I have realize that I abhor the slick ads in the magazines. They are everything that is wrong in the world. The images, perfected beyond recognition, present alien-like models-devoid of humanity. One such series involves women being violated by men, as if they are entitled.

Here is one example. Notice this is a magazine geared toward women. What is appealing about this image? What does it imply? It tells that a women is still inferior to a man. It tells us that it is normal about men treating women in this manner. The female as the ever passive victim.

The man's power lies in his strength. But where does a woman's power reside?

Racial Tension Heats Up the Neighborhood

Spike Lee’s film, ‘Do the Right Thing’ deals with racial tension and violence. A 

motley crew of colorful personalities gather in order to appease their misery. With their 

limited opportunities, they search for affirmation. The neighborhood is multi-cultural, 

(African-American, Puerto-Rican, Korean) each misunderstanding the other. During 

their quest to quench the unrelenting heat, due to lack of air-conditioning, the denizens 

open a fire hydrant. Thus, the racial tension begins.

A gang of riffraff hangs out in an Italian pizza joint, which features a ‘wall of fame’. 

In a less than prudent move, it  is determined that an African-American should be 

included in the all-exclusive Italian pizzeria. Sadly, only the movement consists of three 

protesters. 

The owner of the pizzeria, Sal, has a covert intolerance for the African-

Americans. He merely tolerates them because they consider his business a landmark. 

Only when Sal’s patience is pushed to the limit and he emits a racial slur, does the 

situation become violent. Neither side - the Italians or the African-Americans make any 

attempt to reason with or understand the ‘opposing force.’ Sal is attacked. The cops 

arrive, adding fuel to the fire. As one of the African-Americans is killed by the cops, the 

angry mob chases them. The police flee, leaving Sal, Sal’s family, and the raging mob. 

A guy, Mookie, hurls a garbage can through the restaurant’s front window, diverting 

attention from Sal. The mob trashes and burn the restaurant. 

Sal feels betrayed by Mookie, when Mookie only tried to save him. Neither side 

still understood the other. Each felt superior and were unable to let go of pride. Lee’s 

production realistically portrayed existing racial tensions.

-Lisa Silversmith 2014

poetry: when the apple falls

when the apple falls

she dies as she cries

as the apple hits the ground

she ponders her death

and remembers his words

you haven’t reached your limit yet

the dangers remain ahead 

think about what you’ve chosen

and forget those who have fled

she watched her dreams

turn quickly to ashes

she closed her mind

to deal with the lashes

she staggered into the billowy smoke

and gasped as madness filled the air

she watched as the flames turned into snakes

their tendrils reaching

seeking to stifle

what remnants were left

she turns to face him

as he reaches for his rifle

Lisa Silversmith

poetry: shadow walker

shadow walker

i awake only to dream

and to live a life that others fantasize about

i am not the one for you

i am fire and ice

all of your thoughts are illusions

easily shattered like glass

I am your darkest desire

l live among the shadows

i dream only to sleep

i grow bolder as the night grows colder

I watch the moon

and i think of you

Lisa Silversmith

'Freaks': Appearance Does Not Signify Worth

Appearance Does Not Signify Worth

Tod Browning, the director of ‘Freaks’ initially sought to make a horror film, but 

instead developed prominent social commentary. Since Browning traveling with a 

circus, he decided to cast circus performers as the stars of the film. His idea of using 

circus sideshow performers was not well-received. Browning was discouraged from 

making the film and other MGM clients shunned the cast.

‘Freaks’ showcases circus side-show performers as moral, accepting people 

while depicting ‘normal’, regular people as villainous and crude. A midget, Hans, falls in 

love with the trapeze artist, Cleo. Hans’  fiancé, Frieda, is crushed when she is 

discarded for Cleo. Frieda tells of Hans’ inheritance to Cleo, who plans the demise of 

Hans. 

The unity of the deformed performers is shown when they warn Hans of Cleo’s 

insincerity.  Despite this, Hans continues to see Cleo. When Cleo learns about Hans’ 

forthcoming fortune, she amps up her charm to secure Hans’ proposal of marriage. 

