Blade Runner Final Scene

Blade Runner Final Scene
The film Blade Runner: The final cut, directed by Ridley Scott takes place in a futuristic society. We
are given a summary of what will be going on in the film since the very first scene of the film. The
setting of the film is demonstrated early on showing how important the setting of this film will be
for the understanding of what is going on. The setting of the film takes place in future time in Los
Angeles in the year 2019.In the White Scrolling text we learn about the Tyrell Corporation, an
advanced high tech corporation that focuses on the production of human replicants. The Tyrell
Corporation is significant in how the film develops as it is where the most important scenes that
interpret the film occur. The opening scene starts off at the Tyrell Corporation we can see the odd
pyramid shape architecture of the building. This first scene in the film is one of the most important
scenes because throughout the film what Leon says in this first scene is ... Show more content on
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The first symbol that is very apparent is that of the eyes. The opening scene, before it leads us to the
Tyrell Corporation shows a close up of an eye. Also, when the thought to be replicants are given the
Voight– Kompff test to see whether the individuals are actually human, a close examination of their
iris is given to identify any reaction. The eye can also show emotion that the examiner is looking for
since eyes are widely referred to as the windows to the soul. Another theme that jumps out with the
symbolism of eyes is how the replicants have a light up glow in their eyes. In The scene where
Rachel is introduced to Deckard inside the Tyrell building it seems as if her eyes glow in a way. In
this scene is also when we are introduced to a robotic owl the pet replicant of. Rachel asks "Do you
like our owl?" When Deckard asks if it's artificial she assures him that it is. The artificial owl in the
building represents the wisdom of
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Essay on Emily Dickinson's Because I Could Not Stop for...
Emily Dickinson's Because I Could Not Stop for Death
Emily Dickinson's "Because I could not stop for Death" is a remarkable masterpiece that exercises
thought between the known and the unknown. In Dickinson's poem, "Because I could not stop
Death," there is much impression in the tone, in symbols and in the use of imagery that over flow
with creativity. One might undoubtedly agree to an eerie, haunting, if not frightening, tone and use
of symbolism in Dickinson's poem.
Dickinson uses controlling adjectives –"slowly" and "passed" – to create a tone that seems rather
placid. For example, "We slowly drove –He knew no Haste / ...We passed the School ... / We passed
the Setting Sun" (5,9,11,12), sets a slow, quiet, and clam ... Show more content on Helpwriting.net
...
The first site "We" passed was the "School, where children strove" (9). Because it deals with an
important symbol, ––the "Ring" –this first scene is perhaps the most important. On this invited
journey, one vividly sees "Children" playing. Laughing and singing. This scene conveys emotions
and moods through verbal pictures.
The imagery in the final scene, "We passed the Setting Sun" (12) is very emotional. One can clearly
picture a warm setting sun, perhaps, over a grassy horizon. The idea of a setting sun, aftermath a fact
of slumber in a cold dark night. When Dickinson passed the "Setting Sun," night drew nigh and it
was time to go home and sleep. Symbolically, her tour of life was over; it was now time for
"Eternity" –death. While sight seeing in the carriage, one can gather, by the setting of the sun, that
this ride was glimpse of life flashing before her eyes; just as said to happen before you die. Lines 14
and 15 seem to support this idea. "The dews drew quivering and chill / For only Gossamer, my
Gown" (14–15). This indicates a pleasant time cut short. Before she knew it, the cold "Dew[s]" (14)
had set in.
The imagery in this transcendent poem shines great light on some hidden similarities between life
and death. This poem exercises both the thoughts and emotions of readers. Eternity and Death are
two important characters in Dickinson's "Because I could

The Annier Synopsis
THE ANNOUNCER is a character driven story with strong potential. The idea of a successful
businessman giving up the security of his stable and financially secure and swanky life for an
unpredictable and erratic career as a voice announcer is highly engaging.
The premise is a great set up for conflict, drama, humor, and character transformation. The script
conveys strong themes about never giving up on one's dream. The tone is dramatic, but with a
wonderful blend of humor. There's also a strong, inspiring pitch to the story.
Steve's goal to become a working announcer and the grand master at the circus is clear and the
stakes are personal. He's risking his family and his home. Moreover, Steve's inner goal is to find his
own voice.
There are many smart story choices that ... Show more content on Helpwriting.net ...
Make sure to highlight that his coughing and losing his voice is psychological. This really gets lost
and it's so important to his character growth. Most of all, it's not really clear what emotionally
chokes his voice.
The audience has to understand what prevents him psychologically from performing. It could be
connected to his father. It could be as simple as recognizing that he's achieving his father's dream
and feels as if he's betraying him. Maybe he suffers from panic attacks/anxiety and he has to find a
way to overcome it like focusing on an object until he learns to resolve it internally in the third act.
Once he realizes what blocks his voice, then he can go on.
Steve is a terrific character. He's extremely likable and the audience roots for him. He has a strong
range of emotion. His dialogue as an announcer is solid. It's his inner conflict that requires more
clarity. At the end he undergoes a powerful character transformation. Betsy is very likable. She
supports her husband. She nicely confronts Katherine about how she has lost her voice to Darren.
It's a well crafted subplot that supports the main

Precious Movie Analysis
Personal Response to the film "Precious"
"Precious" is a film about a Harlem teen of the same name's attempts of escape from her abusive
mother and lustful father in order to live a new life and have a brighter future. The movie, in spite of
cliché and problems with the plot, managed to win the viewers' heart and took them up for an
empathic and compassionate adventure of Precious, a 16–year–old teen who is slowly transforming
into a mature and independent young woman. Coupled with a decent director and excellent actors,
"Precious" is indeed one of the well–acted and beautiful of the year 2008.
At the start of the movie, the story is about Clareece "Precious" Johnson, an illiterate, obese girl in
1987 Harlem who is pregnant with her second ... Show more content on Helpwriting.net ...
The scene before the ending shows Precious meets up with Mary and sees her mother's true face
after all those years. She refuses to fulfill Mary's request to live with her, taking the babies and
walks out in disgust despite Mary's pleads. The final scene shows Precious walking out of the
Citizens Advice Bureau, intending to finish high school and starting a new life now with both of her
babies, Mongo and Abdul.
There are many small details in the film which the director intentionally hid, can show more details
about the story. There is a scene in which shows Precious' father raping her and her mother, Mary, is
just standing there and doing nothing, hinting that she is unhappy and disillusioned with her
husband's tendencies. This later serves a big evidence for us to understand Precious' abuse in the
hands of Mary as well as better understanding of the film's conclusion. There are some mild racist
jokes and cliché like Precious stealing chickens and she vomits after eating them, which shows her
binge–eating habits. But there is one small detail that interested me the most is her firstborn child,
Mongo. After I found out, the name "Mongo" stands for "Mongoloid", which means a child who has
Down syndrome. As it turns out, the child actress Quishay Powell, who played Mongo in the film, is
a 5–year–old suffered

Analysis Of The Play Our Town
Our Town, a theatrical production directed by Roseann Sheridan, recreates the day–to–day activities
of ordinary citizens living in a small New Hampshire town. The stage manager (played by Denzel
Taylor) introduces the audience to the Webb and Gibbs households, who the entire play revolves
around. The Webb and the Gibbs represent the typical family in present day society who live about
their lives and fail to acknowledge and appreciate the small joys of life. The play Our Town uses a
contrast in scenic design between Acts 1–2 and 3, specifically with respect to the absence or
presence of scenery and props, to illustrate how we take our lives for granted; in fact, we never truly
appreciate what we have until it is gone. A recurring theme in ... Show more content on
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The absence of scenery and props made me feel as if the characters never fully appreciated all the
wonderful luxuries their town had to offer. I agree with Emily when she asserts that human beings
are "just blind people" because we fail to recognize and appreciate whatever we are fortunate
enough to have. In my opinion, the producers of Our Town did an amazing job conveying this
message with their minimal use of scenery and props in Acts 1–2.
When Emily is up in heaven, she wishes for her spirit to return to Earth so that she can relive past
experiences she considered to be "happy" moments; however, Emily ends up questioning whether or
not "human beings ever realize life while they live it." In fact, the only time the play makes use of
extensive scenery or props is during Act 3, or when Emily is reliving her twelfth birthday and
reflecting back on her life. While there is minimal use of scenery and props in Acts 1 and 2, there is
a beautifully decorated kitchen set in the final scene of Act 3 when Emily returns to her birthday.
The change in set design helped me understand the sharp contrast in how Emily viewed the world as
a child versus now. Not only is there a physical set present in the final scene, but it is also decorated
with a variety of props, ranging from kitchen appliances to a colorful birthday present for Emily.
Emily walks around the kitchen, mesmerized, and

