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angrycollectordaze-me-blog · 6 years ago

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Essay代写：British and Korean mystery series

下面为大家整理一篇优秀的essay代写范��- British and Korean mystery series，供大家参考学习，这篇论文讨论了英国与韩国的推理电视剧。《神探夏洛克》和《特殊案件专案组TEN2》分别是英国和韩国的推理电视剧，虽都有人物的差异化设计，但英剧《神探夏洛克》中人物的差异化设计是为了更好的突出夏洛克，强调个人能力，华生虽时时在旁却只是起到辅助的作用。而《特殊案件专案组TEN2》突出的是团队的力量，差异化的人物设计让TEN小组中的每个人都成为不可或缺的存在。

Reasoning TV series, is the logic and reasoning as the main characteristics of the TV series, the story of the entry, twists and turns, ups and downs, in the complicated and confusing complex environment and fragmented clues to restore the truth of the case, quite loved by young men and women, a large number of brain cells after sacrifice, and the audience is never bored.

When it comes to reasoning, Sherlock Holmes, the famous "consulting detective" who lives at 221 B Baker Street in London, is a talented fictional detective created by the British detective novelist Sir Arthur Conan Doyle at the end of the 19th century. Sherlock, in this case, is produced by the BBC and takes the detective directly from the 19th century to the bustling metropolis of the 21st century, where he blends elements of modern culture into a series of unusual adventures with his good friend John h. Watson. Different from the adaptation of sherlock, TEN is an original work published by Korea OCN television, which depicts the detective work of the criminal investigation team in charge of solving less than 10% of major criminal cases. The former is from the United Kingdom in Europe and the United States, while the latter is from South Korea in Asia. Taking sherlock and TEN2 as examples, what are the similarities and differences of reasoning between Britain and South Korea?

"Sherlock" and "special cases TEN2" both have their own unique designs for differentiating personalities.

The two main characters in sherlock, sherlock and Watson, are literally separated by a galaxy of personalities. Shylock is confident and aloof, acute good observation, memory is amazing, however unworldly, with reality antipathetic, with nicotine patch to keep thinking excitement, playing the violin to help think, is a complete eccentric. But Watson is steady and gentle, treats people friendly, the heavy sentiment heavy righteousness, such positive person sets up in front of sherlock actually appears very... Mediocrity. When bizarre cases occur, sherlock is always seen wearing a long black woolen overcoat with the collar sticking up, while Watson, who has noticed what he is wearing? In the last episode of the third season, sherlock, surrounded by the police, takes a clean shot at magnussen even though he knows he will be punished for it. And the audience comes back from the shock and says, oh, this is sherlock!

"Special case task force TEN2" is a TEN team made up of four people to investigate various bizarre cases. The four members also have their own characteristics in personality and ability, so they have their own nickname in the TV series. "The monster that catches a monster" lv zhixun, sober reason is some again cold and inhuman, in order to catch a murderer to disregard cost, it is the workaholic that one mind immerses in the case. "Lie detector" south ruili, good at observation and has a keen psychological analysis ability, is a kind and simple and helpful girl. "White snake" white snake tin, experienced, even known as "walking criminal investigation walking dictionary", seems to be a slovenly untidy uncle, but has a keen sense of smell and intuition, as the snake quickly grasp the key breakthrough case. "Public phone" pu minhao, justice blood of the new Interpol, persistent, all aspects of the ability to have, as the group is responsible for all kinds of errands, serious and positive, eager to be recognized.

Although there are different characters in sherlock and TEN2, the different characters in the British drama sherlock are designed to better highlight sherlock and emphasize personal ability. Although Watson is always around, he just plays an auxiliary role. While special case task force TEN2 highlights the power of the team, the differentiated character design makes everyone in TEN's team indispensable.

From beginning to end will find that after the opera, sherlock, and the special case astonished TEN2, although each set is composed of separate cases, but at the end of the piece will appear a ultimate case will entire series together, and the part of the case clues or hints have been buried in the previous episode of early, had to admire the wisdom of the writers. Magnussen is the ultimate case in sherlock. Although he didn't officially appear in the third episode, he did so in the first one: it was magnussen who was behind Watson's mysterious capture and near-death experience. But why did he attack Watson? After watching the first episode, magnussen's doubts were finally answered in the third one. He just wanted to prove that Watson is sherlock's weak point. The criminal F, who was mentioned repeatedly in TEN2, ran from the first episode to the last one. As for why the high-energy criminal F could not be arrested at the end of the episode, of course, it was to prepare for the next season.

