfred Hitchcock, John Ford, and Quentin Tarantino, among many others.

The Pleiades, also known as the Seven Sisters, is a famous star cluster located in the constellation of Taurus. It is made up of a group of seven bright stars that are visible to the naked eye in the night sky. The stars in the Pleiades cluster are relatively young, being only about 100 million years old, which is young in astronomical terms. The Pleiades cluster has been observed and admired by cultures all around the world for thousands of years. In Greek mythology, the Pleiades were seven sisters who were pursued by the hunter Orion. To protect them, Zeus transformed them into stars, forming the star cluster we see today. Different cultures have their own stories and legends associated with the Pleiades, making it a fascinating object of study for astronomers and a source of inspiration for artists and storytellers. The Pleiades cluster is often used as a test of eyesight, as people are challenged to count how many stars they can see with the naked eye. Most people can see six or seven stars, but those with particularly sharp vision may be able to see more. The Pleiades is also a popular target for amateur astronomers with telescopes, as the cluster reveals even more stars and details when viewed through a telescope. In addition to being a beautiful sight in the night sky, the Pleiades cluster also serves a practical purpose for astronomers. By studying the stars in the Pleiades, scientists can learn more about how stars form and evolve, as well as gain insights into the structure and composition of the Milky Way galaxy. The Pleiades cluster continues to be an important object of study for astronomers, both amateur and professional, and its beauty and significance will continue to capture the imaginations of people for generations to come. Matariki is the Maori name for the Pleiades star cluster. The Pleiades is a group of stars that can be seen in the night sky, and Matariki is a special time of year when the star cluster is visible in the sky. In Maori culture, Matariki is seen as the beginning of the Maori New Year, and it is a time to celebrate and give thanks for the past year and look forward to the year ahead. So basically, Matariki is related to the Pleiades because it is a special time of year when those stars are visible in the sky and it has cultural significance for the Maori people. The Pleiades star cluster is known by different names in various cultures around the world. Here are some of the names by which the Pleiades are referred to in different countries: 1. Maori culture in New Zealand and Polynesia: Matariki 2. Greek mythology: The Seven Sisters 3. Japan: Subaru 4. Native American tribes: The Dancers or The Little Eyes 5. Inca civilization: Collca 6. Ancient Persia: Parvin 7. India: Krittika 8. Aboriginal Australians: The Seven Sisters or Djulpan These different names reflect the diverse cultural significance and interpretations of the Pleiades cluster in various societies throughout history.