Character Development In Graphic Novels In Craig...
Craig Thompson's Blankets is an example of how graphic novels can be used to convey character
development that can be seen by the reader rather than read via texts. Thompson uses postmodern
styles such as borderless panels, timeless and spaceless scenes, and a mesh of religious imageries to
encapture moments of his coming of age journey. As he strays away from the traditional in–box or
in–bubble texts, Thompson seems to be urging the readers to take a closer look in order to see the
struggle young Craig is having in his relationship with his first love, Raina, and the faith that he was
raised in. Throughout the retelling of Thompson's story, textless panels allow the scenes portrayed to
be free of the connotational cost that comes with words. By analyzing the borderless panels,
timeless and spaceless scenes, intertextual religious imageries and word choice, readers can see the
elements that help shape some of the most textually minimal scenes in this work to be some of the
most insightful scenes for a better understanding. Thompson's use of shading and shadows to
visually encapture Craig's troubles and choice of words to show Craig's disconnect from his faith are
examples of elements that allows readers to piece together and better understand how Craig develop
as a character and see the evolution of his relationships. On an outer level, we can see that the
growth hones in on his doubt and eventual distancing from his Christian faith. With the use of
wordless panels that are filled with whimsical actions and facial expressions, the book is given a
much–needed sense of innocence and pureness that work in accordance with its coming of age
theme. This then can properly portray the maturation of an innocent youth into his adulthood. Meta–
narrative in graphic novels is the idea that in a given narrative, there exists a whole other narrative
that can truly bring completion to the entire work as a whole. By paying attention to the meta–
narrative, readers can connect the entire work's scattered theme and ideas to its central theme.
Noticeable examples of meta–narrating can be seen throughout Blankets as Thompson uses subtle
change in intertextual content and transitions between light and dark that can be interpreted

Quotes From The Pianist
To: Roman Polanski, Director
From:
Date: February 28, 2017
Subject: The Pianist Notes and Guidelines
It is extremely important to take note that the memoir you are about to portray is one of the most
simplistically beautiful and brutal pieces of literature ever written on the Holocaust. It is your job to
continue this brave act of defiance, to retell Wladyslaw "Wladek" Szpilman's story to a wider, more
modern audience than ever before. As Wolf Biermann explains in the epilogue, this memoir is so
difficult to swallow that the Eastern European audience of 1946 were unable to tolerate such an
authentic and unflinching view of the horror they had lived through, causing the memoir to not be
published again until fifty years later. However, ... Show more content on Helpwriting.net ...
It's resolute and powerful display of human weakness is a message that needs to be portrayed
accurately. By the end of the film, the viewer needs to fully understand just how a leader like Hitler
rose to power and successfully conceived and executed history's greatest mass murder. It is essential
to show Szpilman as not a typical hero, but as a battered and weakened human being who by the
grace of his fellow man, survived. The film needs to offer the same stark reality that Szpilman
selflessly gives to the reader. This film cannot be another "Hollywood feel–good" film. No false
messages of hope or salvation can be found in the memoir, and therefore, should not be found on the
screen. The senseless violence and mob mentality of this era needs to be understood by the modern
audience, so as to never allow it to be

'The Final Scene In A Streetcar Named Desire'
In the final scene, Bob is in a taxi on his way to the airport when he spots a blonde woman in the
crowd walking by. He immediately recognizes her as Charlotte and without hesitation, leaves his
taxi and runs after her. The loud bustling city is most noticeable at this point in the film, as Bob
approaches Charlotte. But as they share an intense gaze, the noisy city is muted and all focus is on
them. Bob breaks the guard he has put up the entire trip to embrace her and intimately stroke her
hair. Charlotte returns the intimacy, burying her head in his shoulder. The tenderness that they tried
so hard to conceal, is finally out in the open. This scene is extremely close up with their bodies
inhabiting almost the whole frame with exception to the

The Play Of Louis De Rougemont
The title of the play that I saw was Shipwrecked! An Entertainment: The Amazing Adventures of
Louis De Rougemont (As told by Himself.) Donald Margulies is the playwright of this play. Arthur
Grothe directed the show that I saw and where the University of Wisconsin–Eau Claire performed it.
The play took place at the Riverside Theater in Haas Fine Arts Center. The play would be
considered an action drama, one that was filled with almost every emotion, but the main genre
would be action. Overall, the major themes of this play were the stories of Louis De Rougemont, the
incredible tales that went on to be proven that they were too good to be true. This play's setting takes
place in 19th century London. The minor themes of this play were mental illness and their affects
and love. In the audience, it is hard not to fall in love with Louis De Rougemont and his tale.
This play is very clear who the protagonist is. The protagonist is Louis De Rougemont. Louis is a
boy who is shut in by his mother, he is not allowed to see the world, and in fact the only thing he
sees is his bed. However, it is his imagination that helps him get through these days. He imagines
the stories his mother tells him with vivid descriptions, so much so that he believes he is destine for
a life at sea after hearing many stories about it. His goal is leave his home and set out to sail for
Australia. However, he has never seen the world, he has only spent sixteen years of his life inside
aided by his mother.

Tender Napalm by Philip Ridley
Tender Napalm is a play by the celebrated, contemporary British playwright Philip Ridley.1 The
play was published in 2011 and premiered in the Southwark Playhouse in London. Ridley's oeuvre
consists of work in eclectic styles and written for various different audiences (he is a prolific creator
of material for children, as well as plays for adults with difficult and often violent themes). Many
attempts have been made to classify Ridley within the so–called "in–yer–face" movement within
British theatre, however most critics acknowledge that his plays are unique and often defy
classification.2 Tender Napalm features many of the hallmarks of Ridley's writing (violent imagery,
obsession with the power of language, and distorted memories), but the play is perhaps most
interesting for its rather unique structure. This paper will give an overview of the plot of the play
and attempt to outline its main structural elements, before moving towards an analysis of how the
structure operates. Comparisons will be drawn with Aristotle's theories of theatrical structure, in
order to examine how the play's structure sits within traditional models of Western playmaking, but
also pushes against them in innovative ways. Ultimately, this paper will argue that the structure of
the play is, in and of itself, performative. The plot of the play deals in fractured memories and an
attempt to re–experience the past, that which is always–already absent. The structure of the play
functions to disrupt the

Analysis Of When The Rain Stops Falling
As an actor, playing the role of Elizabeth (younger), how do I interpret her character and explore the
theme of sacrifice embodied by her character?
How do I interpret Elizabeth younger and translate that into a performance?
Elizabeth's younger self is developed in the context of 1960's London. The 1960s was considered a
decade of change for women ; birth control pills being approved for the first time and women
entering the work force and protesting gender disparities in pay . Elizabeth is depicted by Bovell as
a fiercely intelligent woman, still in the prime of her life when we first meet her in her "small flat in
London." Living in the 60s, she would have been full of expectation and hope for the future,
grasping at any opportunity, making it all the more tragic when it is all torn away from her and she
is left alone with a life she never wanted: the life of a single mother. It is her story that is the origin
of the problems faced by all other characters in the play, setting up Bovell's themes of
intergenerational trauma and failure. It was within this context that I first started a more holistic
interpretation of her character. Furthermore, the contemporary nature of our performance of When
The Rain Stops Falling has allowed me to explore her character in greater depth, as the non–linear,
multi–generational nature of the play has given me an insight into Elizabeth's future life, providing
more weight and meaning to the circumstances in her earlier appearances, and how

