Category: Free Entertainment Essays Samples

The opening line of Alfred Tennyson’s “The Lotos-Eaters” is where Odysseus calls for courage as he leads his men on their journey towards a mysterious and unnamed land. However, the nature and significance of this land remain unclear throughout the first three stanzas. Tennyson’s poetic technique allows him to portray the land in a way that is both beautiful and dangerous. Tennyson makes his scenic descriptions more than just a clever diction. His poetic language mimics and mirrors many of the intriguing effects and qualities that the land has, using inventive rhyme scheme and prosody. The poet and the hero are ultimately responsible for unravelling the mystery of the land named after the lotos-eaters. They reveal it not to be the serene sanctuary that it seems, but to be a distraction trap that threatens Odysseus with the melancholy and amnesia of unmoving times.

The land’s opening descriptor immediately draws attention because of its peculiarity and disconnect from reality. Tennyson shifts from describing human activity to natural activities here. Images that are normally filled with energy and frenetic motion seem to be imbued instead with a peculiar stillness. This is also evident in both the bizarrely inverted, enjambed construction and expression “fall and stop and fall”, which are interesting choices to reinforce the temporal nonlinearity found in the land where the Lotos-eaters.

Tennyson uses the Spenserian rhyme scheme for “The Lotos-Eaters”, which allows three rhymes to alternately appear within nine lines of one stanza. This particular choice has a consistency and regularity that is similar to the tranquil, still aura of his realm. Each stanza semantically links to the next. The streams from the first stanza flow down into the second, where they become central to the second descriptor (“Aland of streams!”). The “sunset” line in the third follows the original description of the mountains “sunset flush’d” in its preceding stanza. The enjambment is used to connect the stanzas. One sentence runs for five lines in each of the first and six in the final. Within each line, the same phrases or words are repeated.

While the repetition and abundance in rhyme patterns suggest that the text is predictable, Tennyson breaks up the flow with caesuras, incomplete rhymes and trochaic foot. Exclamation marks are used to punctuate two main descriptors: “Aland of streams!” and”Aland where all things always seem’d same!”. Colons and commas also separate descriptions later in a poem, creating pauses within the otherwise regular lines that make up iambic Pentameter. Even though the rhymes are mostly perfect, there are some examples where pairs of nearly identical words (e.g. “land”, “land”, in the first section, “adown” in verse three, and “down”, in verse four). These variations in rhyme scheme have an unsettling effect on the reader. It prevents the rhyme’s completion or closure and blocks any hopes of achieving faultless fulfillment.

As mere observers, human beings disappear into the background until they return in the last line. Tennyson’s first stanzas instead describe the land in detail. Tennyson reveals a sinister, seductive landscape. His painting strokes are reminiscent of sinuous temptations such as “slow dropping veils made of thinnest soil” or “charmed mystification”. Its complexity is evident in the poetic language that created it. This colorful land, of perennial snows and sunsets, proves to both be a linguistic as well as psychological obstacle.

John Irving’s A Prayer for Owen Meany shows how death can have a lasting impact on anyone. These influences are often associated with negative meanings, but death in this book has a more positive effect on the narrator. John is able to reconcile with Owen by his death and turn to the Christian faith. His death’s sacrificial side reveals his deepest beliefs.

Owen’s death was premeditated and meant to save John and Vietnamese children. Dick Jartvis, a mentally unstable teenager, entered the bathroom with John and Owen and threw an exploding bomb at John. John gives it to Owen, and Owen lifts Owen. Owen then throws a grenade against the window sill, making him a victim of the bathroom’s curse. Owen had “the dream”, which was a vision that he had of his death. He wrote in his diary, “I know when and how I will die” (He also knew this from a dream). I will be a hero.” John read this entry. He found it a little frightening that Owen was so certain of his convictions. John didn’t believe in God prior to reading the entry. Owen was a man based on faith. He did everything because he believed God would support him. John becomes more spiritually aware of Owen’s certainty and realizes God was the one who gave him the message. John comes to believe in God after realizing that life was fragile. He also realized God had given him the ability to destroy the grenade using a maneuver called “The Shot”. Owen comes up with a move. Owen will dribble a basket, then pass it on to Owen. Owen would then raise Owen to dunk his basketball. Owen and John practice this shot consistently until they can do it in less than three seconds. Owen says that faith takes practice to get the shot right. They practice until they are able to save everyone in the toilet. Owen’s ability predict the future and fate is what makes him a connection to God. Owen sees himself as God’s instrument, saving people in his place. John understands this connection as Owen gave his life to God. John now sees how Owen can complete the miracle.

John is able to see Owen’s sacrifice through his own eyes and it helps him reconsider his beliefs. John is a very rational and doubtful person who requires proof to believe any thing. This explains his doubts about God’s existence. As a teenager, he “became somewhat vague in his faith,” but that quickly changes. John must have real-life experience with the fragility in life to fully understand why miracles are not always explained, but God creates them. Owen said that “you can’t prove miracles” before, and John needed to experience it for himself. Owen said that miracles can only be proved by God. John believed Owen after Owen died. John’s realization contributes greatly to John’s character development. Before Owen’s sacrifice, he believed only in what was visible rather than having faith. He is now able to believe in facts rather than faith.

John’s spiritual evaluation of Owen’s sacrifice is evident in A Prayer for Owen Meany’s ending. John’s experience near death helps him to realize the fragility of life, and how God is capable of controlling it.