According to 〜によれば add to 増やす add up 合計する after a while しばらくして against the idea その考えに反対して all of a sudden 突然に all the time いつも all through the night 一晩中 along with 〜と一緒に apply for 〜に申し込む apply to 〜に適用する as a rule 原則として aside from 〜のほかに / 〜を除いて at any cost どんな犠牲を払っても at heart 心の底では at last ついに at least 少なくとも at length 詳細に at most 多くても at once すぐに / 一度に at the sight of 〜を見て at times 時々 attach to 〜に付ける / 〜に結びつける back up 支援する、バックアップする based on 〜に基づいて be absent from 〜を欠席している be against 反対する be based on 〜に基づいている be confident of 〜に自信がある be curious about 〜に好奇心を持つ be derived from 〜に由来する be filled with 〜で満たされている be full of 〜でいっぱいである be made up of 〜で構成されている be pleased with 〜に満足している be short of 不足している be similar to 〜に似ている because of 〜のせいで / 〜のおかげで before long まもなく break out 突発する break out in （急に）〜になる break up 解散する / 別れる bring out 引き出す / 公表する bring up 育てる / 持ち出す burst into 急に〜し始める by heart 暗記して by mistake 間違えて by now 今頃までには by the way ところで by way of 〜を通じて call for 要求する / 呼びかける call out 大声で呼ぶ carry on 続ける carry out 実行する、行う catch up with 〜に追いつく close to 〜に近い come across 偶然出会う / 見つける come into 〜に入る / 〜になる come out 出てくる / 公表される come up with 〜を思いつく compared with 〜と比べて depend on 〜に依存する do him good 彼に利益をもたらす drive at 意図する、狙う drop by 立ち寄る drop down 落ちる feel at home くつろぐ feel like doing 〜したい気分 feel sorry 気の毒に思う figure out 理解する find fault with 〜に文句をつける find out 知る、解明する for fear of 〜を恐れて for free 無料で for good 永遠に、完全に for once 一度だけ / 今回だけは for sale 売り物の for the best 最善のために get over 乗り越える get ready 準備する get rid of 〜を取り除く give away 与える、寄付する give in to 〜に屈する give off 放つ give out 配る / 発表する go ahead 続けて行う go down 下がる / 沈む hand in 提出する hand over 手渡す hang on 待つ / 頑張る hang up 受話器を置く hear from 〜から連絡をもらう help yourself 自由に取る / 自由にどうぞ hold back 控える hold on 待つ / 持ちこたえる hold up 停止させる、遅らせる in a jacket ジャケットを着て in a word 一言で言えば in advance 前もって in case 〜の場合に in common 共通して in detail 詳細に in hand 手元に in part 部分的に in place of 〜の代わりに in return 見返りに in terms of 〜の観点から in the distance 遠くに in the habit of 〜する習慣がある in the way 妨げになって instead of 〜の代わりに keep a secret 秘密を守る keep an eye on 見守る keep away from 近づかないようにする keep on Ving 〜し続ける keep pace with 〜に遅れずについていく keep the change お釣りはいりません keep track of 記録をつける / 追跡する keep up with 〜に遅れずについていく lay it down それを置く / 規定する less than 〜未満 / 〜より少ない look after 世話をする look back on 〜を振り返る look down on 〜を見下す look like 〜のように見える look up 調べる / 見上げる made up of 〜で構成されている major in 〜を専攻する make efforts 努力する make it out 理解する / 成し遂げる make out 見分ける、うまくいく make progress 進歩する make sense 理解できる、意味を成す make up your mind 決心する mind your own business 自分のことに集中しろ move on 次に進む no longer もはや〜ない not always 必ずしも〜でない nothing but ただ〜だけ on air 放送中 on behalf of 〜を代表して on business 仕事で on fire 火がついている on purpose わざと on the point 〜の点で on time 時間通りに one another お互いに out of the question 問題外で pass by 通り過ぎる pay attention 注意を払う play a part in 〜で役割を果たす pour out 注ぎ出す、溢れ出る prefer A to B BよりAを好む put away 片付ける put off 延期する put on 着る / 演じる　(weightで太る） put out 消す / 発表する reach for 手を伸ばす rely on 〜に頼る result in 【自動詞】結果として〜になる run it over それをひく / 読み返す run out of 〜を使い果たす run over ひいてしまう、走り回る see about 手配する / 調べる see off 見送る see through 見抜く / 見通す set out 出発する、始める set up 設置する / 設定する show off 自慢する、見せびらかす show up 現れる / 到着する sit up 座る、起き上がる speak up はっきり話す stand out 目立つ stand out 目立つ stand up for 〜を支持する suffer from 〜に苦しむ take away 持ち去る / 奪う take in 理解する、取り入れる take notice of 注意を払う take on 引き受ける / 挑む take out 取り出す / 持ち帰る take over 引き継ぐ、乗っ取る take part 参加する take place 起こる / 開催される take risks 危険を冒す take turns 交代で行う talk over 相談する tear off 引き裂く the second largest 二番目に大きい think better of 考え直す throw away 捨てる try on 試着する turn in 提出する turn off 消す / 切る turn on （スイッチを）入れる turn out 結果的に〜になる turn over ひっくり返す under control 制御下にある up to date 最新の with ease 容易に with regard to 〜に関して

Fall Forward, Spring Back It was the first Friday in November. Daylight Saving Time ended that Sunday. The fall parade was Sunday, too. "Remember to set your clocks back an hour on Saturday night," said Nola's teacher. "Spring forward, fall back," he added. Nola didn't pay much attention. She was always late for everything anyway. She figured she always would be. At dinner, though, she asked her mom if they could go to the parade. "I won't be here Sunday, but I'll bet Pablo could take you," Mom said. Nola looked at Pablo, her sleеру big brother. He nodded-and yawned. Saturday morning, their mom drove to the airport. Saturday night, Nola thought back to her teacher's words: "Spring forward, fall back." Or was it "Fall forward, spring back"? "Fall forward" sounded better, so she set her clock forward an hour. Just like that, it was past her bedtime. She was late again. "Time is not my friend," Nola sighed. The next morning when Nola woke, her clock said 10:15. The parade began at ten o'clock. Nola and Pablo ran to the parade route, but there was no parade. It seemed they'd missed the whole thing. They turned and headed home. On their way back, they spotted their neighbor Frank. He was climbing around next to an eight-foot pumpkin float. "The early bird gets the worm!" he shouted, then asked for their help. They worked on his float for more than an hour. Then Frank clapped his hands. "Let's get to that parade!" he cried. Nola and Pablo blinked in confusion. "Wait a minute," Nola said. "Wasn't the parade at ten o'clock today?" she asked. "Was at ten?" Frank asked. "Will be at ten is more like it!" he cried. He thrust his watch toward them. It said 9:30. Nola laughed for joy. She had jumped forward an hour when everybody else had jumped back. That meant she and Pablo were now two hours ahead of everybody else. For once in their lives, they were early! "The early bird gets the worm!" Nola cried. Frank nodded. "You've got it, missy," he said. Pablo yawned. It was all a big mistake, but it turned out to be a great mistake. It's why they rode in the parade that year, and every year since. It's also why, from that day on, Nola has been early for everything. Two minutes early, though-not two hours.