Journey's End by RC Sheriff Essay
Journey's End R.C Sherriff uses the characters in his play Journey's End to create tension and drama.
In the opening scene Sherriff uses Osborne, an elderly man who is second in command of the
company that's coming on duty, and Hardy, the captain of the company that is coming off duty, to set
the scene. Hardy starts to do this when pointing out features on a map of the front line, "Here we
are, we hold two hundred yards of front line. We have a lewis gun here and one in this little sap here
and sentry posts where the crosses are". Sherriff also uses Hardy and Osborne to give an insight into
the character, Stanhope's, personality and to describe the living conditions in the front line. He first
does this by using the stage ... Show more content on Helpwriting.net ...
"How is the dear old boy still drinking like a fish... It must be pretty rotten for you, being his second
in command and you such a quiet old thing." Osborne then quickly jumps in and defends Stanhope "
He's a long way the best company commander we've ever got." and eventually Hardy backs down
"Oh, I know ; he's a splendid chap!" From that you can determine that Hardy thinks Stanhope is a
drunk and that he is a joke to the company, whereas Osborne tries to be loyal to Stanhope by
protecting him from Hardy's verbal abuse. In scene two, the relationship between Osborne and
Raleigh help us to understand more about Stanhope and why Osborne is so protective of him. They
give us more infomation on what life in the trenches is like. When Raleigh first enters he acts like he
is inexperienced because Osborne has to tell him "Sit down, won't you?" and "I should take your
pack off." Osborne then starts to act as a fatherly figure by saying to Raleigh "My name's Osborne.
I'm second in command of the company. You only call me 'sir' in front of the men... You'll find the
other officers call me 'Uncle'." After then talking about just arriving in the trenches Osborne
mentions Stanhope "Captain Stanhope is in charge of this company." and to Osborne's suprise
Raleigh says "I know. It's a frightful bit of luck." Osborne and Raleigh then go into deeper depth on
how Raleigh knows

Stanhope's Relationship with Raleigh in Journey's End by...
Stanhope's Relationship with Raleigh in Journey's End
Write about the presentation of Stanhope's relationship with Raleigh in Act Two Scene One, Act
Three Scene Two and Act Three Scene Three.
Journey's end by R.C.Sherriff is an incredible play about how the horrifying conditions in W.W.I
affected men physically and psychologically. The audience really feel for the soldiers as the author
has made the concept of the war so emotionally involving for the reader. The main character is
called Dennis Stanhope, and another attention–grabbing character is Jimmy Raleigh. R.C.Sherriff
has used the relationship between Stanhope and Raleigh to convey the effect of the awful conditions
the war had on the depth of the suffering the
solders ... Show more content on Helpwriting.net ...
Raleigh has written a letter home to his sister and
Stanhope assumes he has written about his drinking habits in, and he actually tries to censor his
letter home. But Stanhope couldn't bring himself to do it, so Osbourne offers to read it for him.
Stanhope agrees so he must trust Osbourne a lot to let him do that. Osbourne reads the letter, and so
Stanhope finds out that the letter is the complete opposite and is full or praise about him. "He looks
tired, but that's because he works so frightfully hard, and because of the responsibilities, a sergeant
told me that...........Dennis is the finest solder in the battalion and the men simply love him".
Stanhope felt guilty and stupid for mistrusting Raleigh. Raleigh annoys Stanhope when Stanhope is
asking Raleigh for the letter he has written home to his sister Raleigh doesn't want to give it to him
and he says its private, Stanhope immediately thinks that Raleigh has written something bad about
him but the real reason Raleigh doesn't want him to read it is because most of the letter is praise that
isn't true, he sounds like a little school boy how he has said it. The author's intention of this scene is
to show the point to the audience that you sometimes get the wrong perception of something. The
audience feels both Stanhope's and Raleigh's emotions because the author has put a lot f feeling into
this scene through the body language of the characters. "Stanhope sits with

Solaris And Memento Analysis
Elizabeth Loftus is a psychological scientist who discusses memories, specifically false memories,
in her TED Talk "How reliable is your memory?" Ultimately, Loftus explains that it is possible to
not only have false memories, but it is also possible to feed people misinformation that in return
alters one's memory. This concept of false memories, and more broadly one's remembered past, is
evident in a few films we have studied in class. In both Solaris (Soderbergh) and Memento,
improving one's self knowledge was dependent on dealing with regret and guilt about one's
remembered past. Solaris follows the protagonist, Chris Kelvin, on his journey to the space station
with the goal of helping the scientists with an unspecified experience aboard the station. Shortly
after his arrival, Kelvin experiences the strange experience firsthand when his deceased wife Rheya
appears in the middle of the night. At first, Kelvin believes she is a figment of his imagination, or
perhaps a dream, but soon he discovers she is "real." Kelvin quickly decides to rid the station of
Rheya by sending her off in a separate skyrocket; yet, to Kelvin's surprise Rheya materializes again
that next night. In contrast, the second time Rheya emerges, Kelvin decides not to kill her, but rather
begins to question her existence. It is argued that Solaris is able to reconstruct deceased ones from
the memories of the scientists aboard the station. This raises the following question: are the
duplicates materializing on the space station real people? Gordon has an unwavering opinion that
these "creatures" are not human, and thus, should be eradicated. However, Kelvin has already
resurrected his love with the duplicate of Rheya, and believes he could be happier living a life with
her. Surprisingly, it is Rheya that indicates she is not the original woman Kelvin is remembering, or
dreaming about. Instead, she is a reconstruction of Kelvin's remembered past of her. Kelvin's
memories dictate how the duplicate Rheya speaks, moves, listens, and feels. This is problematic
because as Loftus explains, memory can be unreliable. To improve his own self–knowledge Kelvin
must deal with the guilt of having hurt Rheya by leaving her and potentially leading her to

In What Way Does The Final Scene of Act 1 Demonstrate...
In What Way Does The Final Scene of Act 1 Demonstrate Dramatically The
Tensions Between The Characters Which Will Lead to Tragedy?
The final scene of Act 1 in Arthur Miller's 'A View From The Bridge' demonstrates dramatic tension
in a variety of different ways. It is made fairly clear from the final moments of the act when Alfieri
returns to the stage that the play will end in tragedy. Miller shows this through dialogue between the
characters and in the plentiful stage directions with which he liberally sprinkles the text. There is a
range of conflict present in the scene. The central conflict however, involves Eddie's
unacknowledged jealousy towards Rodolfo; this is the strongest.
The above dispute is clearly visible when ... Show more content on Helpwriting.net ...
Alfieri's interlude, between
Eddie leaving his office and the lights coming up on the apartment behind, indicates quite clearly the
play will end in tragedy. Alfieri says "I could see every step coming, step after step, like a dark
figure walking down a hall toward a certain door". He adds that he even asked an old, wise woman
what she thought he should do. The answer she gave was "pray for him". It is obvious that Eddie is
extremely vulnerable.
Alfieri guesses how Eddie feels for Catherine and gently suggests that he needs to let go.
Unfortunately Eddie cannot bring himself to admit that he loves Catherine like Beatrice and
therefore does not benefit from Alfieri's advice. He reacts "furiously". He desperately tries to invent
problems in his mind why Rodolfo cannot marry Catherine because deep down he is jealous.
The next section of the scene opens with the family finishing dinner.
Other tensions become more apparent in this scene. A prime example is that between Eddie and
Beatrice. Their conflict is made apparent as
Beatrice desperately tries to keep the conversation going, sensing
Eddie's growing anger. Instead of trying to suppress his annoyance at
Rodolfo he erupts at the cousins and scorns Beatrice.
"Sure. How you gonna catch sardines on a hook?"
Everything that Rodolfo says during this scene, Eddie takes the wrong way. I think this partly due to
their very different personalities.
For example Eddie looks out for his

