| Title | Creator | Date | Era | City |
Country |
Emotional Sum (Sense of Life or emotional World View) | Theme | |
|---|---|---|---|---|---|---|---|---|
| High Noon | Director: Fred Zinnemann | 1952 | 1951-1970 | United States |
There is palpable evil in the world. There is heroism in the face of evil in the world. The movie is full of fear and foreboding and betrayal. |
Civil Society is the ideal, and worth fighting for. Doing what is right is the right way to live. Don't let the evil bastards win. The theme is expressed repeatedly in the movie via the contrast of the Marshall who grimly faces the need to do what he lives for, despite the death facing him, vs. the mealy mouthed town folk, many of which who won't fight for their civil society, and vs. the deputy marshall who portrays the sellout who will give into evil force in order to "get along". |
||
| Godfather | Director: Coppola Francis Ford | 1972 | 1971-1990 | United States |
Life demands death; life is a horror of killing and retribution. Life is tragedy and malevolence |
Behind beauty and success lies corruption and death. |
||
| A Few Good Men | Director: Rob Reiner | 1992 | 1991-2010 | United States |
Justice should be fought for, needs to be fought for and can be fragile. |
Commitment to a moral code is central to a good man's life. |
||
| Two Family House | Director: Raymond De Felitta | 2000 | 1991-2010 | New York | United States |
Feelings of benevolence and optimism about life. Happiness comes from making choices for your own good. |
Going after what you want in life; Don't be stopped by conventional standards of the people around you. It takes courage to be selfish. |
|
| City Island | De Felitta, Raymond: | 2009 | 1991-2010 | New York | United States |
Anxiety and pain from all the lies and mistaken motives. Catharsis from the climax, leading to feelings of wanting to be truthful in life! |
Lying is not the way to live. |
|
| Trees | Alexander, John: | 1899 | 1900s | Olathe | United States |
A sense of the world as dynamic and strong. |
Nature is wild and dynamic. |
|
| Repose | Painter: John White Alexander | 1895 | 1900s | New York | United States |
Life is extravagant and lush and sensual. |
Feminine Sensuality is a main theme, though one can argue that a related (equal theme or sub-theme) is: The Lushness of the Material World. The dramatic draped womanly figure pressing against a divan, whose figure is clearly oulined, shares the visual dominance of the painting along with the magnificent sweeps of her dress and the giant pillows, the massive backrest, and even the strong elements of the floor material and the golden back wall. All together a remarkable composition. |
|
| Her Face to the Wind | Painter: William Hosner | 2006 | 2000s | Traverse City, Michigan | United States |
One gets the feeling that the young woman is able to stand strong in the world, with panache and beauty all at once. |
Facing life in a fresh, strong, vivacious way. |
|
| Robie House | Architect: Frank Lloyd Wright | 1910 | 1900 - 1950 | Chicago, Illinois | United States |
The world is open and has sweeping, unending possibilities. |
The essence of a house as shelter, and providing a sense of strength and privacy. That is, a structure that exudes strength through its massive cantilever and massive brick and stone forms, along with its big overhangs sheltering the windows to create a sense of privacy and enclosure, in its urban situation. |
|
| Flying Fish | Dancers: Torvill and Dean | c.1995 (verify) | 1990-2009 | NY NY | United States |
A heightened sense that Life is fantastically unbounded by daily cares. Life is imbued with unlimited potential and ease of movement. |
Life is light and fluid. |
|
| Owl and the Sparrow | Director: Stephane Gauger | 2007 | 1991-2010 | Saigon | Vietnam |
A child shows sweetness and strength and determination. |
Searching for family, for soulmates. |
|
| The Samovar | Painter: Emil Carlsen | 1920c. | 1900s |
The world is full of textural richness worth looking at. |
The richness of light and the objects it caresses. This is a paean to the richness of visual experience, but with the simplest of materials -- just a light source and two kinds of simple unadorned objects. |