Purple Hibiscus depicts traditionalists as being marginalized by their beliefs and the impact of Western Colonization. The three characters Papa-Nnukwu, Papa Eugene and Father Amadi, show this. Papa-Nnukwu can be found in the traditionalists section of NIgeria. Papa (Kambili’s son and father of Papa-Nnukwu), an extremely devoted Catholic, ended all relationships with his father. Papa Nnukwu has chosen to believe in Christianity, and his son refuses to associate with him. It is also the children who are responsible for the marginalization Papa Nnukwu. Kambili, Jaja and Jaja can only spend 15 minutes at their grandfather’s home. Papa Eugene has banned him from even walking in his house. He also refuses to allow him to visit his grandchildren. Purple Hibiscus is full of drama as Papa Nnukwu and Papa Eugene debate their belief system. Papa Nnukwu had no son to support him, but his daughter was there for him. Aunty Ifeoma was persistent in trying to help her brother stop the devaluing of her father. She explained that the religion her father chose did not worship God but that it was different. Jaja, Kambili and their grandfather slept in the same house as them. Papa Eugene shows his hatred for traditionalists when he pours boiling water on his children. Yes, Papa’. Papa Eugene’s experience of colonization’s aftermath can be seen in his own father and in others, with the idea that they need to learn from their “wrongdoings” and avoid the “Heathens” because it is considered to be religious transgression. One example is the case of an elderly man, who supposedly grew-up with Eugene, entering the compound after hearing Eugene was coming to town. Papa Eugene begins screaming in panic and asks “What’s Anikwenwa doing here?” Is there an idol worshipper in my house?” You must leave my home.” Papa Nnukuwu ordered two men drag Anikwenwa into the compound. Papa’s friend started yelling words at Papa with “Ifukwa, gi.” You’re like a fly that follows a corpse to the grave blindly. Eugene is clearly a colonial product. He blindly follows the ideology of White men and marginalizes his people. This is evident from the simile. Eugene also did the same thing with his people’s language. Instead of using it like a normal person, Eugene prefers to use it to indicate something bad is occurring, whether it be a sinful act or not. The narrator reveals this many times, as Papa refers to Igbo when something is wrong. Kambili is caught by Papa allowing Kambili and his family to eat from a bowl with cereal just minutes before Eucharist. He asks in Igbo: “Has he asked you all for errands for his? Is the devil constructing a tent in your house? Shortly after asking these questions chaos ensues and Papa starts hitting Mama Kambili and Mama. Papa isn’t a fan of the Igbo language and, as such, chooses English to be the “language God speaks” or the civilized manner of speaking. We are told as readers when Papa recognizes that English has been chosen by the holy people. “Papa enjoyed it when the villagers tried to speak English with him. He thought it was very sensible. When he was in white religious groups like Sister Margaret and Father Benedict, he “Changed” his accent to sound British. These are just two examples of evidence that Papa Eugene was a Catholicism-and-traditionalist believer. Papa Eugene’s main opponent is Father Amadi, a priest that combines Igbo traditions and Catholicism. He believes religion and faith are more complicated than they seem. Father Amadi has a strong influence of Catholiscism. He is however open to the traditions of his home country. Amadi isn’t a wild force like Papa. Kambili played a crucial role in showing Papa Nnukuwu that his traditional beliefs weren’t as bad or different as Papa Eugene thought. The beliefs of traditionalists, as a group, are often disregarded. The conflict between traditionalist beliefs and colonial influence is a major problem for the group we are referring to (traditionalists). Papa-Nukwu is one of many Purple Hibiscus residents who are marginalized.

For decades, the American “black cultural” has included hip-hop music and rap. Black people have had many outlets for their incessant burdens, including song and music, since they arrived in America as slave ships. This began to develop into the hip-hop and rap music genres in the 1980’s. It began with spoken-word artists like Gil-Scott Heron. He would sometimes speak in verse over a beat. The beats became the beats, and eventually the words were adapted to the music. This created a new way for music and words to be synchronized. While hip-hop originated in African American culture, it was quickly adopted by many other cultures. Because it originated in black culture, many people associate hip-hop with African Americans. This is true for most people, especially white privileged ones. I disagree. Rap and music can be used as a means of oppression or struggle, but in other cultures hip-hop and rap allow any group that is discriminated to express themselves. Rap and hip-hop are not cultural appropriation. Instead, they serve as empathetic identification.

Particularly, the integrations of hip-hop with rap in European culture exemplify the way the genre acts as an outlet not only for blacks but for every underprivileged group. The late 70’s and 80’s were the first years that Rap was popular. Foreign countries began to notice. Jazz music in France was extremely popular through the 1950’s. Liberation, an English newspaper, published several articles about New York rappers in October 1982. Chagrin D’amour, an American pop group, produced an album entirely in French and used rapping techniques. Prevos 714 is the name of the first French rap group. Chagrin’s D’amour was not an American rapper, but he raped with a different purpose than American rappers. It was a mainstream music group trying to mimic a American culture for its popularity. In Paris’ northern cities, breakdancing and rap had been widely spread. These areas were very similar in nature to American ghettos. They also “became hotbeds for violence, drugs and crime” (Prevos 704). The popularity of Chagrin D’amour was both a delight and a concern for these Parisian rappers. They were both excited to see rap become an art form that was quickly becoming popular, but they were also worried about their lyrics not being as simple and innocent as Chagrin D’amour’s (Prevos 714). In these poor areas, hip-hop and rap became an integral part of culture, much like it was in American ghettos. Although rap was brought to France by cultural appropriation, its real power came from underprivileged youth living in similar communities to American rappers. In the late 1980’s, urban rappers began to dominate the French music scene. The new rap artist closely resembled American counterparts such as NWA. In the lyrics, there was a lot of anti establishment prose. Many rappers talked about the discrimination that they experienced, both in their personal lives and in society. The new art of Prevos 715 was created by these rappers to share the hardships of their daily lives with the public. Puppa Leslie’s song “Dimanche Dans Le Ghetto”, which means Sunday in the ghetto, is an example. This song details the difficulties of dealing with violence, crime and everyday life in Paris’s ghetto.

The early 1990’s saw rap becoming an outlet for those who were not as fortunate than the American black community. However, the urban French rappers were not separated only by their wealth and socioeconomic status. French blacks were also beginning to have access to hip-hop and Rap. This did not happen because the French black community saw that American black people were doing it.

