Roland Pryzbylewski, Creative Essay Example

Body (the introduction to the heart of the speech will be the most important to the entire presentation):

For instance, in the first scene of the first episode, while proudly boasting about the modifications to his gun, Prez harmlessly fires a shot into a wall accidentally when he arrives at the scene. The camera angles throughout this section emphasize the viewer’s emotions impeccably.

With the close angle immediately thereafter, Lieutenant Daniels is disgusted!

(Pause)

Must his unit be consumed with idiots such as this?!?!

(Pause, though not as long)

Eventually, Lieutenant Daniels agrees to grant Prez another attempt at this job, but only if Cantrell promises to give him a particularly well-regarded and agile detective named Leander Sydnor. Agreed! From here, the story begins to unravel.

Thematic (the episode):

By season four, though, Prez has become more than simply the comic relief. He has landed a job as a math teacher with Edward Tilghman Middle School. The ensuing relationships with the individual students are what cement the acting of Prez, or Jim True-Frost. Also, the varying camera close-ups and extreme close-ups help infiltrate these emotional responses from the viewer.

As a teacher, he becomes attached to the students in his classroom, even going as far as to assist neglected student Duquan “Dukie” Weems with laundry and food that his family does not provide for him. These characters are the antagonists here. Again, notice how the extremely close-ups truly call them out.

Next:

Prez sees around the school system’s flaws, but adapts well and becomes a dedicated teacher who enjoys helping his students advance further on throughout life; oh yeah, and the class he is teaching. This symbolizes the shift between Prez posing the comic relief and the school now portraying the flawed characterization.

After Randy admits to knowing about Lex’s murder, Prez passes the information on to Bunk. He later finds out that Randy has been labelled a snitch after he mishandles an interview with Randy and is disappointed with his friends at the precinct. Later, Prez discovers that Dukie is no longer attending high school and is working on the corner; hopefully vicariously, as we can see in this close up of our protagonist Prez.

After the episode:

Subsets of the cinematic technique are used: First, this season four opening utilizes the cinematic technique known as the Jump Cut. With this technique, or cut, no relation exists between the fragmented shots that are intertwined. Jump Cuts give the effect of a bad editing within the overall scene; in this case, a person being carried away in a body bag by men in civil servant (police official) uniform coupled with the shorter following shot of children (successfully) pleading to get inside an outer-barrier absolutely furthers this.

Fast forward now to season four. Prez evolves into a role model within the following scenes from The Wire (season 4): S04E01 (8:36-9:26), S04E03 (34:18-35:01), S04E04 (18:38-19:44), S04E05 (7:38-8:10), S04E07 (53:18-53:41). Through a means or enactment of mise en scène, the arrangement of scenery and stage properties in a play, and cinematography the filmmakers make deliberate choices that add to the richness of the text by using the text itself.

Follow the Rest Through, but Stop at the Time Allotment:

The complement to a Jump Cut, or the contrasting element which adds something in a way to complete, enhance, and improve it, is known as the Match Cut. Keep in mind, this explanation regards solely the identification and introductory scene. Regardless, the Match Cut is not necessarily the opposite, but it does maintain contrasting elements. For example, the Jump Cut is abrupt, whereas the Match Cut maintains a visual continuity, or a spatial-visual sense of logic connecting each differently positioned shot throughout the scene. In turn, the viewer can visually discern the movement and the angle of the camera throughout the following episodes, though not really at all initially. Jean-Luc Godard has maintained the clearest sense of reasoning for such a cinematic juxtaposition; the suspension enacted through the antecedent that had been put in play with the Jump Cut gives more strength to the placement enabled with the Match Cut. Therefore, this becomes an excellent place-setter for the series. The viewer both familiarizes with the opening scene, and within a minute to a minute and a half becomes engaged in the story-to-some.

Going further in to the introductory scene, the close-up shots, the extreme close-up shots, that are immediately thrown in the aerial view of the next periphery shot, then back to a quick medium shot, to a medium close-up, onto a close-up and another extreme close-up before another aerial shot perfectly provides a preview of the exact shots that are followed throughout the dramatic scenes to come.

Themes such as (homosexual) sexual abuse (Michael), and brilliantly heightened through other camera angles as well, these that have been stated stand out the most within this series.

*I’ve included the introduction for you to screen through and see if there is anything included that you would like to use.

Discard the Introduction:

Baltimore is the setting of The Wire, featuring Roland “Prez” Pryzbylewski, portrayed by actor Jim True-Frost. Several cinematic techniques in the first nine episodes of “The Wire” feature a heightened and rounded characterization of this Polish-American detective of the Baltimore Police Department.

First, though, an initiation of this character is in order. Concerning the true onset of character Prez, Deputy Commissioner Burrell grants all unit commanders permission to discard the most inept officers onto the guidance Lieutenant Daniels Barksdale. Prez is one of these officers. This move creates the viewer to associate this placement with some form of punishment. In this text already, we begin to place the character of Prez into a slot of the Trickster of Native American literature. Quite a shrewd character who at surface seems deceitful and cunning, but by the end thus character brings the story’s moral into plain sight, this Trickster was typically the pivotal character. Typically, a Raccoon, Raven, or a Badger, animals thought to portray a scavenger and though initially to be the antagonist, would bring more of a rise in Native American tales, but Rabbits, Coyotes, and other skillful non-human “personalities” (ignore the paradox) were often characterized as the Trickster. In “The Wire,” this Prez character stands apart from Native American tales in that this is a portrayal of a human.

Anyhow, this characterization combined with the theme brings to mind those 1980 movies, the Police Academy series. Through mishap, the viewer feels to have “stumbled” into the moral of the story, or the consequent to this bumbling antecedent.