Sherlock on the narrative style characteristics, narrative time is Syria's flashback interleave appear alternately, narrative space and do not provide craftsmanship, not only have a few cases the final link in a bit at the same time, the case is more s real space and thinking space stochastic jump, Shylock in the third gun using only two seconds after waking hours into the memory palace, accurately find a way to save, even the fallen direction of careful thinking, surprise. The rapid transformation of thinking space and real space, the rhythm is compact, dizzying. He pays great attention to the arrangement of clues, and is good at creating unexpected plot points, which is beyond the conventional thinking of the audience and makes people confused and surprised. Moriarty shot himself, sherlock left a message and fell, Watson married, moriarty resurrected... Wait, it's all jaw-dropping.

The biggest feature of the special case team TEN2 in narration is that even if it is reversed, the team of four is constantly finding clues and through the process of rigorous analysis, influencing the audio-visual of the audience and guiding the audience's thinking. And just when the audience clapped their thighs and suddenly realized: "the original murderer is him!" When, 4 people group discovered new clue to get new answer again however... No one can refuse to accept a valid statement. In short, a case without a twists and turns of the reversal of the reversal of the reversal is not possible to end the case! In cattle in the murder of an island, as the husband of the dead will initially be suspect in groups of four, and then all the clues are pointing to the husband's sister-assistant, be ready to catch in groups of four female assistant justice when she was already dead, then leads to another a female assistant, take a big circle back, however, found that the real murderer or the dead husband. After being repeatedly played in the drama, whether to feel their IQ was provoked?

Both the British drama sherlock and the Korean drama TEN2 have their own advantages and characteristics in character setting and narrative style. After watching these two divine dramas, I can't help feeling anxious about our domestic mystery dramas. However, it seems that only the popular bao zheng series and song shijie series are familiar to everyone. In recent years, except for the Hong Kong police drama occasionally involved, there is almost no shadow of the mystery drama, mystery drama where? Can't we a great country make a decent mystery play?

Play this piece of short board in order to save the domestic reasoning, we must be good at learning, whether the English play sherlock or Korean dramas "special cases astonished TEN2" where there are many worthy of our reference and study, both outstanding personal ability and emphasize teamwork, character set is must in have their own characteristics, the audience was watching a TV show, the first to attract his may not be a drama, but some of the figures, so it is very important to character set. Had the person with distinct individual character to set, had a pair of skeleton then, go filling his flesh and blood with wonderful and rich gut even, just be a complete TV play. However, only these are far from enough, to be decorated with a unique narrative style, so as to get a good TV series.

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wcwnitrogirls-blog · 7 years ago

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Production Music

At this time's practitioners of what we once known as "trendy" music are discovering themselves to be all of the sudden alone. A bewildering backlash is ready in opposition to any music making that requires the disciplines and instruments of research for its genesis. Tales now flow into that amplify and magnify this troublesome development. It as soon as was that one could not even approach a significant music faculty within the US unless effectively prepared to bear the commandments and tenets of serialism. When one hears now of professors shamelessly studying scores of Respighi as a way to extract the magic of their mass viewers attraction, we all know there is a crisis.

This disaster exists within the perceptions of even essentially the most educated musicians. Composers as we speak appear to be hiding from sure troublesome truths regarding the artistic process. They've deserted their search for the tools that can help them create actually hanging and challenging listening experiences. I believe that's as a result of they're confused about many notions in modern music making!

First, let's examine the attitudes which can be wanted, but which have been deserted, for the development of particular disciplines within the creation of a long-lasting modern music. This music that we will and must create gives a crucible during which the magic inside our souls is brewed, and it is this that frames the templates that guide our very evolution in creative thought. It is this generative course of that had its flowering in the early Fifties. By the Nineteen Sixties, many emerging musicians had develop into enamored of the wonders of the fresh and thrilling new world of Stockhausen's integral serialism that was then the fashion. There appeared limitless excitement, then.

It seemed there can be no bounds to the artistic impulse; composers might do something, or so it seemed. On the time, most composers hadn't actually examined serialism rigorously for its inherent limitations. However it seemed so contemporary. Nonetheless, it quickly grew to become obvious that it was Stockhausen's exciting musical method that was fresh, and never a lot the serialism itself, to which he was then married. It turned clear, later, that the methods he used have been born of two special issues that finally transcend serial devices: crossing tempi and metrical patterns; and, particularly, the concept that treats pitch and timbre as special cases of rhythm. (Stockhausen referred to the crossovers as "contacts", and he even entitled considered one of his compositions that explored this realm Kontakte.) These gestures, it turns out, are really independent from serialism in that they are often explored from different approaches.