It was because large numbers of blacks were Arabs who had fled North Africa (Knox 126). Rap lyrics became popularized by the oppression faced by Arab minorities. Supreme NTM, one of the most popular French rappers in the late-1990’s made many songs discussing racism (Prevos716). France’s hip-hop scene had turned black, but that’s because it’s the main art form for the poor and the oppressed. In fact, hip-hop and rap continue to be used in Europe for marginalized groups.

It is clear that hip-hop and Rap are not just for black youths. Many Turkish immigrants began to move to Germany to work in the middle century. A lack of cultural and/or linguistic resources caused complete alienation to the Turkish immigrants. German society was not patient enough to allow Turkish assimilation. The Turkish community settled in Germany over the next several decades but was still at disadvantage. In addition to the physical and emotional pain of being second-class citizens, many Turkish immigrants were not exposed to good education. The third generation, which included many Turkish-German immigrants, was born in Germany in 1990. They struggled to find work opportunities as their parents were not educated. In the 1990’s, young Turkish-Germans were more likely to be unemployed than young Germans. This generation of Turkish people brought hip-hop and rap to Germany. They were people born in an unfriendly country and had no connection with their native culture. The message and intent of this new art form that emerged in Germany was the same as in France or the United States. Turkish-German Rap often addressed the stereotyping and social discrimination of Turkish-German youth. One song called “Der Weg” plays with the sinister, blood-curdling macho stereotypes of the “bad Turk”, but it’s only for the sake of convincing its audience (Ickstadt 564) Many German rappers were able to convince many young Turkish people to go to school and not live on the streets after the establishment of the hip hop scene in Germany. Although Germany’s hip-hop scene isn’t all white, it doesn’t mean that their art is culturally appropriated. Instead, an underprivileged group uses hip-hop and rap to express themselves against oppression.

Many communities that are socially and economically disadvantaged have been helped by hip-hop. Although rap is often negative and encourages violence and crime, it can still be a form of rap. “Historically, Hip-hop was a reflection on the environment an artist had to live in…so if the goal is to change the content, you have to change the environment. Therefore, those who have been privileged but not faced any social hardships are less authentic and can’t participate in hip-hop. Hip-hop and Rap are not just for black Americans. Only those who have experienced similar economic and social hardships can truly access their power.

Analysis of Documentaries

Two very moving documentaries, “Chasing Ice”, “Semper Fi: Always Faithful”, were both available for us to view. Both films dealt with serious issues and were well worth the slight light that the filmmakers shed. “Chasing Ice” looks at the dramatic effects that humans have on the environment by focusing on melting glaciers. Amazing imagery allows the documentary to visually shock and expose the shockingly real effects that global warming has on the environment. It is a journey that begins with James Balog’s Extreme Ice Survey. Then it travels across continents to finally present his findings. The film has a dramatic climactic section where viewers are anxiously waiting for footage to be shown. “Semper Fi” is a smaller scale issue that still affects millions across the country. This documentary is a moving look at Camp Lejeune’s water pollution that has affected the children and their families over many years. “Chasingice” aimed to inform, but “Semper Fi,” a more exploitation-oriented piece, focused on the journey of informing. While both films dealt with a pressing issue, they were very similar. I think of “Chasing Ice”, as a way of informing people, and “Semper Fi,” more as documentation.

Both films feature a central protagonist, James Balog (“Chasing Ice”) and Master Sergeant Jerry Ensminger (“Semper Fi”) respectively. His passion for his project is infectious and contagious. His family’s testimonials and comments from his colleagues show his determination. He is the driving force behind the documentary. I can’t imagine any other person leading it. Jerry Ensminger is the main character in “Semper Fi”, with many supporting characters. Jerry’s story is fueled by the tragic death his young daughter died from water contamination. He is responsible for initiating the investigation into the misconduct of marines concerning Camp Lejeune’s water supply. Mike joins him on his quest for the truth. Mike, a man who was born at camp had his breast cancer. His story is almost like a secondary character in the documentary. It is very touching to hear his testimony at the meeting when they meet a representative from the marines. He starts to weep as he calls for the marine representative’s help. I found him to be very moving. While the films have a similar message of urgency, their audiences are different in terms of size. “Semper Fi,” geared toward the United States of America, is “Catching Ice”, a film that is more international in focus. “Semper Fi” focuses on a government injustice that affects the Marine Corps. This institution should be trusted and resolute. They are addressing the entire country and not just veterans or Marines. This is because it is a national issue that all citizens need to be aware. The country must be aware of injustices of this nature when there is no solution. Because this is a global problem “Chasing Ice”, has been aimed at the entire globe. The climate on the entire Earth has experienced drastic changes in recent decades. This is not the fault of any country or continent. The documentary isn’t a call for action, but it does make clear the need to change. It’s more a way to raise awareness.

Both films showcase the success of interviews by highlighting how they are used. The interviews in “Chasing Ice” enhance the story about James Balog’s passion and dedication to finding the truth on climate change. I found the interviews with James’ two young companions to be very interesting. Their stories are funny and easy to relate to. They did a wonderful job with their interviews. These interviews capture the excitement of a project such as this. James’ interviews with his family are a great way to see his dedication to the project.

They bring emotion to James’ film because he was often away from his family throughout the years of this project.

The emotional depth of “Semper Fi,” is evident in the interview material. Many of the stories are from people directly affected by water contamination. Family interviews, like “Chasing Ice,” are also used. Mike’s loved ones expressed concern about Mike’s health and offered support. It was obvious that his family didn’t enjoy the amount time spent on the topic and worried about not spending enough time with Mike. When it came to supporting characters interviews, the one that struck me most was the veteran who died in the course of filming. She lived a normal, fulfilling marine service. She went through Camp Lejeune while serving, and then continued her life. She couldn’t even handle the news of her diagnosis when she first heard it. The way the filmmakers filmed her story made it seem so normal. Cancer, like many other diseases, seemed to be something that happens to others and not to us. This was her death due to water contamination. It showed the power and potential of an interview.