The rest of the crew supports Hans, and accept her into their clique. Cleo is appalled; 

she rejects them and humiliates Hans. 

Cleo spikes Hans’ drink and he becomes ill. She keeps him bed-ridden until 

someone discovers the secret. The misfit performer again show their unification by the 

plot to destroy Cleo. The climatic scene shows the slithering performers as the ‘freaks’ 

and Cleo as the ‘victim.’ 

Browning’s film, ‘Freaks,’ permeates through the times and remains an 

unforgettable movie with an unprecedented cast. It remains revenant social 

commentary by offering the idea that worth should be based on personality and not 

appearance. 

-Lisa Silversmith, c.2014

WebRep

currentVote

noRating

noWeight

NPR Terri Gross WWII Filmmakers

Fresh Air, March 20, 2014

Wes Anderson, filmmaker, is interview about ‘The Grand Budapest Hotel’

Terri Gross: interviewer

David Bianculli fills in for Terri Gross

Terri Gross in an amazing interviewer. She is intuitive, knowledgable and 

amiable. She listens attentively. She asks revelent questions. It is a graceful dance 

between her and her subject. Her grace and style sets her apart. 

Gross’s interview of Wes Anderson explores in-depth the ideas behind ‘Grand 

Budapest Hotel.’ She is extremely competent and well-prepared. She understands the 

film and asks Anderson intelligent questions. She asks for elaboration and finds that 

Anderson is inspired from paintings by Casper David Friedrich. In another example, 

Gross asks ‘why’ as to the practice of actors putting on costumes in the hotel. She 

further draws Anderson’s ideas - that having the actors arriving in costume is quicker.

The rapport of Gross and Anderson provides an interesting account of the film, 

‘The Grand Budapest Hotel.’ The questions and replies are constantly engaging. Gross 

possesses an interviewing style to emulate.

Investigating WWII filmmakers further, Gross talks with Mark Harris, author, 

about his book, ‘Five Came Back.’ This compelling book deals with the relationship of 

Hollywood and WWII. Harris discusses directors Frank Capra, John Ford, and George 

Stevens. Harris tells of Capra’s use of propaganda, Ford’s emphasis of keeping 

realism in his films, and Stevens’s recording of concentration camp horrors. The 

realities that these filmmakers faced were cruel. Gross keeps her inquiries respectful in 

dealing with such a somber subject. 

Gross’s interviewing style remains consistent. She manages to receive solid 

replies in response to her questioning. Gross always invokes an evocative tale. She 

remains untouched in grace and style.

-Lisa Silversmith, c.2014

My Life as an Aspiring Photojournalist

My Life as an Aspiring Photojournalist 

      In my quest in becoming a photojournalist, my effort seems well-meaning, but ineffectual. I tend

to succumb to obstacles in life, such as illness, lack of motivation, and emotional instability. My

intent of storytelling is obliterated in the existence of anxiety. I began with amazing intention, but the

desire fizzled as the panic bloomed around me. The dreadful tendrils of doom reached into my soul as

I reached out in search of a story. As with every aspect of my life, I sought control. I needed other’s 

tales, not my own. More fearful than ever, I withdraw further from the world.

     Indeed, I do grasp the basic concepts of story-telling. With guidance, I was given the tools to

succeed. However, I still deem my project substandard and mundane. Did this idea derive from

external criticism or a neurotic mind? My formidable obstacle is my own sabotage. I fear, thus I

procrastinate. The procrastination leads to more anxiety. I cause my own undoing.

    How can I salvage this chaos and present an idea in a coherent manner? I must examine my

motivation. Why did I choose this subject. What do I hope to acquire from it. Do I wish to exploit

someone? Do I find my portrayal too bland? Self-doubt is reflected in my relations with people. How

do I overcome? Maybe I should investigate myself.

     The goal of a photojournalist to tell a compelling tale. How can I tell other’s stories without even

knowing my own? Presently, I seek truth, knowledge, and competence. I deem to find it in others as I

cannot in myself. In my failures, I seek to discover my own truth. In this truth, I seek life.

-Lisa Silversmith, c.2014