ANALYSIS OF SHORT FILMS

 

Yeah, The Boys

 

Yeah, The Boys is a short story film about a few boys dancing while partying. In my opinion it’s a very weird movie which doesn’t have much to say. In the beginning of the film, they show a couple together inside a car and suddenly a group boys come and take the boy with them and the boy goes, leaving his girlfriend in the car. In the next scene the guy is drinking and having fun with the group and taking a moment the guy starts texting his girlfriend and then the guys take the phone away starts doing their weird, annoying dance and all the other guys joins him and the guy joins as well. I don’t exactly understand what is going on in the film as it is very random. In the whole movie they are dancing. In the end moment the guy was sleeping on the ground outside and the rest, drunk and also probably sleeping or with a tired body, were trying to pick the guy from the ground and take him inside or at least in the chair started sleep dancing like possessed humans. I don’t know what the film is trying to say to the viewers, but I can only say one thing, and that is this is a story of a gang of boys or more like close friends having fun.




A lien

This movie shows about the situation in America with all the immigrants. We see in the beginning that there is a small family with the mother being American and the father being a person whose family shifted to America decades ago, are now trying to get their daughter a green card which is a Permanent Resident Card, making her a citizen of America, but during the process the man and his daughter gets caught by the police claiming him to be an immigrant. The mother rushes to them and tries to save the daughter as the man doesn’t have an American passport yet. After arguing a lot, she is able to save the daughter. This short film shows how difficult it is for an immigrant to gain citizenship in America. The man who has been in America since his young childhood days, can only call America his homeland even though his parents or grandparents migrated from a different place. This shows the difficulty of immigrants having nowhere to stay or peacefully call a place home. The place they genetically belong to is unknown to them as they have never been there and the place they grew up in is trying to push them out of the land calling them outsiders even though that is the only place they are familiar with and have memories and emotions connected to the place. This short story shows the difficulty of the immigrants who doesn’t even know about their origin, they are just grown in a place their parents shifted to.

 

The Holy Spirit

This short story shows about patriarchy and gender roles. This shows about society wanting girls to act like girls and boys act like boys. In this film there is a young girl who is about to enter her puberty. As she didn't get her periods, which is most likely she was going to get it a bit late than the other girls (while this is completely normal) the rest of the family thinks she is sick and decides to take her to a pujari or priest. While the girl who chooses to act like a boy is frustrated after finding out the real reason they came to their uncle's house. She refuses to dress like a girl which is required for the ritual they are going to do. This story totally shows the reality of an Indian society where girls are expected to act like "girls" and be decent while men can act whatever way they want. In the scene where they were about to start their journey to the temple and the aunt gives the girl a doll saying after the ritual she will start looking pretty just like the doll with long hair and wrapped in saree, this scene shows how Indian society sees girls, it requires the girls to be feminine, gentle, kind, wearing cloths meant for females like sarees and churidars and having long hair, which is totally irrelevant. While on the way the girl really needed to use the washroom and the mother denied her telling her to wait till, they reach the destination as there were no toilets on the way. As she keeps insisting on doing it in the open, her cousin brother keeps annoying her, which makes her mad and she starts beating him. The mother stops the girl and scolds the boy not to annoy her and the uncle scolds the mother, instead of teaching manners to his boy, telling her brothers annoy the sisters it's normal thing, and tells her to stop her daughter. After this he gets out of the car and pisses out in the open, which is REALLY annoying, as a girl or woman is not supposed to do it in the open but a so called "man" can do it. After reaching the place the priest started explaining all the illogical thing they can think of like how she’s possessed by an old man from ages ago and they will remove the man’s soul and she will become normal. So, a girl getting her period late is being sick but the society speaking of all the illogical stuff is normal. Also, during the ritual, the priest, tells the girl to take her ancestor’s blessing which is a clay balls with odd face drawn in it; it is an insult to the ancestors with such a weirdly made doll/sculpture representing them. And after the ritual they wait for crows to eat the food they offered and in the end moment she got her periods in the car during their return journey and she gets so annoyed by all their stupidity she rushes out and pisses in the open, showing revolutionary behavior

 

 

Analysis of race/caste in context of "Get Out"

 