Both documentaries have a theme that is suspenseful. You need to know what happens next. They used storytelling to engage their audience from the beginning to the end. They were both extremely factual as well as informative. The audience is attracted to the fact that “Semper Fi”, in which the information is slowly revealed, is not only emotional. I can understand why it was considered a feature movie. It is filled with dull suspense, which makes it seem like the movie will end with some good. The film grabs attention and encourages viewers to join Jerry Ensminger in this adventure. The suspense of “Chasing Ice” is based on the uncertainty about whether or not the cameras work. The mystery surrounding the end of the footage creates suspense.

I felt deep emotions in both films, but they all made me realize that something was wrong in the world and needed to change. Both films made me feel that there was change happening and that it is possible to make a difference if we all work together. “Chasing Ice,” a film that focuses on global warming, serves as a stark reminder to viewers that it is happening. It is happening because the people. They give convincing evidence that climate changes are real and address any doubters. “Semper Fi” tells of the tragic injustice inflicted on the families of marines who were contaminated at Camp Lejeune. The film has a profound impact on its audience. The documentary is difficult to ignore the emotion expressed by the people. Overall, the filmmakers did a remarkable job of engaging and capturing their audience.

Ju Dou, China’s first foreign language film nominee, focuses on Ju Dou, a female character who struggles to resist the tyranny of feudal ethics and feudal superstition in rural China in the early 20th century. Liu Heng is the author of Ju Dou. This film was directed by Zhang Yimou, a Chinese director. Yang Fengliang also helmed it. Zhang’s artistic expressions and colors are unique to him. This film features his characteristic of director-art. Ju Dou is a classic example of oriental cinema, combining eastern beauty and traditional social conflicts. It successfully depicts a Chinese-style tragedy in a feudalistic setting by using a variety of contrast techniques. Contrast techniques are primarily used in the film’s characterizations.

“Ju Dou”, the title of this film and also the name the lead character, is more than just the film’s title. Yang Tianqing’s return to his uncle’s place is the beginning of the story. Yang Jinshan’s uncle owns a dye factory that produces fabrics for villages. Tianqing was told by someone that Jinshan had just purchased a new spouse. Ju Dou is Jinshan’s wife. Jinshan has also tortured and executed two other wives. Jinshan let Ju Dou work in the dyemill in the daytime and tortures Ju Dou at night. He wants Ju Dou to have a son. Tianqing is drawn to Ju Dou’s beauty and young age. He visits her bathing place and watches her every morning. Ju Dou also feels the same about Tianqing because Jinshan can’t be a man. Soon they begin to have sexual relations. Jinshan believes the boy to be his own child and doesn’t even notice that Ju Dou is pregnant with a boy named Tianbai. Jinshan learns about Ju Dou’s affair with Tianqing and tries to kill Tianbai. Ironically, Tianbai only smiles at Jinshan as he struggles to breathe, even though Tianbai called Jinshan “father”. Tianqing must go to another place to avoid suspicion after Jinshan passes away. They continue to meet at different locations and have sex. Tianbai hears rumors that Tianbai’s mother and “brother” are secretive sex lovers in the field. Tianqing, an angry teenager, is vigorously rejected by him. Tianbai drowns Tianqing, and Ju Dou sets fire to the mill. The tragedy is made more real through the technical characterizations. They show two opposite types of features, one associated with penetration within Chinese feudal Society. Ju Dou, the heroine, first appears onscreen as a yellow-clad woman. She is wearing loose, untied hair and wears yellow clothes. Beautiful. Her eyes have a innocent look and a tender, water-like sweetness. This rural-style feature makes audiences feel like she could be gentle, obedient and just like other rural women of the time. We discover her rebelliousness and ambition when she tells Tianqing, “old thing,” that she keeps Jinshan’s virgin. Chinese feudal society views Jinshan’s illicit sexual relationship with Tianqing as incest even though they do not have a blood relation. This is a serious sin and strictly forbidden, especially for Ju Do. Women are usually in a lower position at this time and must obey men. Ju Dou is a rebel against the men-arranged destiny of women and wants to break free from social restrictions to achieve what she truly desires. This character is almost too sharp to be described. She has considered killing Jinshan when Jinshan threatens their peaceful lives. Jinshan is also her father. Because she believes that Tianqing’s father is Tianbai, it is inexplicable that she should tell Tianbai that fact. This extreme trait is detrimental to traditional women. She is open to the possibility of falling in love with her husband’s nephew and doesn’t feel guilty.

Tianqing sees it as Ju Dou’s opposite. Tianqing’s weakness is in a society dominated by men. He obeys almost entirely his uncle. He isn’t naturally obedient. He is capable of having his own thoughts and desires, but he doesn’t dare react to them. He doesn’t react to Ju Dou’s feelings, but he does look through the tiny hole at her and pay silent attention.

Tianqing can’t stop his anger at Jinshan torturing Ju Dou. Tianqing is so angry at Ju Dou’s screaming that he cannot contain his anger, he grabs anaxe one night. Jinshan stops Jinshan from trying to cut the wooden stairs because he’s too emotional. Tianqing realizes what just happened and comes to his senses again. His expression is a sign of his fear and loss. His past behavior seems to have surprised him. Tianqing’s deep thoughts and emotions are revealed by the plot. However, he is not allowed to share them with his audience. He is still bound by the feudal code.

