Abstract
This paper discusses interior design during and after the Gothic revival of the late eighteenth century, noting that True Gothic architecture originally developed from the Romanesque style, emerging in the twelfth century. According to the paper, this style dominated until the beginning of the Renaissance in the fifteenth century. Gothic architecture is noted for size and elaborate decoration. However, Gothic architecture is first defined in terms of a change in Romanesque church architecture when diagonal ribs were added to the groin-vault, as is first seen at the Abbey Church of St. Denis near Paris.

From the Paper
"Gothic architecture developed in the twelfth century and was revived several times, notably with a major revival beginning in the eighteenth century and spreading throughout Europe and to America. Gothic interior design was included, though it changed over this time and was often more an evocation of the Gothic rather than an actual copy of the original style. From the mid-eighteenth century until the rise of Fascism in this century was a long era in Italian history during which certain trends cold be observed that linked the decades together. At the beginning of this era, Italy as a country did not exist. "

Tags:gothic, interior, design

Abstract
This paper explains the ways that Chrysler's advert "Coming Home", a very long advert produced by Fallon for television, reflects much about Chrysler and America. Next, the author reveals the history, organization, culture and the global crisis at the Chrysler Group, details the creation of the advert itself and reviews the working relationship between Chrysler and their selected advertising agency Fallon. The paper concludes that Fallon and Chysler's cradle-to-cradle zero risk strategy resulted in an advert "Coming Home", which demonstrates their masterful use of intertextuality and interpretation. The paper includes footnotes and many color pictures from the advert.

Table of Contents:
Introduction
Chrysler Advert: "Coming Home" from a Spectator's Point Of View
A Long Journey
A Story about Cars and a Bag
Traveling through Real Times
An Ode to American Landscapes
An Ode to Masculinity and American Popular Heroes
Sound and Rhythm
Oral Texts: From a Simple Greeting to Lyrics and a Specific Copy
The Viewer's Position
Matters of Composition: First Shot Mirroring the Last One
Global First Impression
Chrysler's Choice: Assuming a Cradle-to-Cradle Marketing Recycling Strategy
A Multiple Group
Chrysler's Genealogy
Going Back to the Roots: A Tribute to Walter Percy Chrysler, the Founding Father
Chrysler's Ups and Downs and Crisis Communication
Recycling Fiat Campaigns: A Zero-Risk Cradle-to-Cradle Strategy
Traveling through the Ups And Downs America Faced: The Use of Diagonals in "Coming Home"
Selecting Vehicles as Markers of American History
A Music Everyone Acclaimed
Selecting the Widest Audience Possible through an Emblematic Sport
A Peaceful War Representation
Possible Mistakes
Best World Agencies and their Strategies: The Non-Stop Awards Quest
America and Poor Creativity in Advertising: A Counterfactual Approach
Chrysler's Offensive Strategies in France
Chrysler's Hype and Trendy Campaigns in Brazil
Chrysler and Humor, A Difficult Task
Global Agencies and Non-Stop Awards Run
How Fallon Escaped from the Cradle-to-Cradle Recycling Strategy
Intertextuality: options and limits
Conclusion

From the Paper
"Remaining one and the same through time, this bag seems to be a very good companion, never complaining whether it is settled on the passenger's seat, thrown at the back of the car, at the bottom of the passenger's seat or dropped on a wet lawn. Even if some characters aren't truly faithful to him, like in the third picture in which a military bag appears to be much closer to the driver, this everlasting good quality leather bag ends up offering presents to the kids in the last scene. Here the bag impersonates Chrysler's spirit and heritage. A bag refers to its content whether they are tools, files or clothes."

Tags:journey camera plot editing, viewer's attention

Abstract
This paper analyzes the film "Le Chien Andalou", in the light of Freudian psychoanalytic theory of subjectivity. The paper notes that the film emphasizes the relationship between the rational and the irrational, the conscious and the unconscious. The symbolic representations of the battle between the conscious and the unconscious, which constructs human subjectivity according to psychoanalytic theory is analysed through some scenes of the film.

From the Paper
"The symbols that can be found in the film derive from the unconscious/irrational, rather than the conscious/rational. The deliberate abandon of temporal and spatial coherence creates a dream-like context. Like the workings of unconscious, as in dreams , the film does not follow a logical time sequence, starts with 'Once upon a time' continues with 'Eight years later', 'Sixteen years ago' and so on. The spatial logic of the conscious is disfigured as well. For instance, when the woman changes the room by going through a door, again she gets into the same room. Yet in another scene, the appearance of a beach just out of the door does not fit into the spatial limits of the reason. Incongruent jumps in space abound, like when the man is shot in an apartment room, the falling motion ends up in a park, briefly clutching the shoulder of a statue-like woman. "

Tags:characteristic, diagonal, stripes, unconsciousness, artistic, cultural, values