A Few Good Men Plot Summary
An orphaned young girl teams up with a former enforcer, as they are pursued by a ruthless Mexican
mobster.
STORY COMMENTS
THE STRENGTH OF TEN MEN is a captivating action, thriller. The strength of this story is no
doubt the complex and highly compelling characters that drive the plot. The core characters are
thrust into a harrowing life and death situation where the stakes are extremely high.
The script offers intriguing twist and turns. There are solid themes about trust, family, believing, and
faith.
The idea of a young orphan girl teaming up with an enforcer is an appealing plotline. There's a smart
twist when the enforcer turns out to be the person who killed the young girl's father. In addition, a
ruthless Mexican mobster hunts ... Show more content on Helpwriting.net ...
For the most part, it sounds crisp and has a nice rhythm. The voices of the characters are consistent
with their personalities and reveals information about them.
The only area that should be polished is the running gag about "whores." This is still overdone. It's
funny in the beginning, but then loses its charm. The discussion about "big dicks" isn't all that
engaging.
The overall tension works best in the opening. The conflict and tension in the second act can be
stronger if there's more of an urgency and ticking clock. The current pace hinders this. The tension
doesn't enhance again until the midpoint.
The script is professionally presented although there are a few minor typos (pages 4, 45, and 54).
Also, the character of Dennis introduced twice.
SUMMARY & MARKETABILITY
The plot is engaging and merits consider with revisions, especially in the first half of the script
regarding the goal, tension, pace, and action.
The strengths of this script are the characters and they can attract talent.
The action is also well crafted.
The script should be marketable in both the domestic and international market.
The script should appeal to the mainstream action, thriller audience.
See grid

The Glass Menagerie By Tennessee Williams
The Glass Menagerie by Tennessee Williams is a drama that involves four main characters; Amanda,
Tom, Laura, and Jim. Amanda is the mother and Tom and Laura are her two children. Their father
left them years ago, leaving them responsible for the things he once took care of. When the father
was still living there, he was the breadwinner of the family and provided for their needs. It seems
that ever since he has been gone, they have not transitioned into their life without him, emotionally
as well as financially. Their interactions with one another clearly display the scars left due to their
father 's departure. Amanda and Laura have a constant communication about Laura not having any
"gentleman callers" throughout her life. The main concern about this situation stems from Amanda
and less from Laura. Amanda often talks to Laura about her personal memories when she herself
had many men pursuing her. Amanda talks to Laura in a belittling manner and often makes Laura
feel insecure about her shy and introverted personality, which is vastly different from her boisterous
mother. Amanda and her other child, Tom, clearly have a dysfunctional relationship as well, but in a
different way. Multiple times within the drama, they argue with one another intensely. These
arguments often leave Tom so frustrated with his mother that he storms out of the house. The ending
of the drama actually involves this exact situation, Tom leaving the house and eventually not coming
back. The theme that

Film Analysis Of The Red Masks
After this, the Red Shirts essentially waterboard Nemecsek. As Gereb laughs away (he's honestly the
worst), Feri Ats watches stone–faced. Borzage shoots this scene precisely – Nemecsek is plunged
into the water, we see Feri Ats watching, Nemecsek is lifted out of the water and held in the air for a
few seconds so we can see the desperation on his face. He's terrified, struggling to breathe, all while
battling a cold. It's a pitiful sight. The audience wants someone to intervene; a child is being
tortured, someone do something! Gereb is clearly not going to do anything, so the only choice is
Feri Ats. The audience knows this, even before he does himself. This is a key moment – Borzage has
to show that Nemecsek is able to affect Feri Ats with his pureness. The audience can sense that Feri
Ats has goodness. When Nemecsek confronts Gereb, soaking wet, Borzage shoots him in a close–
up. It's a beautiful shot, with soft light clearly illuminating his wet face. Compare this with the way
Gereb is lit – that's more of a haze, like the light is reflecting off of Nemecsek and hitting him.
Nemecsek is a star, the beacon of light and hope. As he cries about how he'd rather die than be a
traitor, even Gereb is made to feel bad. Feri Ats gives him a hug and sends him off with a salute
("you're alright"). Once again, Nemecsek's innocent tears aligned him with others. The first time, it
was the audience. The second time, the Red Shirts. Nemecsek walks off into the distance, the
camera lagging behind, as he passes through the archway created for him. In that moment, even
though he came to retake the flag, the enemy side is awed by his nobleness. It's important to note
that during all this, the performances of the actors are underplayed. It's not like the characters are
making big pronouncements about how they feel about Nemecsek. Instead, the audience can simply
tell from their actions.
Similarly, Nemecsek fully wins over the Paul Street Boys shortly thereafter, when he lies and tells
Gereb's father that Gereb wasn't a traitor. While everyone in the group is initially shocked, they
realize and respect Nemecsek's good intentions and soon all begin to take care of him during his
sickness (especially Boka, who also says "you're

Silver Linings Playbook Analysis Essay example
Sarah Carpenter
Professor Herzog
Final Paper
Silver Linings Playbook
Silver Linings Playbook
The narrative of Silver Linings Playbook is formed in the heart of Philadelphia around a middle
class family at it's breaking point. Pat's, the protagonist, family has very much shaped his current
situation; he has clinical bipolar disorder and struggles with stress–induced manic outbursts. After
Pat's release from a mandated rehabilitation center, he handles the next recuperating stage of his life
in a similar way as a quarterback looking to make the next big play on the field; watching for
possible blitzes and passes, anything to get the ball into the end zone, or in Pat's case, to get in
position for his life to get back on track, and ... Show more content on Helpwriting.net ...
Pat and Tiffany are flawed in ways that are more common in human nature than we discuss, or
would like to believe, and offer more depth to the audience than the overly–stereotyped flaws of
commitment phobia and unnecessary expression of feelings.
Silver Linings Playbook is shot through Pat's perspective in the present as he navigates his life after
he is released from a psychiatric rehab facility. Russell is able to tell the story of how Pat arrived at
the point he is at through flashbacks triggered by his wedding song and through visits with his court
appointed psychiatrist. The storyline bounces around from different aspects of Pat's life; problems at
home with his parents, his running back to Nikki and away from his new life, and dancing with
Tiffany. The audience is whirled around following it all, as if they too are a part of the obsessive
craziness that is overwhelming and raw in some moments and relaxed and comical in others. In
these ways, the mental illness aspect of the film that has completely shaken up Pat's life, is woven
through for the audience to understand, but is still not a glaring idea that is hard for people to grasp
or relate to.
Though the film itself strays from a typical romantic comedy, the structure of Silver Linings
Playbook does not. Romantic comedies usually center on a single person's development through the
assistance of their soon–to–be partner. The theme is stated within the first ten minutes; in this case, it