It is interesting to see the contrast between Ju Dou’s smugness and Tianqing’s weakness. This is because in China’s darkest era, women are more bound than men. This film often uses this contrast to mock feudalism. Ju Dou stated several times that her desire to leave Tianqing’s village with Tianbai is for her and Tianbai a better life. Tianqing is not strong enough to make a new start. Tianqing believes that villagers will find out about their infidelity if the couple leaves. Tianqing does not want to be judged. Tianqing is so afraid of being condemned by the public. Ju Dou’s tragedy is due to his weak personality. It’s a comedy about patriarchal society in which men have the dominated power, but are not able to be powerful when they should. Two opposing main characters are portrayed in a film that is clever and makes the Chinese-style tragedy clear, structured, and meaningful.

The film’s stark color contrasts help to emphasize the tragic theme. Zhang is very skilled at applying colors. The sky looks grey-white in the film’s opening scene, as Tianqing leads Tianqing’s horse home. It’s also shown in the novel’s first sentence, which says “The sky is cloudy, just as an egg yolk that has been soaked in pumpkin soup” (Liu Heng), 5. People were covered in mists during feudalism’s years. Zhang uses colors as a way to bring harmony into the plot development. The film’s first half is dominated by red. Slowly, it shifts to blue-grey. The tone of red is used when Ju Dou, Tianqing, and Tianqing have sex together. The tone is dark when Tianbai refers to Jinshan as “father”. The director seems to give scenes in which main characters are optimistic with bright colors, but he also gives scenes where characters are unable to overcome dark tones. The audience is excited to see the contrast between bright and darker colors.

Contrast between bright dye fabrics and white walls and roof-tiles is the strongest. The director wanted to convey different meanings through the use of different colors, so he allowed for variety in the location. The brightly colored fabrics hanging in the dyemill are striking contrast to the brighter colors in the yard. The feudal atmosphere is represented by the stark white walls and black roof-tiles. The main characters’ spirit of rebellion is represented by the brightly colored fabrics. Ju Dou will often hang yellow and white fabrics at the very beginning. These colors aren’t loud, but they make the scene seem calm. Ju Dou notices Tianqing’s gaze when she looks at Tianqing. A blue cloth is behind her. Although it is bright, blue belongs to a cold tone. The audience is informed by the cold tone that Ju Dou keeps calm and rational when she sees Tianqing. This means that Ju Dou has not yet felt any feelings towards Tianqing. Ju Dou tells Tianqing her feelings about Jinshan and grabs a piece of red cloth. The bright red color represents the passion and hope expressed by the main characters. Contrasting the stark white backdrop, the bright fabrics help to tell an interesting story. The yard looks like it is being covered in warm-colored fogging.

The most important color in the film is red. The film also uses contrastive methods to portray the tragic art. Ju Dou and Tianqing finally get together. Ju Dou simultaneously kicks the stick which supports the wooden wheels. Red cloth is thrown into the dye vat, which is filled with red dye.

This scene is filled with amazing artistic beauty, which signifies that the characters are free of any binding power. Tianbai’s birth is marked by the red swaddling cloths that he wears to symbolize his joy. These parts use red to convey positive emotions to the audience. Red has a lucky meaning in China. Red color is used in Chinese joyous occasions in many different ways. The director gave red dye different meanings in later scenes. Jinshan, Tianqing and Tianqing get soaked in dye. Both struggle with the red dye. They feel like they are surrounded by blood. Tianqing drowning scene: A red cloth falls very quickly into a vat. In comfortable scenes before, red is a sign of hope and joy. Red, on the other hand, is a depressing color that strikes the eyes of the audience and awakens their minds. It is a terrible color.

The film’s juxtaposition of identical objects with different metaphorical meanings emphasizes the fact that characters are still too weak for the feudalism situation. As I explained above, Tianqing gets drowned in the dye tank. In this scene, the red fabric falls in rapid succession into the dye bath at the same speed as Ju dou’s first encounter with sex. The campaign to end feudal ethics and allow for sexual freedom is evident in the falling red fabric. The campaign to the feudal ethics and the release of sexuality begin when Ju Dou and Tianqing have their first sex. The campaign ceases when Tianqing is killed and does not achieve success. It is easy to see the contrast between these scenes. The red cloth in Tianqing’s drowning scene is freed from the wooden wheel. This is the final chapter of this tragic story. Ju Dou also loses his hope after Tianqing’s passing. The viewers are grieved that two opposing implications were given in identical scenes. The contrast between the beginning and ending of each main character’s campaign makes it more powerful, strengthening the characters’ tragedy.

A second object, the hole, has two metaphorical meanings. Tianqing intercepts Ju Dou right at the beginning of the story through a tiny hole. This suggests that they are not ready to rebel against feudal ethics. Comparatively, when Ju Dou and Tianqing go on their last secretive trysts in the cellar’s cellar, there is a large hole at the cellar’s entrance. However, the large hole does not reflect the society’s progress. The big hole suggests that they could only open so small a space in comparison to the vast world of sunshine. Their relationship is not a shining light in society. It is impossible to change that. The contrast between the meanings two holes shows the brutality and reality of feudal societies.

Rey Chow says in the conclusion that these stories of gothic, often morbid oppression, are marked by contrast with the sensuous film design. Zhang’s film language is rich in vivid colors when depicting ‘backwardness. ” (143). Zhang is an excellent director at using color contrast to increase the drama and reveal the characters’ inner thoughts. In the film, the masterstroke is the use of brightly colored dyed cloths. The director cleverly uses contrast techniques in metaphorical expressions and characterizations to enhance the film’s tragic atmosphere. Ju Dou’s and Tianqing’s opposite personalities are very interesting. Sad ironies are the comparisons between the different meanings of red dyed cloths and holes. Ju Dou, Tianqing and others are not important in feudal China. The fog of feudal philosophy will not let them escape no matter what they want.