Probably the most spectacular method at that time was serialism, though, and not a lot these (then-seeming) sidelights. It's this very method -- serialism -- nevertheless, that after having seemingly opened so many new doorways, germinated the very seeds of modern music's own demise. The strategy is highly liable to mechanical divinations. Consequently, it makes composition easy, like following a recipe. In serial composition, the less thoughtful composer seemingly can divert his/her soul away from the compositional process. Inspiration could be buried, as method reigns supreme. The messy intricacies of notice shaping, and the epiphanies one experiences from crucial partnership with one's essences (inside the mind and the soul -- in a sense, our familiars) will be discarded conveniently. All is rote. All is compartmentalized.

For a long time this was the honored methodology, long hallowed by classroom teachers and younger composers-to-be, alike, at the very least within the US. Quickly, a sense of sterility emerged within the musical ambiance; many composers started to examine what was taking place.

The alternative of sentimental romanticism with atonal music had been an important step in the extrication of music from a lethargic cul-de-sac. A music that will closet itself in banal self-indulgence, reminiscent of what gave the impression to be occurring with romanticism, would decay. Right here got here a time for exploration.

The new various --atonality -- arrived. It was the contemporary, if seemingly harsh, antidote. Arnold Schonberg had saved music, in the intervening time. Nevertheless, shortly thereafter, Schonberg made a critical tactical faux pas. The 'rescue' was truncated by the introduction of a way by which the newly freed course of might be subjected to regulate and order! I've to precise some sympathy right here for Sch?nberg, who felt adrift in the sea of freedom offered by the disconnexity of atonality. Large kinds depend on some sense of sequence. For him a way of ordering was needed. Was serialism an excellent answer? I'm not so certain it was. Its introduction supplied a magnet that may appeal to all those who felt they wanted explicit maps from which they might build patterns. By the time Stockhausen and Boulez arrived on the scene, serialism was touted because the remedy for all musical issues, even for lack of inspiration!

Pause for a minute and consider two pieces of Schonberg that bring the problem to mild: Pierrot Lunaire, Op. 21 (1912 - pre-serial atonality) and the Suite, Op. 29 (1924 serial atonality). Pierrot... appears so important, unchained, nearly lunatic in its particular frenzy, while the Suite sounds sterile, dry, compelled. Within the latter piece the thrill got lost.

That is what serialism appears to have done to music. But the eye it received was all out of proportion to its generative energy. Boulez once even proclaimed all different composition to be "ineffective"! If the 'disease' --serialism --was bad, one of its 'cures' --free probability --was worse. In a sequence of lectures in Darmstadt, Germany, in 1958, John Cage managed to show that the end result of music written by likelihood means differs very little from that written utilizing serialism. Nevertheless, likelihood seemed to leave the public bewildered and angry.

Likelihood is likelihood. There's nothing on which to carry, nothing to information the mind. Even powerful musical personalities, reminiscent of Cage's, often have hassle reining in the raging dispersions and diffusions that probability scatters, seemingly aimlessly. WCW Nitro Girls Whatever Happened to Them But, again, many colleges, notably within the US, detected a sensation within the making with the entry of free probability into the music scene, and indeterminacy turned a new mantra for anybody concerned about creating one thing, something, as long as it was new.

I consider parenthetically that one can concede Cage some quarter that one could be reluctant to cede to others. Usually chance has become a citadel of lack of discipline in music. Too usually I've seen this final result in college classes in the US that 'teach 'found (!)' music. The rigor of discipline in music making ought to by no means be shunted away in quest of a music that is 'discovered', somewhat than composed. However, in a most peculiar way, the facility of Cage's persona, and his surprising sense of rigor and discipline seem to rescue his 'likelihood' art, where other composers simply flounder within the sea of uncertainty.

Nonetheless, as a solution to the rigor mortis so cosmically bequeathed to music by serial controls, probability is a very poor stepsister. The Cageian composer who can make chance music speak to the soul is a uncommon bird certainly. What seemed missing to many was the fragrance that makes music so splendidly evocative. The ambiance that a Debussy could evoke, or the fright that a Schonberg could invoke (or provoke), appeared to evaporate with the fashionable technocratic or free-spirited ways of the brand new musicians. Iannis Xenakis jolted the music world with the potent answer within the guise of a 'stochastic' music. As Xenakis' work would evolve later into excursions into connexity and disconnexity, providing a template for Julio Estrada's Continuum, the path toward re-introducing power, beauty and perfume into sound became clear. All this in a 'modernist' conceptual method!

As soon as again, although, the US college milieu took over (principally under the stifling affect of the serial methodologist, Milton Babbitt) to remind us that it's not nice to make music by fashioning it by means of 'borrowings' from additional-musical disciplines. All through his guide, Conversations with Xenakis, the writer, Balint Andr?s Vargas, together with Xenakis, approaches the evolution of Xenakis' work from further-musical concerns. Physical ideas are brought to bear, equivalent to noise propagating by a crowd, or hail showering upon metal rooftops.