The movie 'Get Out' shows a different perspective of racism. In the movie, it is shown how the rich white family wanted to use the black man as something in human possession, like the man has no free will. The white family in the movie thinks that they are superior in possession, the blacks as a race are strong and has a good physical strength compared to the whites. And so, the family wanted to possess the body of the blacks and use it as their own body, which is shown in the movie, it is shown that they auction for the black man and transfer their brain in the body of the black person without their will for it. The girl who belongs to the rich white family lures the black person to their house by having a deep connection with them or makes them feel so and then they are introduced to the whole family. When he black guy finally realizes something is not right, he finally tries to escape but is caught. When being held captive, he finds out the truth about the family, that is the dad being a neurosurgeon replaces the captive's brain with the one who can pay him the highest amount within their family for that particular person. The movie portrays how rich people wants to own whatever they want and the one in minority or lower status cannot do much about it, for example the blacks are kind of a minority compared to the whites in America, and they are stereotyped to be the bad guys from the white people's perspective and can make the whole nation turn against them while the whites might be the actual villains. This shows how stereotypes can make a person suspicious of a person of that particular group instead of looking from a logical point of view, where the other person might be on the wrong. In a scene from the movie, when the main couple is going to girl's parental house they are involved in an accident where the car gets hit by a creature likely to be a deer ( according to the movie), when the police arrives they enquire the man who is black to show his ID even though the one driving was the white lady; this scene shows how  one might be punished or given the blame because of his/ her social position or race. In the society, groups based on culture or religion are given different status based on certain aspects such as looks, minority or any other qualities. Get Out portrays the racism in a different way; the whites are shown as the bad guys as they believe that they have better intellect than the blacks and the blacks have a better physical body and so they try to possess the black body with their so called "genius" brain and have a perfect human body in possession. The idea of being perfect can also cause societal hate and slowly the idea turns into stereotypes that people of certain caste or group are "bad people" or "good people"; that they are good at certain aspects and bad other aspects; likes or dislikes certain stuff, etc. It is not easy to make everyone believe that racism or caste discrimination is not certainly the best way to treat someone with lower caste or status, as not everyone will agree to it and it is difficult to change a belief that is being followed since a long time. However, it is possible to teach the young ones to not repeat what the old has done for a long time.

An Understanding of "Is Google Making Us Stupid?" by Nicholas Carr

 

Nicholas Carr, in the article Is Google Making Us Stupid? points out how we are losing our ability to think and that people are lacking patience to read a long article and prefer short statements or points. Many people also prefer not use their own thinking capacity and rely on artificial intelligence to do the work for them. People try to skim through paragraphs instead reading and actually understanding information. The use of internet is making our attention span lesser and lesser, leading us to get distracted in a small amount of time. Also, according to Friedrich Nietzsche, typing instead of writing makes our style of writing different, like using new idioms. The German media scholar Friedrich A. Kittler said that Nietzsche’s prose changed from arguments to aphorism, from thoughts to puns, from rhetoric to telegram style. He is trying to say that our style of prose slowly changes when we use more of the modern machines. We can see that now-a-days people use short forms of words which look like a completely new word. The short versions of words used in a continuous way makes the text look like a completely different language which the old people might not understand, personally it is difficult for me to read those words as I am not used those short versions of words. I also noticed that, people using the AI more and more makes its style of prose more and more human like while the AI images people make is getting more and more real is scary. It’s getting difficult to separate what is AI and what is real.

In the article, it is mentioned that we people adapt to the technologies we use in our daily lives, such as the mechanical clock. We try to avoid our biological clock and go according to the mechanical clock, i.e., we eat food according to the time of the day like breakfast, lunch and dinner instead of eating when we are actually hungry sleeping when the clock tells us to sleep and waking according to out alarm instead of actually doing what our body wants. Doing so to some extent makes our body tired, like waking up feeling tired, not feeling hungry when it’s time to eat or not feeling the urge to eat, maybe feeling hungry in a time which is not meant for eating. The society as a whole is being forced to adapt to such a lifestyle as we are told to reach for work at a certain time. We can also take the example of the calculator; I think many people including me has lost the ability to calculate large numbers and use the calculator on our phones for any requirement of calculation. People used to remember 10-digit phone numbers during the time of telephones and now people can’t even remember more than two phone numbers because it is already saved in our phones and a few clicks dials to person we want to call.

 

A Famous Graphic Designer - David Carson

 

David Carson is a prominent contemporary graphic designer and art director. His unconventional and experimental graphic style, revolutionized graphic designing scene in America in the 1990s. Carson was the art director of the magazine Ray Gun. He introduced innovative typographies and layout. He claimed to be the godfather of Grunge typography which he perpetually used in his magazine issues. 

 

 David Carson

 

David Carson was born on 8th September, 1955, in Corpus Christi, Texas. He went to study sociology from San Diego State University and graduated with a Bachelor of Arts degree. He touched upon graphic designing briefly while attending a two-week commercial designing class at the University of Arizona, in 1980. He attended the Oregon College of Commercial Art to study graphic designing and did a three-week workshop in Switzerland as part of his degree. He   got a teaching job in a Californian high school and he taught there for several years. One of his many talents include professional surfing and, in the year 1989, he was ranked as the 9^th best surfer in the world.