Based on Stephen Chbosky’s novel, The Perks of Being a Wallflower was made into a movie. After a traumatized childhood, Charlie is socially awkward and tries to fit in at highschool. Perks focuses on the many problems teenagers today. Peer pressure and the desire for conformity are just a few of the issues that teens face today. The main theme of peer pressure runs throughout the novel and is a constant in the lives of many characters. Charlie and Brad have both fallen for peer pressure. Charlie is a drug addict who, in order for Sam and Patrick to accept him, also takes up smoking and drinks. His friends Sam and Patrick were regular users of drugs and smoked, so he also did it, trying to fit in with their circle of friends. Patrick also had little knowledge about drugs and suffered serious consequences. One example is his experience with LSD during Christmas parties. He was taken to hospital and fell asleep on the snow. Brad doesn’t want to be acknowledged as gay and conforms to society. His situation is more dangerous than Charlie’s, though, because his father and friends are homophobic. Patrick and Patrick suffer for their efforts to suppress their sexuality. His father became angry when he saw Patrick and Brad in bed together and beat him like an insane man. Brad was embarrassed and humiliated by his father’s discovery of Patrick in bed together, and he attacked Patrick. Peer pressure influenced him to fight alongside Patrick and his friends. We see many characters in this movie who are under peer pressure. Some push while others are pressured. These characters succumb to peer pressure and choose to conform rather than alienate themselves due to their morals. This is a realistic portrayal for most teenagers. The movie shows Charlie and Brad being pushed by peers, which can have a ripple effect on those who are also facing similar issues. The movie’s most famous quote is “We accept what we believe we deserve”. This quote is so famous because it can be easily understood by many people. Either they have been in a better relationship than their friends or they themselves. Charlie’s brother slaps Candace across the face in the movie. She excuses her boyfriend’s abuse and says that he “isn’t usually like this” or that she was “egging him on”. One third of teens say they have known a friend who was punched, kicked by their partner. Teenage Research Unlimited, February 2005. This movie shows that any person can be abusive to a partner. Chbosky represented Candace as being a victim of abuse and he was able to show that Candace could forgive her partner. The audience of adolescents will be rethinking domestic violence after seeing how Candace was treated. Patrick, Charlie’s friend, is gay. His classmates also harass him. Brad is his secret partner. Adolescence allows teens to find their identity. Teens may discover they enjoy the same sex, as well as the opposite. Homosexual students can find school environments with other teens to be both beneficial and detrimental. They are often treated with discrimination and can struggle to accept their sexuality. Patrick, a gay character, is subject to discrimination at school for his sexual orientation. Patrick and Brad were involved in a fight. Charlie intervenes and Patrick loses the fight. The movie revealed that LGBTQ students can be bullied simply because they identify. Charlie defends Patrick. This movie encourages young people, especially teens, to confront bullies and protect those less fortunate. These issues are not solved as in other coming-ofage movies. The protagonist rises above any problems. Chbosky’s characters are able to act like normal teens. Although the content can seem overwhelming at points, it actually addresses real problems teens are faced with in their lives. Three of the problems teens face in life are peer pressure and drug exposure, abuse by dating partners, and sexuality, as well how they are treated.

Fear of what aging can do to your body is something that most humans share in common. Arthur Conan Doyle, who created Sherlock Holmes’ character for his sharp intellect and creativity in story telling, was not known for being afflicted by any physical impairment. Holmes’ brilliance, arrogance and personality were what made him unique. Mitch Cullin’s book “A Slight Trick of the Mind” reveals that even Sherlock Holmes is affected by the signs of aging. Mitch Cullin presents an old Holmes to illustrate the devastating effects that age has on the most important things in your life. Holmes’s entire identity is destroyed by his memory loss, which affects his work, intellect, and relationships.

Cullin’s novel was set in Sussex long after Holmes retired. In this chapter, Holmes’ long-held fascination with beekeeping is explained to the reader. The reader also gets to know Holmes’ caretaker, and her son. Holmes’ retirement story is told as he tries to recall what happened. As Holmes nears the end, he begins to understand the importance of caring for others and loves them. Cullin shows any elderly person through the famous and well-known Sherlock Holmes. Holmes in his prime was known for his “sharp and perceptive” eyes as well as his “hawk-like” nose. (Doyle. vol.1, 11,). Holmes’s striking and sharp features were a reflection of his intelligence. A common description of Holmes was that he had “ignorance…as impressive as his know-how” because he didn’t trust any one else’s judgment (Doyle, vol.1, 12,). Holmes’s work was a fascinating example of Holmes’s ability to think on his feet. His ability to stay one step ahead of others, regardless of the circumstances, gave him an intriguing personality. Sherlock’s intelligence was unsurpassed, making his brain appear almost inhuman compared to other characters.

Holmes describes his intellect and how it compares to a simple-minded person in one of his mysteries. He says that “most people” will give you the results of a sequence of events if they are asked (Andr?,117). This means that they could put together events in their brain and then draw conclusions from the information. Holmes asserts that Holmes is not the only one who can do this. “If someone tells them a result, [they] will be able to develop from their own inner consciousness the steps that led up to that result,” (Andr? 117). Holmes is implying that these people can use analytic reasoning to discover the steps leading to the result. He was proud of his deductive skills, which were superior to any others in the profession.