Some relate to terrible warfare reminiscences of experiences suffered by Xenakis, culminating in a serious wound. To shape such powerful sounds, ideas akin to pure phenomena had to be marshaled. From the standpoint of the musical classroom, two issues about Xenakis are most troubling: one is his relative lack of formal musical training; the opposite, or flip facet, is his scientifically oriented schooling background. In methods no one else in musical historical past had ever achieved, Xenakis marshaled concepts that gave birth to a musical ambiance that no one had ever anticipated could exist in a musical setting. One most distinguished characteristic is a sound setting that emulates Brownian motion of a particle on a liquid floor.

This profoundly physical concept needed high-powered mathematics to constrain the actions of the (analogous) sound 'particles' and make them devoted to the concept Xenakis had in thoughts. There's, as a result, a certain inexactitude, albeit a physical slipperiness, to the motion of the sound particles. Good musical smoothness and transition give technique to unpredictable evolution and transformation. This concept blows the skin off conventional ideas of musical sample setting! Its iridescent shadows are unwelcome in the gray gloom of the American classroom.

In their haste to keep musical things musical, and to rectify certain undesirable trends, the official musical intelligentsia, (the press, the US university elite, professors, etc.) managed to find a technique to substitute false heroes for the troubling Xenakis. Around the time of Xenakis' entry into the musical scene, and his troubling promulgation of throbbing musical landscapes, attendant with sensational theories involving stochastic incarnations, a bunch of composers emerged who promised to deliver us from evil, with simple-minded options erected on shaky intuitional edifices. The so-known as 'cluster' group of would-be musical sorcerers included Krzysztof Penderecki, Henryk G?recki and Gyorgy Ligeti.

These new musical darlings, with their simple methodologies, gave us the first taste of the soon-to-emerge post-modernism that has posed as our ticket to the Promised Land for the final thirty years. It appeared that, simply as music finally had a grasp of the caliber and importance of Bach, Schonberg, Bartok and Varese in the individual of 1 Iannis Xenakis, history and musicology texts appeared not to be able to retreat shortly enough to embrace the new saviors, all the whereas conspiring towards an all embracing creativity discovered fast, and effectively-embedded inside the turmoil of the stochastic process.

Alas, Xenakis has been exiled from American historical past, as much as the powers have been able to take action! His competitors, those in the intuitive cluster school, became the fixtures of the new musical landscape, as a result of their art is a lot easier than that of Xenakis. Ease of composing, of analyzing and of listening are the new bywords that sign success within the music world. Those who extol such virtues herald the arrival and flourishing of post-modernism and all its guises, be it neo-romantic, clustering or eclecticism. The proud cry nowadays, is "Now we will do about something we wish." Higher, perhaps, to do nothing than to embrace such mental cowardice.

The promise of a return to musical fragrances that walk in concord and synchronicity with intellectual efficiency was precious and important. It ought to sign the subsequent section of evolution in the artistic humanities. The problem to write down about this potential of a marriage of humanities was overwhelming. No satisfactory text appeared to exist. So I had to offer one. All that was missing for a very good e book was a unifying theme.

Algorithms control the stroll of the sounds. Algorithms are schemata that work the attributes of sound to allow them to unfold meaningfully. An algorithm is a step-function that can range from a easy diagram to stochastic or Boolean capabilities. Even serialism is an algorithm. While they're important, algorithms take second place in significance to the main focus of music: its sound. This concentration is given a terminology by composer, Gerard Pape: sound-based mostly composition. Is not all music sound primarily based? It is all sound, in spite of everything.

Properly, sure, however not really. The point of the term is to highlight the emphasis of the method being on the sound, moderately than on the means used for its genesis. In sound-based composition, one concentrates on a sound, then conjures the way in which to create it. In serialism, ordering takes priority over high quality. The outcome often is vapid: empty sound. Directionless pointillism robs music of its vital position, the conjuring of images, in no matter guise. The other main practitioner of sound-primarily based composition is Dr.

Julio Estrada. In his composition courses and seminars at UNAM (Universidad Nationwide Autonoma de M?xico), he emphasizes the psychological formation of an imaginary, type of an idealized imagery. Then the composer/students are directed to formulate a conspirator sound essence that conveys one thing of the ?lan of this imaginary. Solely then, as soon as the assemble of sound is concocted, is the strategy of sound shaping within the type of notation employed. Understanding of images and of fragrance precedes their specification. It is a refined instance of sound-primarily based composition.

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