The Importance Of Flight In Song Of Solomon
In the novel Song of Solomon, a central motif of flight was dominant throughout the entire book.
Song of Solomon starts off the first scene of the book with a man surrounded by an audience who
are watching him decide whether or not he is going to jump off the roof of a building. The man that
was on top of the building was Robert Smith. It is never said in the book, but it can be assumed that
Robert Smith was one of the Seven Days men. The Seven Days is a group of black men who
respond to a person of color getting killed by a white person by taking seven days to kill one white
person for every person of color that is killed. Smith's attempt to jump off of the building seemed
like he actually believed that he could physically fly, even though he ended up just falling to his
death. The theme of flight was mentioned countless times throughout the rest of the novel, and even
in the last scene of the novel, when Milkman "takes flight" for the first and last time, multiple
physical references to flight are mentioned. The central idea of flight is what the book centers
around and flight helps create a journey that is full of personal growth and reflection for the main
character Milkman. The countless references about flight, and a link between self acceptance and
naming in the book create the build up that leads to Milkman's "flight" at the end of the book.
During the first scene of Song of Solomon, Robert Smith is surrounded by a crowd that is described
as half "sniggered" and half filled with "apprehension" watching him before he attempts to jump off
of the roof (Morrison 6). Throughout the entire first scene of the book, flight or things related to it,
are mentioned countless amounts of times, including describing the man as "a man flapping his
wings" and "a little bird'll be here in the morning"(Morrison 9). It even talked about Mr. Smith
saying that he had "blue silk wings"(Morrison 9). As the crowd is waiting, a woman starts to sing a
song about flight. The song the women in the crowd started to sing also mentions flight, "O
sugarman done fly away, Sugarman done gone, Sugarman cut across the sky, Sugarman gone
home.."(Morrison 6). This song was sung at the beginning of the novel when a man was about to
"take

The Movie Begins With A Long Shot Of The Background Greenery
The movie begins with a long shot of the background greenery which transitions into a close shot of
Saul. Saul is calm like the greenery and his expression conveys the comfort of the background,
contrasting the chaos ensuing around him. Another member of the Sonderkommando shuffles into
position, joining the shot, and says, "Lets go". They begin to usher groups of people in another
direction. It is clear now that they are taking people off the trains and moving them to the camps.
There are loud sounds in the background ranging from babies crying to the grunts of someone being
punched. There is a hand held camera on Saul as he continues shepherding, only stopping to salute
someone walking by. He does what he is told without question ... Show more content on
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The next stage for the prisoners is to enter the "showers". The background noise of this scene starts
with another officer telling the prisoners they must clean up so they can move to their jobs at the
camp. They are convinced they will be useful craftsmen or nurses, etc. Saul does not tell the truth,
but keeps his blank expression like he is taught to do. This is another example of Saul tuning out the
injustices occurring so he can survive. The focus of the scene is strictly on Saul, except when he
helps undress someone, they come into focus. This highlights that he is dealing with humans, even
though he moves around them mechanically, like mannequins. Once the people are undressed, Saul
again avoids eye contact as they chaotically are pushed into the "showers". Saul is conditioned to
treat them like objects, triggering the violence to be ignored. When the men and women are in the
showers he mechanically gathers the prisoner's belongings disregarding that they are people's
possessions. He is overlooking the humanity around him and strictly doing his job. Once that job is
done he moves onto the next like he is programmed. The next task is helping hold the door shut. As
Saul and the camera move closer to the door, the screams grow louder. It is clear to the audience that
it is not just a shower, but the gas chambers. Again, Saul's emotionless expression is contrasted with
the screams and cries heard behind the doors. His lack of

Dead Poets Society Film Analysis
In "Dead Poets Society", directed by Peter Weir, It is not the film with happy ending or story which
can happen in everyday life , The theme presented in the scenario is shown on both sides as a
positive or negative idea , the film allows viewers to make their own decision about it. The theme is
emphasized and given importance through the costuming choices, dialogues , the shots and angles.
In this essay , I will analyze the last scene of a movie which perfectly underlines the theme of the
movie freedom for students to make their own decisions even if it is unpredictable. When you watch
the movie you feel negative emotionally and from the beginning to the end you wait something good
to happen as a viewer you have a feeling that in some point of the movie everything is going to
change and become more clear you are waiting that there will be a moment when these students are
going to change the way they think , the way they talk to their parents as a teenager you have a
feeling that there will be a moment when they are going to tell the parents that they want to live and
make decisions considering their own opinion and they don't care what their dad or mom wants
them to become because they think different , they feel different and they want to live different. The
reason why I chose a last scene is that even after their best friend died they don't change anything in
their personality until last scene. The ending of the movie is the moment when you feel

Essay on Gallipoli: The Desctructive Nature of War
In Gallipoli, the final running sequence mirrors the opening sequence in order to draw the viewer's
attention to the destructive nature of war. This is emphasised by the film concluding with a freeze
frame of Archy being mowed down by gunfire. The use of a medium shot assist in emphasising his
movements and facial expressions as he runs (5). This in conjunction with the repetition of the
whistle sound that indicates the start of Archy running, along with the mere sound of heavy
breathing, reveals the similarity in the opening running scene and the final sequence of the film. In
the opening sequence, Archy's running was seen to be an act of freedom, which is created through
the smile on his face and the warm lighting created by the sunrise. ... Show more content on
Helpwriting.net ...
Focalisation on Archy and Frank's relationship was created through featuring more than one person
in each shot, and witnessing them journey through numerous experiences (2). Both these objectives
were accomplished through wide and medium shots, featuring both characters. This allowed for the
audience to see them on the journey from the Australian outback, to Egypt and to the battlefield
together as a result of these shot choices (2). The audience's view of seeing all this concomitantly
was purposefully created by Weir in order to accentuate their relationship and to position the viewer
in a way to sympathise and side with them as characters (2). As the death of Archy occurs, it creates
a tear in their relationship and therefore allows for the audience to feel the trauma Frank would feel.
In turn this allows for Weir's directorial decisions to prove that the nature of war is destructive.
Similarly to Ted Kotcheff, Weir is also making a commercial film, so it shares similar conventions
with First Blood, which is also a commercial film.
Kotcheff's relies heavier on technical elements, such as close–ups and explosions to grab the viewer,
as demonstrated in First Blood. His use of close–ups on Rambo's face and body "directs the
audience's attention to the significance of his actions" (5, p.29), which in turn makes the viewer feel
closer to him. For example, as Rambo is stitching up his war wound, the

Breathless Final Scene Essay
Breathless/À bout de soufflé scene analysis The final scene of Jean–Luc Goddard's Breathless
(1960) is one of the most memorable scenes of the film. Not only does it portray the conventions of
new wave cinema but it also depicts the existentialist themes that are presented throughout. New
wave cinema was typically low budget and this is presented in the climactic scene of Breathless. The
scene was shot on location and included a lot of jump cuts and disjointed editing. However, despite
appearing to be unprofessional and unpolished, Breathless evokes a sense of harsh realism that is
present in contemporary relationships. The final scene also symbolises the end of Michel (Jean–Paul
Delmondo) and Patricia's (Jean Seberg) ill–fated partnership and signifies the end of their attempt to
find happiness and love within one another. The final scene acts as the climax of Breathless whilst ...
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The majority of Breathless was filmed in Patricia's apartment room or in Paris, reflecting the low
budget of new wave cinema and also the 'new array of options for film aesthetics' (Richard Neupert:
2007). It is evident in the final scene that the location in which they were shooting was not cleared
for filming. As Michel is running down the street, members of the public are shown walking past
and looking at the protagonists, almost acting as extras. The street which Michel runs down is
completely clear apart from the cars parked either side of him, the mise–en–scène of this scene
emits a sense of entrapment for Michel. As well as the placement of the cars on either side of him,
there are also buildings which further add to the feeling that he cannot escape, it as if everything is
closing in on Michel leaving him trapped. Additionally, the street in which he is running down
appears as it will never end, again portraying how he can no longer run away or hide from his

