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Read Ebook {PDF EPUB} The Strange One by Bernie Morris Toni Morrison – Strangers analysis. “I try to understand the intensity of my chagrin, and why I am missing a woman I spoke to for fifteen minutes…Now she is gone, taking away with her my good opinion of myself, which, of course, is unforgivable. Isn’t that the kind of thing that we fear strangers will do? Disturb. Betray. Prove they are not like us. that is why it is so hard to know what to do with them” (77). Morrison’s short essay, Strangers, explores the preconceived notions that people make of others, and questions why this is. The narrator meets an old woman by a river one day and they instantly connect. She is old and wise, and he grows to be very fond of her in the fraction of a day they spend together. When the man returns the following day to find that the woman is not there, he is very disappointed and begins to think of the way people judge others. He had judged the woman a bit at first because she appeared strange and different. However, once the narrator got to know the woman, he found himself feeling a strong attachment to her. Morrison appeals to pathos by giving the reader images of different kinds of people, making the reader think of the snap judgements they would typically make about the people in the them. He gives a sense of self- awareness to the reader, and potentially a sense of guilt. Morrison also appeals to logos by assuming that the reader will judge the woman in the story at first, or the people in the images, because the reader in fact does. Although his characters are easy to judge, as most people are, Morrison makes his reader think of why these judgements are bad and incorrect, and encourages them to strive to be better. The Strange One by Bernie Morris. It could have been like this - we don't really know. Otherwise, where did our humanity, such as it is, actually come from? Tag This Book. This Book Has Been Tagged. Our Recommendation. Notify Me When The Price. Log In to track this book on eReaderIQ. Track These Authors. Log In to track Bernie Morris on eReaderIQ. Log In to track David Samson on eReaderIQ. Price Summary. We started tracking this book on February 16, 2018. This book was £1.20 when we started tracking it. The price of this book has changed 3 times in the past 1,195 days. The current price of this book is £0.99 last checked one day ago. This lowest price this book has been offered at in the past year is FREE. The lowest price to date was FREE last reached on March 13, 2021. This book has been FREE one time since we started tracking it. The highest price to date was £1.20 last reached on February 16, 2018. This book has been £1.20 one time since we started tracking it. Genres. Additional Info. Text-to-Speech: Enabled Lending: Disabled Print Length: 11 Pages File Size: 732 KB. We last verified the price of this book about one day ago. 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We use cookies to give you a fabulous customer experience and to remember some of your browsing preferences between sessions. By continuing to use our site we will assume you are happy to receive all cookies. To see more, click here and scroll to the "Cookies" section. The Strange Ones. A man and a boy, traveling to an unknown destination, find respite in a motel swimming pool. On the surface all seems normal, but nothing is what it seems to be. The Strange Ones. The Strange Ones. The Strange Ones should be frustrating to watch. It denies basic, conventional pleasures—backstory, plot, resolution, certainty—instead thrusting you straight into the seemingly mundane odyssey of two unnamed travelers. The dialogue between the two young men, stranded by a broken- down car, is perfunctory, and does little to shed light on who they are and why they are traveling together. They arrive at a motel manned by a lone woman, and at the end leave with little of consequence having occurred. And yet, AND YET— The Strange Ones is a masterful short film. The directors, Lauren Wolkstein and Christopher Radcliff exhibit such exquisite control of tone, and imbue the mundanity with such unplaceable dread, that the uncertainty becomes an alluring feature instead of a bug, as subtle nuances undermine your understanding of the situation and hint at a darkness just below the surface. An older film by the standards of this site, having premiered on the festival circuit in 2011, The Strange Ones was adapted as the duo’s debut feature film last year. In a review of the full-length, critic David Edelstein wrote something smart, which applies equally well to the short, noting it is “a perfect demonstration of how the craft of storytelling is also the craft of withholding”. The Strange Ones is hard to classify, but I would term it a thriller despite it’s notable lack of chases, or even antagonists. The way the script written by Radcliff and Wolkstein slowly dribbles out information, and the way that information is supported, or undercut, by the careful performances of its leads David Call and Tobias Campbell, continually rewrites the meaning of the film—it’s a high-wire act that could feel manipulative, or simply fall flat at any time, yet the complications lead to multiple potential interpretations, each with high stakes. By consciously denying the viewer a glimpse of objective truth, the film skirts frustration, but instead delivers a challenging experience that is enjoyable to contemplate. There are a lot of tips here for aspiring filmmakers to crib, the edit being one of the foremost in my mind. The challenge with these kind of deliberate films that establish so much via mood, is to keep audiences engaged. 14min is long for a short film, and despite the lack of action, my attention never flagged. The film is blocked well, with a relatively high number of shots, and as such no shot is required to linger. While never verging into being busy, each cut routinely occurs a beat or two quicker than I expected, maintaining a sense of propulsion. Additionally nearly every shot has action within it, sustaining momentum—no scenic establishing shots or unnecessary cutaways. While few shots are sophisticated in their motion, the DP, Drew Innis employs frequent zooms that lend flavor to static compositions, and contribute to the thriller vibe. Radcliff and Wolkstein met as students in Columbia University’s Grad Film program, but it was not until the completion of their respective thesis films that they started working together. Already emerging stars via their student shorts, Stranger and the SXSW-winning Cigarette Candy respectively, the duo first joined up on The Strange Ones, and it has been a fruitful partnership, with both becoming favorites of the American indie scene in the intervening years. Radcliff’s directing followup, Jonathan’s Chest, played Sundance, as did Wolkstein’s marvelous short, Social Butterfly. Radcliff edited that film, and Wolkstein’s entry in the Collective: Unconscious anthology film as well. The Strange Ones short also happened to be the birth of another important partnership for both filmmakers, as they teamed up with emerging production company and distributor Ad Astra for the first time. The french company has proven a key collaborator, producing both Radcliff and Wolkstein’s followup shorts as well as the feature, which debuted at SXSW 2017. The feature is worth your time, especially if this short catches your fancy. Released theatrically in the US earlier this year, it is available on most VOD platforms, as well as on the US streaming service Hulu. For French viewers the film will premiere theatrically next week, so follow the project on Facebook for the latest news regarding that! Guys in Uniform, and One More in a White Suit. He’s strange, for sure: a cadet in a Southern military academy, he has a porn star name (Jocko de Paris), likes to lounge around in silk dressing gowns, puffs on his cigarettes through a Holly Golightly holder and in his spare time enjoys sadistically goading his fellow students into paddling one another with brooms or (preferably) beating one another into bloody pulps. Jocko would be a startling figure in any context; that he pops up in a Hollywood film from 1957, played by Ben Gazzara in his movie debut, seems almost unaccountable. “The Strange One” was the first of only two films directed by Jack Garfein, a respected exponent of Method acting who taught at the Actors Studio.

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