Answer:
I walked in the backyard turning on the hose to fill up the pool, then I saw it..... My neighbors cat, my arch nemesis. I got the hose ready to spray this feral beast, when my mom yelled, "JACK, get inside the house and put on your swimsuit! Stop terrorizing that poor cat!" I went inside and put on my swimsuit. The rest of my family got in the pool and I came out back to see the cat. But this time I was ready to fight him. I had my water gun ready and I had a pool noodle as a sword. The cat gave me the stink eye and walked back home through a hole in the fence. I yelled, HEY! I didn't even take a hit on you yet and you're already retreating?! My older brother threw a beach ball at me and we started playing volley ball.
Was that short enough and was it funny?
One is a dog and the other is human. Duh...
Probably pop art most likely
Lighting has come to be an important component of cinema's visual design. It is widely recognized that in film, as elsewhere, it can create a substantial emotional impact. A primordial response to darkness and light is a deep-seated element of human psychology that filmmakershave harnessed in order to influence the ways viewers respond to narrativedevelopment. On the one hand, deep shadows can make a character seem untrustworthy or conceal a host of horrors. On the other, bright, diffused lighting can provide comfort and reassurance or create the impression of an angelic countenance. Extremely bright light can cause discomfort, though, and can even be used as a weapon, as inRear Window(1954) andThe Big Combo(1955), where it dazzles the villains and halts their advance.
Brightness is only one variable of lighting that can contribute to the effect of a scene. The choices the cinematographer makes about what kinds of lights will be used, how many there will be, and where they will be placed all require careful consideration. Moreover, color andblack-and-white cinematography each allows for different lighting effects. Colored lighting can give rise to a range of subjective impressions that may be systematically used throughout a film for atmosphere, as in the moody and heavily stylizedBatman(1989), or for metaphorical significance, as inVertigo(1958) when Scottie (James Stewart) persuades Judy (Kim Novak) to transform her appearance into that of the dead Madeleine (Novak). When she emerges from her bathroom made over into Madeleine's image, she is bathed in a green light, its supernatural associations accentuating theuncanniness of the resurrection of her alter ego.
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