(The LGM powers-that-be asked me to adapt something that I wrote on Facebook about Scott.) I only knew Scott via social media and email, and not terribly well. Like everyone else here, I admired his wit and humor; I looked forward to everything that he...
visual rhetoric
I don't want to steal anyone's thunder or appear to be piling on, but one aspect of Hugo Schyzer's "confession" strikes me as especially problematic, especially at a time in.
(This is yet another one of those visual rhetoric posts that's born of this frighteningly imminent course.) You'll recall that according to the first post, Van Patten made Will a.
(This is another one of those visual rhetoric posts that's born of this upcoming course ... which now has its own website that's only a demo at the moment so don't judge.) To recap: in the first post, I demonstrated how Van Patten turned Will...
(Clearly another installment in this never-ending series.) My previous post, on "The Wheel," discussed in great detail the relationship of Don Draper to his past via the fading photographs of.
(Being the first of many of these I'll be producing this summer.) With summer here and only some online teaching duties to attend to—meaning that I can put the 2½ hours.
Most of what I read about the latest Mad Men ("The Other Woman") focused on Joan's decision to accept Pete's indecent proposal—and rightly so—but the title of the episode basically demands the audience answer the question "Who's the woman, and who's the other one?" As far as I can...
The latest Mad Men ("The Other Woman") presented me with more to think about than I can currently wrap my head around, but so too did the latest Games of Thrones ("Blackwater"),.
(It goes without saying that this is another one of those posts.) First of all, let me begin with what I won't be talking about: race. It's clearly going to be.
(Another one of those now-more-conveniently-located posts, only significantly longer than usual because I'm squeezing three episodes into one three hour course. So apologies for the length in advance.) One of the core assumptions of the way I teach visual rhetoric is that directors often know more...
My wife claims that because I pay so little attention to lips when watching television—the deaf love nothing more than a tolerant spouse and a volume button—I end up pausing.
Same as I did with Batman Begins and The Dark Knight (and continue to do to Mad Men) (much more of which is forthcoming) only this time about Hayao Miyazaki's.