THE STRATEGIC PLAN OF RICHARD BLAND COLLEGE OF WILLIAM & MARY 2020-2025 “The dogmas of the quiet past are inadequate to the stormy present. The occasion is piled high with difficulty, and we must rise with the occasion. As our case is new, so we must think anew and act anew.” – Abraham Lincoln What is the role of a selective, two-year, residential, liberal arts transfer institution within the higher education landscape of the Commonwealth of Virginia? This is a key question that must be answered to ensure the success of Richard Bland College (RBC) and the constituency that the College serves. The 2020 RBC strategic plan’s primary objective is to answer that very question so that the College, the community and the Commonwealth can engage successfully within this identity and purpose to the benefit of all. RBC has long been identified as the hidden gem of higher education in Virginia. The hidden adjective is based both on its relative obscurity—few are aware of RBC outside the Tri-Cities region—and its rural setting featuring 750+ acres of wetlands, bucolic forest, and the state’s oldest and largest pecan grove. Additionally, on average, a student of Richard Bland College travels a mere 36 miles to campus. This keeps the knowledge of RBC in a tightly focused radius. The gem moniker refers both to the College’s reputation for excellence and the undeniable sensation that the campus often elicits in its students, visitors, faculty and staff, the feeling of a warm and palpable embrace of care, compassion and support. That sensation is where we start. According the State Council of Higher Education for Virginia (SCHEV), 99% of the 11.5 million new jobs created since the great recession require workers to have more than a high-school education. Students with a bachelor’s degree have an earning potential almost double that of people with only a high school education, and yet only 17% of residents in the Petersburg area have a bachelor’s degree, 15% below the national average. The obstacles in the way of education have been exhaustively researched and include financial challenges, academic under-preparedness, low self-esteem, slow college assimilation and immature levels of self-efficacy. To combat this growing problem, Richard Bland College initiated a pilot program to determine the viability of a data-driven approach to improve retention and graduation rates. The program ultimately effected a cultural, organizational and operational shift at RBC, resulting in a personalized model of student support, the Exceptional Student Experience (ESE@RBC). Originally many of the practices that RBC used as the basis of ESE@RBC were adapted from the four key principles found in the American Association of Community Colleges (AACC) Pathways Project: 1) map pathways to student end goals; 2) help students choose and enter a program pathway; 3) keep students on path; and 4) ensure that students are learning. Unfortunately, limited resources made it necessary to skip some primary elements of guided pathways and instead to focus on a specific, high-priority project that was immediately available for implementation, dedicated student support. This strategic framework reimagines the way that RBC serves students, faculty and staff within the context of our existing culture, the principles of guided pathways and a hybrid work-college experience. Rather than thinking of a two-year college as a pipeline to a four-year university, this vision describes a more expansive menu of well-defined pathways to high-demand fields, all radiating from a curriculum constructed around the development of soft skills that define the liberal arts experience: critical thinking, written communication, analytical reasoning, civic engagement and oral communication. Furthermore, the impact of meaningful work is a resonating theme, providing avenues to participate in career-focused internships and jobs that develop important life & work skills, confidence, and character. Richard Bland has tested its entrepreneurial mettle and its capacity for transformation in recent years. The College was among a select few Competency-Based Education sites established by the U.S. Department of Education. We were ahead of the curve using predictive analytics to improve student retention and success rates, and online enrollment now makes up nearly 20 percent of course offerings. It may be counter-intuitive, but these and other deep-level institutional changes still to come will ensure that Richard Bland College remains true to its original mission. We prepare our students for a lifetime of endless potential.

Related quizzes

Related quizzes