Surf Film Festival Poster

David Carson, in his later life, began his journey for graphic designing. In the beginning he worked for a magazine, Self and Musician, covering surfers’ interests. He also worked for the Transworld Skateboarding magazine which paved way for his experimental designing. In 1984, David became the art director for the magazine and updated its design and layout until his tenure ended. He developed a signature style with the use of unconventional ‘dirty’ type photographic techniques. In the year 1987, he lent his expertise to the extension of the magazine Transworld Skateboarding. He got a job as the art director for the magazine Beach Culture, which ceased to exist only after six issues. Carson made a name for himself as his designs were recognized for his unique style and typography which consequently made him earn over a hundred design awards. The publisher of the alternative-music magazine Ray Gun, saw his true potential as a graphic designer and offered him a job in the year 1992. David Carson tripled the magazine's circulation and attracted a wide readership. To keep the spirit of the magazine alive he notoriously published a tiresome interview with Bryan Ferry in Zapf Dingbats (symbol) font.

	Grunge design by David Carson

 

Ray Gun Cover by David Carson

    

                                                                                                    

Besides, Mr. Carson also worked in branding projects and made designs for surfboards and potato chips. He also worked for popular companies such as Nike, Pepsi, Microsoft, Levi Strauss, MTV, AT&T, Sony. In these projects, he used his unique visual language to mainstream advertising, often pushing the boundaries of corporate design norms. He also worked for clients such as Budweiser, Giorgio Armani, American Airlines, and NBC. He even worked for various publications, and even the Atlanta Olympic Committee. Eventually he established his own design studio and, till date, continues to work on a mix of commercial, cultural and artistic projects worldwide, often giving lectures and workshops on visual communication worldwide.

The End Of Print

 

David Carson’s design style characterized by the chaotic typography and pattern it embodies, disarray of photos overlapping each other, which seems meaningless at the surface but it holds a larger picture. He turned “bad design” elements like weird typography and distressed graphics into high art.  Carson’s innovative style of visual communication attracted new readers but it also repelled many who   considered his work misleading. David Carson influenced many new graphic designers with his design trends like Grunge, minimalism and using mixed media. He introduced a level experimentalism which liberated modern graphic designers from the traditional design rules.

 

 

 

 

 Design by David Carson

 

 

 

 

David Carson has a unique style which defies regular design norms, he prioritizes emotional impact and personal interpretation over strict legibility. While traditional graphic design often puts clarity and structure above everything else- Mr. Carson flips that idea on its head. His work represents ´rebellion´, not only against traditional design but also against predictability and restraint. His design reflects a kind of raw honesty, trying to speak out emotionally before speaking intellectually. Communication is more than clarity- it is about mood, tone and attitude. It seems like he is trying to suggest that, how something is said, can be as meaningful as what is said. In a world where perfection, balance and cleanliness is prioritized, David Carson’s work tells us that imperfection can be powerful, and that chaos is not a flaw but a form of freedom.

 

 

 

A visual learner's perspective on the book "Ways of Seeing"

 The book  "Ways of Seeing" by John Berger, published in 1972, is one of the most influential and accessible texts in the field of visual culture. This book let's the reader look at art from a different perspective. 

In this book he mentions about how seeing comes before we even learn the words. However, Berger's central arguement is how we perceive visual images– whether paintings, advertisement or photographs. In the beginning of the book consists of dismantling the notion of "innocent" or "pure" vision. He asserts that all the images are seen through the perspective of context, history and social power structure.

John Berger is particularly  incisive of his analysis of "male gaze" in European oil painting, he explores, how the female was constructed not for female empowerment but for male pleasure. Berger distinguishes between "naked" and "nude", saying that the nude is a cultural product, objectifying women by making them the passive subjects of male desire.

Another theme in the book "Ways of Seeing" is Berger's critique in traditional oil painting as a reflection of bourgeois property relations. He explains that, during the European Renaissance and beyond oil paintings were usually used to display wealth and possession – not just in the depiction of objects but in the ownership and collection of art itself. The medium became a means of affirming social status and power.

Berger also contrasts traditional art with contemporary advertising, noting how the function of images has shifted in capitalist society. While oil painting celebrated what the bourgeoisie already possessed, modern publicity images cultivate envy and desire for what one lacks. In both cases, images serve to reinforce economic structures — whether by displaying accumulated wealth or by stimulating consumerism. This analysis of visual culture as a tool of ideology is a vital contribution to the field of visual studies, which often examines how images shape and reflect social hierarchies. 

Formally, the book mirrors it's theoretical commitments. It combines visual essays and written ones challenging the conventional separation between word and image. Berger encourages readers to interpret the visual material for themselves, rather than relying solely on textual explanation.

The book is both liberating and unsettling. It liberates because it insists that we all have the capacity to analyse visual culture critically. It is unsettling because it forces us to confront the ways in which our own ways of seeing are conditioned by systems of power — be they patriarchal, capitalist, or colonial. Berger’s work is not just about art history; it is about consciousness and ideology, about questioning what we take for granted when we look at an image.

In the field of visual studies, the book "Ways of Seeing" remains a landmark text. It's clear prose, accessible format and radical insights make it an ideal entry point for anyone interested in the politics of images. Berger’s insistence that seeing is not a passive act, but one shaped by power and ideology, continues to challenge and inspire. This book is not only a tool for academic analysis but also a call to cultivate a more conscious, critical, and engaged mode of looking at the world.