Misguided Feminist Reaction to A Streetcar Named Desire...
Misguided Feminist Reaction to A Streetcar Named Desire
The dramatic climax of A Streetcar Named Desire, clearly illustrates the mastery of author
Tennessee Williams. The brilliantly constructed text, with its tragic story and enticing characters,
propels the reader to a point in which he becomes emotionally involved in the dynamics of Williams'
world. Unfortunately, many feminists are negatively affected by Williams' captivating writing style.
In turn, feminists have developed an array of very strong opinions regarding the climax, often
responding with a very personal and emotive discussion of the issues.
Concentrating on the dynamics of each character and his stance during the climax, feminists present
an intelligent ... Show more content on Helpwriting.net ...
While the feminists sympathize with the character of Blanche whom they perceive as a delicate
"moth–like" creature, they should also accept the fact that she has been mingling in the affairs of
"spiders" and is now caught in the web she has spun. This aspect of symbolism is usually not
discussed by feminists, yet it is a critical feature of the text that must be considered to obtain a more
profound understanding.
Symbolism is very important when analyzing the conclusion to the play. These factors combined are
a very important element of the text. Therefore, it is difficult to accept many feminist arguments
without linking them to the other aspects of the play. While feminists often claim that Stanley is
utterly dependent upon other people, they do not offer reasons for this. However, it is obvious that
Elysian Fields is a society built on desire, and once deprived of this through the intervention of
Blanche, Stanley becomes very vulnerable. This is the kind of reasoning not offered by feminists
who focus only on condemning the actions of Stanley while failing to consider his viewpoint.
Therefore, when it comes to the climax, it is very important to carefully analyze how Stanley is
being presented, as this has a dire effect on the plight of his character, both during the rape and the
conclusion.
When reading the scenes, the potent

The Dressmaker Analysis
Kate Winslet stars in a captivating film of rediscoveries, retributions and reds. The Dressmaker
(2015), directed by Jocelyn Moorhouse, explores Myrtle 'Tilly' Dunnage's dramatic return to her
small hometown of Dungatar, a 'dump' located in the middle of nowhere in the Australian outback.
Sent away from the town as a child after being held responsible for a murder, Tilly has returned to
seek resolution of her murky memories and to take revenge on those who mistreated her. Now a
talented dressmaker, Tilly uses her skills to manipulate the townspeople into revealing the intricate
secrets that led to her exile. Throughout the film, powerful symbolism present in fire, mirrors and
clothing signifies Tilly's resolution from past issues. FIRE 'I'm ... Show more content on
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Their outwardly pristine appearance juxtaposes with the drab, unkempt town with peeling paint and
rusty fences, where spousal rape, adultery and paedophilia lie just below the surface. Through this
leverage of the ability to transform and astound, Tilly is able to gain 'information' to achieve her
objective of discovering the truth behind the events of her past. The promise to transform Gertrude
into the 'most striking girl in the room' and Marigold's] dress looking 'better than everyone else' are
the beginnings of the truth being unravelled and 'rubbish' revealed. In addition, the juxtaposition of
colours in Tilly's clothes compared to the townspeople symbolise Tilly's status as a lowly 'outsider',
someone seen as guilty of a ruthless murder. The consistently dreary colour palette of the
schoolteacher's clothing despite the designer masterpieces surrounding her allure to her fabricated
witness report, symbolising her selfish desire to remain unexposed in fear of Tilly's mission for
revenge. Jocelyn Moorhouse's The Dressmaker is a thought provoking film exploring revenge and
small–town politics providing a compelling reflection on aspects of Australian culture. Through
powerful symbolism present in fire, mirrors and clothing, the audience is able to interpret its themes
and forge a deep connection with its

Theme Of A Bridge From The Bridge
Eddie's own family honor is at stake. Honor (one of the play's main theme) is extremely important to
the Italian committee – insults to the family or to one's name must be avenged. With Catherine and
Rodolpho's growing relationship, Eddie's honor is at stake. "They're laughin' at him on the piers. I'm
ashamed." Eddie knows that people are making fun of Rodolpho's "quaintness". These things add to
the reasons Eddie does not want Catherine marrying Rodolpho, because if she does, Rodolpho
would be part of Eddie's family, meaning 'they' would be laughing at Eddie as well. "When I think
of that guy laying his hands on her I could – I mean it's eaten me out." Eddie is at the end of his
rope, so to speak; he is ready to do anything to prevent ... Show more content on Helpwriting.net ...
He sets the question: Should we compromise our dreams and desires, 'settling for half', or should we
be true to ourselves? Throughout the entire play, Miller has driven home the fact that Eddie Carbone
is an everyday man. He is passionate and emotional, but incapable of expressing or understanding
his complex feelings – something that the audience can sympathize with. Miller plays out the story
using Eddie's conflicts, moods, and passions, distinguishing him as the tragic protagonist. The
audience lives through every one of Eddie's emotions, creating tension from the moment he walks
on stage and making Eddie a fascinating character. Using all these, Arthur Miller successfully
creates a dramatic character in Eddie

Analysis Of Are You Somebody
The ending of Are You Somebody has several differences as well as similarities with the endings of
the other Irish works we have read. In the final scene of Are You Somebody, O'Faolain has
conflicting feelings about her past and future and poses many questions to herself. She toggles
between regret and resignation, preventing the memoir from having an official resolution, whereas
the other works have more of a definite conclusion. Another major difference is that O'Faolain
appears to beg for the readers' pity more in the final scenes than the other authors. However, the
other works' endings also have numerous elements in common with Are You Somebody. Similar to
An Only Child and The Poor Mouth, the stories end with the characters looking outward toward the
future. However, O'Faolain reflects on the past in the ending of Are You Somebody, which
McGahern also does in All Will Be Well. Overall, despite their differences, the memoirs' endings are
more alike than they are different. O'Faolain's memoir is set apart from the other works by several
aspects of its ending. In contrast to the definitive nature of the endings of the other books, the final
chapter of Are You Somebody leaves readers hanging. The memoir concludes as she spends a
Christmas day without family, only being surrounded by her dog. She reflects on her past and poses
questions to herself regarding choices she could have made in the past. She asks, "What happened?"
(177), and "How can you persuade yourself to

Similarities And Differences Between The Chocolate War...
The book The Chocolate War written by Robert Gormier, was made into a movie directed and
scripted by Keith Gordon. Although the movie was based of the book there are many similarities
and differences. Both the movie and the novel are about good versus evil. Keith Gordon added extra
scenes as well as removing some to try and create an effective movie.
The most obvious and major difference between the book and the movie is the boxing match. The
purpose of the the fight was to raise money to buy Jerry's chocolates as he refused to sell them. In
the book Archie wins the fight, but in the movie Jerry wins. In the book just before the fight scene
Obie and Carter tell Archie to pick two marbles from the box and they were both white, whereas in
the movie Archie picks a white and black marble and then has to fight Jerry in front of the entire
school. Another difference in the fight scene is the support that each fighter is given. In the book
when Jerry fights Janza, and is injured yet no one in the audience intervenes. In the movie after Jerry
beats Archie, Archie is demoted from being the leader of The Vigils and Jerry is accepted by the
other kids. This is shown when all the kids chant "Jerry, Jerry" once he had won the fight. Jerry also
received acceptance and recognition from Brother Leon, this can be seen when Jerry is looking
around at the crowd and sees Brother Leon giving him the thumbs up. Although there are many
differences there are also a few similarities. Although

Movie Review : Chinatown : The Ending And The Nightmare Of...
The filmmakers of Chinatown used the visual motif of escape to guide the audience towards the
film's central theme, which is that integrity does not prevail. This message is evoked from the article
"Chinatown: The Ending" where "Chinatown is a metaphor for the nightmare of urban Los Angeles
where you may think you know what is happening, but really you have no idea; where the police do
as little as possible because attempts to install order can only make things worse like in this movie."
In this scene, Jake ventures into an orange farm to uncover the mystery, which is ironic because in
Chinese culture oranges are gifts that represent good fortune, which Jake has none. The left side of
the shot is brighter than the right, but the car is purposely pointing to the darker to illustrate that as
Jake delves deeper into this mystery, there will be trouble. Jake's car is also much darker which
represents how he has an inclination for the dangerous. The spare tire on Jake's car hints that Jake
will be able to escape. Evelyn's car, however, does not have a spare tire which foreshadows her
eventual tragedy. In addition, this is the most chaotic car scene in the whole film representing a shift
in seriousness; the story will start to intensify.
Once again Jake finds himself escaping, this time from an old folk's home. The retirement home is
brightly lit, but when Jake leaves the entire shot immediately shifts to pitch black. There is a clear
contrast between their jolly, go–lucky

