Analysis Of Federico Fellini 's La Dolce Vita And Carlos Saura 's Deprisa

This paper studies Yamashita’s Tropic of Orange as a magical realist text and examines the implications for such a style on the notion of the urban. Specifically, I will explore how Yamashita uses magical realism to collapse boundaries and socially transform Los Angeles into an embattled utopia for the disenfranchised. First, however, magical realism is a loaded term and some definitions are in order. In addition to important recent innovations in the form and its purposes, magical realism is in dialogue with a longer history of writing, including the epic, chivalric traditions, Greek pastoral, medieval dream visions, romantic traditions and Gothic fictions, all of which contribute a fantastic strain to

Rossellini leaves room in each episode for individual interpretation, sympathy, and revivalist connections. By showing ruins and killings in different episodes, Rossellini highlights liberation and injustice while offering an opportunity for audience

The interesting fact about this composition is that the tempo is expressive of “religious solemnity” (Pilich). Obviously one can comprehend the fact that music contains not only mere words but can foster certain emotions that are associated with a particular piece of music.

“Where Worlds Collide” is an essay by Pico Iyer who talks about the expectations and reality of Los Angeles through the perspectives of travelers from different backgrounds. In “Where Worlds Collide,” Pico Iyer argues that even though Los Angeles is depicted as a vicinity to receive wealth, happiness, and many opportunities- it is actually the antithesis, and instead, many harsh prejudice and unending craziness will occur instead; Iyer argues this by using allusions, anaphoras, and juxtapositions to help convey what he is saying.

In Elia Kazan’s 1951 film, “A Streetcar Named Desire,” many intense elements are incorporated, including those of a heartless antagonist, a whimsical protagonist, and several supporting characters who help to portray the principle themes and advance the plot. In this film, the genre of Southern gothic, the setting in a miserable, cramped apartment building in the French Quarter of New Orleans, Louisiana, and the overall plot contribute to the main underlying themes of human cruelty and kindness.

The last sentence of the poem, ““There is still murder in your heart” (14), is a powerful claim that suggests that a routine consisting of prayer, communion, or hymn singing will not dissolve the sin of the heart. However, seeing this claim from a different standpoint, this can also suggest that this dull routine is convenient when it comes to preserving an appearance of purity and grace. There is an image in the middle of the poem, “light swords” (7), that possibly represents sharp members of the congregation trying to deceive the church authorities and God. Their comfort to the routine is remarkable because it does not really make a difference at the end; the only thing that truly matters is the masked life they are trying to keep hidden. Readers may consider the arguments presented in this poem as the truth reaching out to the contemporary church and its followers to improve their relationship with

I feel the article explores the political conflicts that arise when aspirations collide across a generational divide marked by sharply different political agendas. The character Tricia is a young, single mother whose family and financial difficulties reflect the circumstances of the urban poor. Furthermore, she delivers a compelling performance in scenes that reflect just how city policies affect individuals.

In order to fully understand a city or its history, you must also try to understand the people living within it. The Journal of Hélène Berr and the film “Free Men” provide insight for this and have some very strong shared themes. One very important theme of both the journal and the movie is perseverance. Both the journal and the film are set in German-occupied Paris during World War II. They provide insight into the way people of specific religions and backgrounds lived and thought during a dark time in Paris’s history. Many people, including those who were not from France, expressed their loyalty to the city of Paris and their unwillingness to step down through their thoughts and actions. Through this theme in both the journal and the film, one can better understand the mindset and the way of thinking of certain groups of Parisians in occupied Paris.

Los Angeles possesses the characteristics of great fame and fortune as well as immense homelessness and poverty. Often times, young people are misled by the financial success of some and assume that is typical of city people. Writers Joan Didion and Carol Muske-Dukes characterize the realization that an adolescent’s lifestyle is not suitable for the demands of a city as signaling the dawn of the apocalypse. In the essay, “Slouching Towards Bethlehem,” Didion highlights how the failure of society is brought about by a family’s inability to fulfill traditional roles and a lack of education as exemplified during the Hippie movement. While poet Muske-Dukes utilizes gothic language and allusion to illustrate the notion of an apocalypse in the poem “Like This”.

Along with mood, setting as takes on an important factor of the story. The setting throughout “The Pedestrian” is seen as a future dystopia while restricted freedom. Connecting with the theme, the setting shows that people in this town live under limitations, with one person brave enough to break down the barriers of the corrupt government. Authors have to create a tone for the entire duration of the story,

Italian Neorealism was a movement of art, which strived to illustrate the normal lives of the ordinary, working class people in post war Rome, usually with the use of non-professional actors. As one of the best Italian Neorealist film, Bicycle Thieves showed an absolute depiction of the war’s impact on daily life and exposed a world in which sufferings, unkindness and corruption jeopardized the rationality of human beings and action of men (Schoonover). By utilizing a depressing and gloomy cinematography, De Sica implies the somber lives of the poor and their crisis in losing their self-identity and moral conscience as a result of parochial society that make a fetish of personal belongings as a mode of social acceptance. By examining the cinematography, ‘mise-en-scene’ and events in the film, the daily struggles of the working class in post war Rome can be seen through the crisis of masculinity, class struggle, ethical dilemma and a profoundly patriarchal society.

Lope de Vega’s play touches upon several key components and ideas that were brought up in many of the other stories read throughout the semester. This included the role of gender and how men and women are viewed differently in the Spaniard town of Fuenteovejuna. Another topic included the importance of family, love, and relationships and their connection on loyalty, trust, and personal beliefs. The last major influence found in other literature and in Fuenteovejuna, were the political and religious references made throughout the play. Even though Lope de Vega didn’t make these views obvious, the reader could still pick up on their connotation and the references made towards these specific ideas. With all of this in mind, each of these

Fernando Meirelles’s City of God (2002) has provoked critical discussion concerning its representation of the Brazilian working class since its release[2]. The film has been described as both disturbing and electrifying for its brutal realism and inspired

In Charles Rearick’s book, Paris Dreams, Paris Memories, he describes the various ways in which Paris is “represented” through various images he identifies as the City of Light, Old Paris, the Capital of Pleasures, and Paname. Rearick further writes how and why these images of Paris came of importance and how they shaped the geographical layout of the city we know today. All of these images together have likewise produced the city of Paris while also providing the framework of Parisian events and experiences.

“City of God ironically is a “city without god” but because it is truly a ‘sacred’: a situation of being abandoned, a state of