Cullin begins his story by introducing Sherlock Holmes 93 years old. Despite his age, Holmes’s body was still strong and upright, and his keen gray eyes still held the same sharpness they had when he was younger. He carried two canes with him as he walked. snow-white hair, (was) thick and long, like his beard,” creating a different visual for the readers than what was described in Sherlock’s earlier adventures (Cullin, 3).|Holmes describes himself as “[using] 2 canes, his body [remaining] untouched, [and] that] the passing years hadn’t dimmed [his keen gray eyes] [and (his new) snow-white hair (was) thick, long, like (his beard),” creating a unique visual for readers than the one provided in Sherlock’s earlier adventures. (Cullin 3).|Holmes is described as “[using] only two canes and his body [remaining] intact, [and that] the passing of time hadn’t dimmed him keen gray eyes, [and [his new] snow-white hair (was), thick and long (like his beard),” providing a completely different visual to the reader than what was in Sherlock’s earlier adventures.|Holmes is described as “[using]] two canes; his body [remaining] undamaged and [that] the passage of years hadn’t dimmed his keen grey eyes, [and (his) new snow-white (was) thicket and long, (like his beard),”, creating a different visual experience for readers than that described in Sherlock’s earlier adventures.|Holmes is described using two canes to move his body, while his body remains unbowed. The passage of time has not dimmed Holmes’ keen gray eyes. His new, thick, white hair (was) long and thick, just like his beard,” providing readers with a different visual than what was presented in Sherlock’s earlier adventures.} Holmes’s experience with loss and the regret he feels from it has changed as he gets older. He lost two dear friends a short time apart; “Dr. Watson (was), someone who had passed beyond the kin… and the recent loss to Mrs. Hudson”, which made Watson feel “like a door slamming abruptly closed on everything that has previously shaped his life” (Cullin, 194).

One can see that once arrogant, a man who is now humbler has hoped to stay around for his last years. Cullin illustrates how age can impact one’s desire to be with others and their ability to seek help. Sherlock is aware of his inabilities and how others can help him. He must adjust his personality in order to embrace these changes. These changes are significant but he’s still remembered as Sherlock Holmes.

Sherlock Holmes, Doyle’s creations of Sherlock Holmes, was always more than the rest.

As we discussed, he relied on his analytical skills and deduction to solve seemingly impossible cases. Holmes is often referred to as a “superhero” by the police because he can take a case to the next level. Holmes’ memory was a unique trait. An author compared Sherlock’s memory abilities to that of a novice in a psychological study. They claim that experts are distinguished from novices because of their long-term memory organization and knowledge. Their example explains that expertise is defined by its “nature and organization” (Andr., 111). This article supports Holmes’ special mind when compared to the others. Sherlock Holmes was created to be detective. Doyle says Holmes’s ability to deduce is similar. Holmes was born to be a detective. Holmes’s career was a way for him to define his personality. His uncontrollable loss of memory caused him to lose touch with this side of himself over time.

Cullin’s novel was a reflection on Sherlock’s scattered memories. He doesn’t ever complete a story before moving on to the next one. This creates an illusion that Sherlock wants to trigger memories about any one of the storylines. Sherlock is depicted with progressive memory impairment in the movie version. He is given the task by his doctor to mark every name or event that he has forgotten during a single day. Later on in the film, viewers notice an increase in the number dots per page. These two examples illustrate how the audience’s memory loss was best shown to them.

Holmes’ final case as an individual detective was a key storyline in the plot. He spends the novel searching for clues that will help him determine why he chose to retire. Mitch Cullin stated in an interview that Sherlock got off the plane in Japan to realize that 40 years ago, he would have picked up on so much detail in his surroundings. Instead, today, he was just enjoying the beauty of Japan (“Sherlock’s”) Holmes’ memory starts to decline and he begins to cry out “I don’t understand” or “I haven’t gotten a hint” to himself in an attempt to find answers. It is evident that his progressive loss and how he reacts to it are both signs of a more serious condition. Although he can do his best, the novel shows that he’s not as sharp as he used to be. He was able to build relationships without any assistance, even though he lost his memory.

Sherlock Holmes was a stubborn detective in his early years. He was intelligently more than most, so it was difficult to relate with others. He loved to make fun of people’s simple comments. He struggled to find a connection in relationships. Sherlock, in “The Sign of Four”, is quoted as saying “love can be an emotional thing” (Doyle: 157). Sherlock here explains why he does not need love. He has enough hard work to do his best. Sherlock and Mycroft share a strong competitive chemistry, even when they are writing stories together. Sherlock is always the best at his job. Sherlock Holmes is only known to approve of a handful of relationships throughout his stories. These are John Watson, Mycroft and Irene Adler, his true love.

Watson and Holmes met as they were searching for a home to call their own. Holmes continued his amazement on Watson every day that followed their meeting. Holmes was in awe of Watson’s intelligence and this gave him an adrenaline rush that allowed him not to stop trying. His brother Mycroft is also his second friend. Homes and Mycroft support each other through the stories, while they are fiercely competitive. They get along well because they can challenge one another mentally unlike others. Holmes’

Irene Adler was Irene’s third friend. In “A Scandal from Bohemia”, it is mentioned that “to Sherlock Holmes was she the woman” [Doyle, vol.1, 244]. He loved her brain and her love story, but they were both too busy with work to maintain their relationship. Sherlock was fortunate to have a few close friends, but he couldn’t build strong relationships beyond those. He realized, however, that it was these close relationships that mattered the most as he grew up.

Holmes’ later years are shown to show him having lost his closest friends Watson and Mycroft. But, the reader is still able see how difficult Sherlock’s struggle to find a relationship. Along with Roger, he has Mrs. Munro, his housekeeper. They are not very good friends. Sherlock can be seen being annoyed at Sherlock’s presence at the beginning and even staring at her to go. Mrs. Munro sees Homes’ aging differently and doesn’t want to deal with it. When he seems unhappy, she does not show compassion but instead tells him that “he’s just in a weird mood… (and only God knows why)” (Cullin.197). Holmes is grateful for Holmes’ presence, despite their bickering.

Though his relationship with Mrs. Munro is rocky, he develops a solid fathering/grandfathering relationship with Roger saying that “he rarely enjoyed the company of children, (but) it was difficult avoiding the parental strings he harbored for Mrs. Munro’s son”(Cullin, 12). Roger is interested in Holmes, and follows him around the garden pathways, as well as other locations, to see if he can deduce like he can. Cullin,197 Sherlock discovers what it means to love and care for another person by meeting him. They shared a mutual interest in beekeeping and an interest in investigation. Sherlock feels a new emotion when Roger gets hurt caring for Holmes’ honeybees. An overwhelming sadness is what he feels because the boy was injured. This was something that he hadn’t felt before. Holmes’s old age allowed him to openly communicate with people he cared about. His eyesight was able to expand with age.