Compare And Contrast The Final Kite Scene
Compare and Contrast: Final Kite Scene The book and the movie have several similarities as well as
many differences, this is apparent in the final moments of the book and the movie, there are not
overwhelming amount of differences as the adaptations are very similar, but some of those
differences are the loss of significance of the ending of the scene from the book to the movie, the
lack of explanation of character relations in the movie and the lack of significant flashbacks that are
present in the book unlike in the movie. The most important aspect of this scene in both the book
and the movie is the ending of this scene. This is due to the fact that at the end of the scene, in the
book and the movie there is the aspect of Amir feeling finally liberated from the burden of his past.
The difference here in relies on the fact that the book ... Show more content on Helpwriting.net ...
It didn't make everything all right. It didn't make anything all right. Only a smile. A tiny thing...But
I'll take it. With open arms. Because when spring comes, it melts the snow, one flake at a time, and
maybe I just witnessed the first flake melting."(371). This excerpt from the paragraph clearly
explains the important of the lopsided smile that Sohrab was giving Amir, also it adds an aspect to
the ending of the novel which is giving hope for the relationship between Amir and Sohrab. This is
due to the fact that using the symbolism of the seasons which is scene when he says that the seasons
are changing that, even though there is a long way to go, the first flake melted, and the process of
healing in their relationships has first started. On the other hand, the film fails to add this moment.
Unlike the book, the movie ends with Amir saying for you a thousand times over and running over
the hill until he disappears to go get the kite (2:01.45–2:01.48). The loss of this moment in the
movie is significant because of the fact that it leaves us with an unclear cliff hanger, this lack of

Strength And Security : Technological Developments Of The...
Strength and security has adapted to the technological developments of the past century. In
comparison to how we derived strength and security in the past, technology now heavily obscures
what makes us feel safe. Companies, realizing this, have produced several advertisements that sell
their product by making it appear as if it will increase our safety and security. An effective example
of this is in Mophie's 2015 Super–bowl commercial titled "All Powerless," where the creative
producers linked having a charged phone with the safety and security found in everyday natural
laws. The advertisement utilizes sound, shot composition, lighting, and mise en scene in order to
distill a sense of both wonderful and terror in the viewer, while at the end providing an antidote to
the fear they have created. The antidote is, of course, Mophie's product which allows cell phones to
stayed charged for longer. Sound, and lack thereof, throughout the ad is extremely influential to
create the sense of chaos that the world has unfortunately found itself in. The advertisement begins
with a soft, ominous piano track with no other words being spoken. It creates an unsettling feeling
within the viewer, automatically making them seek some sort of comfort; some way to find the
security that background music alone stole. By using sound, the produces influence the
subconscious of viewers without even visually enticing them. After the solo piano music, the
background sounds key in. It begins with the

A View From The Bridge by Arthur Miller Essays
A View From The Bridge by Arthur Miller
'A View From The Bridge' is a play written and directed by Arthur Miller A writer that got interested
in a lower part of Manhattan which is across the Brooklyn Bridge from the richer part of New York
City where the play is set. Miller's play concentrates on a particular community full of Sicilian
immigrants. This community has responsibilities towards one another, they look out for each other,
but soon a character's betrayal casts a shadow on the rest of the community, the same character that
is led by fate towards a destiny that cannot be escaped.
In the last part of the play, just before Rodolfo enters, Catherine, Eddie and Beatrice have been ...
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This tells us that Eddie wants to face up to Marco, that he's not afraid of him, even though we found
out that Marco is stronger than Eddie in the past scenes.
Just before Marco comes in, Beatrice plays an interesting role. Miller uses her character to make the
tension, by her trying to get Eddie to calm down and to play the peacemaker, but the main role she
plays in this scene is that what she tries to get out of Eddie. She comments on how Eddie wants
something. Eddie yells that 'Marco's got my name', but Beatrice realises that Eddie wants something
else. The tension breaks out when Beatrice yells to Eddie, 'you can never have her!' This is what
Eddie really wanted, Catherine, to be his and not anyone else's, including Rodolfo, even though she
id his niece. The way Eddie is 'shocked, horrified' and has his 'fists clenching', shows that he is
angry with Beatrice for saying that. At this point, the audience are shocked and worried to how
Eddie will react to this.
As Marco enters calling for Eddie, we can feel the tension mount up, because when Marco calls out
for Eddie, all characters 'stand transfixed for an instant', as if they don't know how to react to this.
But as the characters realise what is going on, Eddie 'emerges from the apartment' to get back his
name and show the neighbourhood what a liar Marco is. The audience would start to worry when
the two characters (Marco and

My Beautiful Laundrette By Stephen Frear
Stephen Frear's film, My Beautiful Laundrette portrays the struggle of intersecting sexuality,
ethnicity, class, race and power. Omar, son of a Pakistani immigrant, is attracted to Johnny, a white
English male. Their attraction and the subsequent relationship is looked down upon, both in England
and Pakistan. Omar works for his uncle who lets him take over a laundrette in London while Johnny
is initially unemployed and eventually works for Omar. Together, they make the laundrette a
successful business venture and a place where they can freely express their desire for each other.
The film seeks to highlight a progressive society in England during Margaret Thatcher's
entrepreneurship and opportunism era (Mohanram 1996). Britain ... Show more content on
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The accountants building is more like a watchdog and a representation of how the events that unfold
inside and around the laundrette are all part of the new liberal Britain. Nasser refers to the laundrette
as a place where Omar can "use a little water to clear his brain." What was crowding Omar's mind
when he was merely a young man waiting to go to college with seemingly nothing to bother him?
The scene suggests the presence of something that "oppresses" Omar and the presence of the
laundrette as a refuge, a place for him to "clear his brain"–a space where queer bodies can express
their desire. The sounds of water in the background echoes this. Water is used to represent
"cleansing, life, and freedom" in films (Shane Brown 2016). The sound of water in the laundrette
becomes "a symbol of characters in stories handling difficult life scenarios, a symbol of power in
stories and can free characters as well as claim them"(ibid). The laundrette is equivalent to what
Gopinath describes as the diaspora–" a space of freedom" (Gopinath pg 14). In the next scene, I'm
going to analyze, we see Johnny from a high angle shot, finishing the renovation the laundrette, now
called Powders. The word powders can be translated to mean fine, dry particles produced by the
grinding, crushing, or disintegration of a solid substance (Oxford Dictionary). Johnny and Omar can

Guilt In Atonement
Joe Wrights film "Atonement" psychologically explores the feeling of guilt through the character,
Briony Tallis. By this I mean that through different scenes in the movie we see how Briony deals
with her guilt and how it shapes her life. Certain scenes that the audience can interpret in this way
include Briony looking out window, the apartment scene and Final interview.
Scene 1– Briony looking out window
In this scene we see Briony running to the window, after being sent to her room, to watch Robbie
get arrested. When she gets to the window we then see a POV shot from the window of Cecilia
running after Robbie and hugging him as he gets arrested. This gives Briony the first clue that she
has done something wrong as if Robbie had really been ... Show more content on Helpwriting.net ...
Here we see Briony explain that the apartment scene never took place but aside from that she
describes the book as "all the truth, no rhymes, no embellishments". This repeated quote helps link
the this scene with the apartment scene and so helps the audience understand the apartment scene is
the way in which Briony believes she should have apologised but the real way in which she dealt
with her guilt was by writing the book and creating a new ending. She says that "in the book I
wanted to give Robbie and Cecilia what they missed out on in real life" and this quote is made even
more powerful by the close up of Briony's face in which we see true emotion. We see that Briony
feels that this was the only way in which she could make amends for what she did and the fact that
Briony is releasing the book at such an old age could be interpreted to mean that she was never able
to break free from the guilt she felt for what she had done. This scene as a whole can be read as a
psychological exploration of guilt as the audience interprets that Briony was never truly able to
move on with her life because of her guilt and that she feels partly responsible for Cecilia's and
Robbie's death. We are able to see how guilt can ruin someone's life if they are not able to move on
or make up for their

