By Anne Ursu
A beautiful modern day fairy story from acclaimed writer Anne Ursu
as soon as upon a time, Hazel and Jack have been most sensible acquaintances. yet that was once ahead of he stopped chatting with her and disappeared right into a wooded area with a mysterious girl made up of ice. Now it's as much as Hazel to move in after him. encouraged via Hans Christian Andersen's "The Snow Queen," Breadcrumbs is a narrative of the fight to carry on, and the issues we depart at the back of.
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Extra resources for Breadcrumbs
This is the case whether the films are fictional or factual. However, there is a grey area regarding the incorporation of news footage and reporting when used in documentary films, as noted below. 62 However, aside from this particular focus, and despite the increasing tendency to note and include film within the scope of research and teaching at the margins, there is still scepticism that somehow watching films offers little more than distraction. Indeed, given the contested nature of war – it is, after all the means to which politically motivated groups turn when other avenues for making decisions and settling issues run out – there is good reason to wonder why and how film might offer any useful routes to analysis and understanding.
Introduction 13 chapter will conclude with a study of Black Hawk Down by Ridley Scott, winner of two Oscars and by an Oscar-winning director, one of the most commercially successful war-related films ever, on US operations in Somalia in the early 1990s, which is a locus classicus for understanding the issues involved in representing armed conflict through moving images. This last film provides a solid foundation for studying both the interaction between fictional and non-fictional modes – and, indeed, their conflation, and the salience of moving images regarding legitimacy in armed conflict.
28 Moving images and meaning Strategies of understanding The nature of the medium, with its thirst for images, action and emotional engagement, can significantly limit the ability of film to capture or convey war on screen. Similarly, the scale and scope of war means that it cannot be reflected as a whole. These two features taken together mean that certain aspects of war are better suited than others to filmic treatment: the experience of warfare, whether in combat or away from it, as known and shown with reference to an individual or an identifiable small group of them offers far easier and more compelling material for the moving-image medium than, say, strategy, which is, in its essence, a reflective and conceptual field, and in its practice, usually so broad that depicting the elements at work is likely to be unwieldy or incoherent as such.