There are only a few significant differences between Doyle’s Sherlock Holmes and Cullin. As Holmes ages, Holmes experiences changes in his mental and physical state. This affects how he interacts with others and himself. Holmes is stubborn but he has become more open to others as he ages. Holmes realized that he was not better than anyone and needed to be open to receiving help. He learned to forgive himself and to make new connections with people he valued. Cullin’s tale shows Holmes becoming more humane as he grew older. His past experiences were a reference point that he could use to help him change his future.

Many people saw the Holocaust as a terrifying, horrific, and horrifying event. It is hard to believe that six millions of Jews were murdered by the Nazis. There are many ways they were tortured and killed. It is impossible to understand the pain of every individual. Only Holocaust victims could experience the horror of the Holocaust. Steven Spielberg’s film Schindler’s List had one goal: to make the viewers feel connected to the characters. The film helped them begin to understand the horror of the Holocaust on a more intimate scale.

Spielberg has a lot of horrible imagery, which makes it feel like I’m forming a bond with them. This is the connection Spielberg had to achieve in Schindler’s List. I feel the character’s pain. This makes it possible for me to see the horror and feel the pain of every person who has been left behind. The film allowed me to see how the Nazis treated Jews in concentration camps by writing numbers on their arms or starving them to death. Oskar Scheindler understands that his Jewish laborers are being murdered and cannot stand by. He puts them to work in his factory to try to save them all. They are given the chance to escape being shot, but some end up being removed from his factory and killed. I am the watcher and understand these individuals.

AmonGoeth’s portrayal of a Nazi hostile Semitist officer gives a shocking look into his mind. He shoots Jews with his rifle, and I think it’s fun. He views Jewish people as a whole. He does love Helen Hirsch. Goeth doesn’t deny any affiliation to an individual, like Schindler. His dehumanization of and murder of Jews untold times helps me to recall Russia in our readings.

To the film’s incredible last scene, Spielberg portrays independence as an option. This film was beautiful and moving, but also very extraordinary. In one scene, an old man goes to Schindler’s office. He expresses his gratitude for saving him. Because he had only one arm, he was ultimately killed. It was also heartbreaking to see the train take so many honest people to the gas chambers. Schindler’s List is a must-see. It greatly enriched my understanding of Nazi History. The death camps were to be used as detention communities for people who were considered to be incendiary by Nazi heads. After watching the film, it became clear that Jewish people would retain their assets regardless of what it meant.

A part of me still believes that Schindler will pivot in the midst the ghetto being liquidated. A little girl in a red coat is noticed by him. It’s the main shading case used throughout the film. It was eye-opening to see and so hard to understand how they divided families.

It’s impossible to say anything with certainty. Postmodernism claims that there’s no absolute truth. People see the truth as they believe it to be and then identify it. The film Stranger Than Fiction is part the recent postmodern movie cycle. It explores important questions in our daily lives and has a philosophical significance. The movie’s postmodern elements are well-shown and help the viewer understand the message. These elements can be seen as distracting from the main message. However, the movie uses fragmentation and asks questions without answering the answers to show that the conventions of the genre can be powerful tools.

Harold Crack, the film’s main character, is a man who keeps track of his steps, counts his brushstrokes and tracks his progress to the bus stop. He also records his work breaks using his wristwatch. The man seems to be merely following the watch’s commands and acting as its servant. Harold lets the watch dictate his personality, which is the main problem. To find meaning and comfort, the character has to live a 12-year-old daily routine. Physical fragmentation is used to draw attention to the routine. This includes obscure camera angles, rotating shots, rotations of shots, and graphics. These techniques provide a deeper understanding about Harold’s personality and make for an interesting film. The fragmentation quickly moves on to another postmodernism component, which is asking questions and not answering them. This postmodern component makes audiences think about what human life means. The movie’s fundamental questions revolve around the following: Is Harold’s story real? Are Harold and Taxes real characters or are they fictional? Karen Eiffel wrote and assumed all events. The viewer still has many options to ask philosophical questions. Unfortunately, the answer is not provided. The wristwatch became a personification of time, which led to everyone asking the question, Is time controlling me? This question teaches us to be more efficient with our time and not get lost in the routine like the main character of the movie. It is also important to not ask questions but give answers. Films have a well-defined genre. Stranger than fiction is not able to give an exact genre, so people have to choose what one suits them best. The film does not portray the characters’ lives as funny or sad, but asks its audience to consider whether their lives are a comedy of tragedy. Everyone expects to see the tragic ending, considering that everyone knows the protagonist must die. Harold discovers his true love unexpectedly and is able to transform his life with the hope of avoiding death. Anna Pascal is the girl who refuses taxes and whose goal is to make her passions a reality, allowing her to do what she likes. Harold is aware of his imminent death and learns how important it is to have a purpose in life and achieve goals throughout your lifetime. The man sets out to fulfill a dream: to play the electric guitar.

Harold learns to play a guitar song, and it is what makes him a success. It also proves to be the reason Anna fell for him. The movie seems to be the pivotal moment and second chance for the protagonist. However, further events alter the story. Harold talks to his life creator and asks her for help. After reading the book, Harold understands that fate is unchangeable. So, instead of saving the boy, the man courageously throws himself in front the bus. Karen Eiffel, the main character of the novel, realizes she was about as close to killing an actual person as she is and changes the ending. Harold is rescued by his wristwatch after he was injured and appears in hospital. The movie, Stranger Than Fiction, has well-executed postmodern elements and is certainly a success. These elements can teach students important philosophical lessons that will help them live a meaningful life. It is important that you realize that fate can’t be changed, but there are always options to alter how people react to it.