One Flew Over the Cuckoos Nest by Ken Kesey
The Contradiction Between Tyranny and Sanity
In the final scene of One Flew Over the Cuckoo's Nest, Chief Bromden is the main character. The
characters that preform in this scene are Chief Bromden, McMurphy, and Nurse Ratched. Even
though McMurphy would be considered the main character of the novel, Bromden is the main
character of this scene because he shows the strongest desire. In this one scene, Bromden has many
desires that to him could be both life or death threatening.
Nurse Ratched makes one last attempt to gain back the control when she uses the same principle she
used earlier to ensure that the patients acceptance to her well being. She starts off with a lot of
distrust with the mental patients by making the financial gain public which McMurphy has enjoyed
since his transfer from the farms where someone is constantly defending McMurphy, this leads to
pointing out that McMurphy has more than repaid the patients with there financial losses and
providing them with the means to dodge nurse Ratched's terrible influence. McMurphy knows that
nurse ratchet is cruel and states," In one week, I can put a bug so far up her ass, she don't know
whether to shit or wind her wristwatch." This shows that McMurphy is ready for a fight and he is
not afraid to tell nurse Ratched what he thinks about her. This final scene shows us the contradiction
between Tyranny and Sanity. However, it is McMurphy's timing of the set up bet on the control
panel that is proved

Moonlight Film Analysis
It's more than difficult living in a drug–plagued, impoverished community. These places are often
ignored, but shouldn't be forgotten in any capacity. The film Moonlight, directed by Barry Jenkins,
is meant to demonstrate the hardships of living in a difficult community. Thematically, it highlights
the already difficult nature of being black and poor in modern America, while simultaneously
showing the hardship of also being gay in said tough community. The film is comprised into three
acts surrounding the development of the protagonist, Chiron (in order of acts: Alex R. Hibbert,
Ashton Sanders, and Trevant Rhodes). Following him as he struggles with his own sexuality.
Consequentially, each act circles back to Chiron at a local beach, which for him, is a safe haven in a
typically hostile place. This beach signifies both hope for the marginalized, while commenting on
the unjust reality many Americans face daily. Essentially zooming in on what it means to be black,
poor, and gay in America.
In act one of Moonlight the protagonist, Chiron, is a child growing up in an impoverished
community with many obstacles in his way. It seems as if all odds are stacked against him, however,
after an encounter with a drug dealer named Juan (Mahershala Ali), his life finds a bit of meaning.
One day Juan takes Chiron to the beach, a place that seemed foreign to young Chiron. Nevertheless,
he embraced the water learning how to swim in the process. The use of both sound and mise–èn–
scene here introduces the idea that the beach is Chiron's safe space in his otherwise calamitous life.
For instance, as soon as the scene commences, the sound design increases and the music score
changes to an uplifting classical song. The way in which Chiron is addressed by Juan is also kind
and empowering. The blocking is also essential in this scene. At first, when Chiron is swimming,
Juan is holding on to him as he struggles to keep his head above the water. Eventually, Chiron
figures out how swim on his own, a powerful message captured in a short period of time. The music
puts the viewer in a state of relaxation, knowing Chiron has nothing to worry about in this moment.
This is also only the second time in the film where music is used, solidifying

Emily Dickinson’s Because I Could Not Stop For Death Essay
Emily Dickinson's "Because I could not stop for Death" is a remarkable masterpiece that exercises
thought between the known and the unknown. Critics call Emily Dickinson's poem a masterpiece
with strange "haunting power."
In Dickinson's poem, "Because I could not stop for Death," there is much impression in the tone, in
symbols, and in the use of imagery that exudes creativity. One might undoubtedly agree to an eerie,
haunting, if not frightening, tone in Dickinson's poem. Dickinson uses controlling
adjectives–"slowly" and "passed"–to create a tone that seems rather placid. For example, "We
slowly drove–He knew no haste / ...We passed the School ... / We passed the Setting Sun–," sets a
slow, quiet, calm, and dreamy atmosphere (5, 9, 11, ... Show more content on Helpwriting.net ...
In addition to these three stages, the final stage of eternity was symbolized in the last two lines of
the poem, the "Horses Heads" (23), leading "towards Eternity" (24). Dickinson fathomed the
incomprehensible progression of life by unraveling its complexity with figurative symbols. Emily
Dickinson dresses the scene such that mental pictures of sight, feeling, and sound come to life. The
imagery begins the moment Dickinson invites Her reader into the "Carriage." Death "slowly" takes
the readers on a sight seeing trip where they see the stages of life. The first site "We" passed was the
"School, where Children strove" (9). Because it deals with an important symbol, –the "Ring"–this
first scene is perhaps the most important. One author noted that "the children, at recess, do not play
(as one would expect them to) but strive" (Monteiro 20).
In addition, at recess, the children performed a venerable ritual, perhaps known to all, in a ring. This
ritual is called "Ring–a–ring–a–roses," and is recited: Ring–a–ring–a–roses, A pocket full of posies;
Hush! hush! hush! hush! We're all tumbled down. (qtd. in Greenaway 365) Monteiro made the
discovery and concluded that "For indeed, imbedded in their ritualistic game is a reminder of the
mortal stakes that the poet talks about elsewhere"(21). On this invited journey, one vividly sees the
"Children" playing, laughing, and singing. This scene conveys deep emotions and moods

Analysis Of ' The Scarlet Letter '
In The Scarlet Letter a young woman named Hester is criticized and mocked for having a young girl
from an adulterous act with a sneaky pastor. The young girl will be named Pearl (named Pearl for
having cost a great price). Throughout the novel as the characters develop and change the plot of the
story develops into a riveting climax and an end no one could have imagined. Within the novel there
are five major scenes that build up to the dramatic ending of The Scarlet Letter. The scenes in order
are the first time Heaster showed her face and stood on the scafell after she was released from
prison, when Heaster and Pearl met with the main men of the village to discuss Pearls fate, when
Dimmesdale (the young pastor) stands on the scaffold at ... Show more content on Helpwriting.net
...
While standing on the scaffold she sees her husband sho has been gone for years, no one recognizes
Chillingworth but her and she feel ashamed for the betrayal she did to him. This scene is one of the
most important of the book because of the introduction of characters and the setting of the story. It
also shows the way Heaster feels towards the whole idea and gives small hints for what is to come
in the future of the book. In the second major scene of the book Heaster and now 7 year old Pearl go
to visit a couple of the top men in the village such as the governor, Wilson, Dimmesdale, and
Chillingworth. " The first half of the story has covered a space of seven years; the second half of
will cover no more than fifteen days" claims Malcolm Cowley (15). Heaster brought Pearl to them
so they could ask her a couple of questions about where she is from. They wanted to make sure she
was getting a proper education. Now Pearl was extremely smart and witty so she knew all of the
answers to their questions but decided to answer them incorrectly. Wilson was convinced and
wanted to take the child from Hester, dimmesdale protects her and says about how no one else but
Heaster could take care of such a smart and interesting child, Pearl then holds his hand and
Dimmsdale kissed her forehead. Heaster also states how Pearl is her everything and would rather die
before giving her up. This scene is important because it shows the love Heaster has for Pearl and

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