Analysis Of The Movie ' Gosford Park '

In a series of verse paragraphs, Dawe focuses on the 1950’s society with an emphasis on the consumerism, materialism and lack of individualism. He seeks to convince an important issue in the Australian Society-Our consumer driven culture; a culture that defines us through what we buy and consume. The focus of Dawe’s criticism of the consumerism is the family that bought home the baby from the hospital. Dawe portrays it in a satirical way; the family life and the individual lives of the family members who have been dehumanized by such a mercantile society. He instills strong commands when describing his family commodities: “One economy-size Mum, One Anthony Squires-Coolstream-Summerweight Dad along with two other kids straight off the junior department rack.” The warmth of the mum, dad and kids, contrast with the advertising language which describes them. It is as if his mum is the size of a washing machine, the father is summed up by the suit he wears, and the baby siblings have been bought like goodies in an apartment place. Dawe is not saying that this is actually true; he is using metaphors and exaggeration.

The objects people keep in their homes can tell a story about who they are or were. Each item possessed by the residents of a house is evidence of how these people may have lived. Ted Kooser’s poem “Abandoned Farmhouse” takes the reader on a walkthrough of the remains of a farmhouse where a poor family once lived. In “Abandoned Farmhouse,” Kooser selects seemingly insignificant relics left behind by each family member to illustrate who these people were and how they lived. The picture he paints is a bleak one and reflects the impoverished life which the residents lived within this now lonely and desolate building.

While some objects are evident in all of the rooms, there are other objects that are exclusive to certain rooms for the reason that it provides comfort and contentment to a singular person only. Similar to the example that Kron provided regarding TV sets, each family member in our home has a TV set of their own in order to not be prevented from watching anything that pleases us and to avoid conflicts. In my mother’s room, the first thing that attracts attention is the big vanity with the multiple lights, makeup and expensive perfume bottles that are all set and organized. Correspondingly, it is predictable for Middle Eastern women who are disciplined by the dominant ideologies to not only strive to look beautiful, but to fall in love with that process until it becomes a part of them. According to Michel Foucault’s claims in Panopticism, women in a way become docile bodies that ensure the maintenance of that human order (207). In addition, the bookshelves and the tremendous amount of books are the central theme of my room. The classic design of my room and the fairy lights above my bed creates an almost a safe haven where I could curl myself under the blankets for hours and just read. Moreover, the treadmill in my brother’s bedroom cannot be ignored when entering his room. This depicts his choice of a healthy lifestyle in a country where it is almost

The movie “Gone with the Wind” is about a rich southern girl named Scarlett O’Hara and her life hardships set during the time-period of the Civil War. In the story, Scarlett is forced to watch helplessly as her family’s wealth and lives fade as the confederacy loses the Civil War. Even though, the movie is mainly centered on the dilemmas of Scarlett’s love life, there are many historical accuracies that immerse the viewer in the southern mindset as well as the timeframe. The portrayal of class structures and the confederate attitudes before the Civil War are both accurate and engaging details that the movie successfully implements. In the film, these examples are displayed mainly through the dialogue and setting.

The cinematic film Get Out, directed by Jordan Peele, presents a scenario in which African Americans are targeted by white people mainly for their physical advantages. The plot follows Chris Washington, a professional African American photographer who goes away for the weekend to visit his white girlfriend’s family. Chris’ best friend, Rod Williams, is a TSA agent who is concerned about Chris going to a white family’s estate. Throughout the movie, Chris discusses to Rod the strange events that occur in the Armitage house. Get out displays how two people use their intelligence and ability to identify social cues to escape from an arduous situation.

The excessive way that the house is designed is odd and abnormal. Peacocks often symbolize glamour, and the use of them as a base structure in the house shows that Hollywood actors are excessively glamorous and fancy. The first time the cast was meeting the sponsor, they were greeted with him shouting “‘Visitors? Visitors? I need visitors like a dog needs flees’”(Bukowski 31).

L’Arbe de la Croix is the mansion that Valerian builds for himself on Isle des Chevaliers. It is a luxurious space, “with windows and doorsills carved lovingly to perfection” (Tar Baby 10), “built in the days when plaster was taken for granted” (11), although sometimes at odds with “panes [that do] not fit their sashes” and “hand-kiln tiles from Mexico, though beautiful to behold, [that] loosened at a touch” (10-11). Visitors

Andy Warhol, a pioneer in the visual art movement once said: “Whenever people and civilizations get degenerate and materialistic, they always point at the outward beauty and riches and say that if what they were doing was bad, they wouldn’t being doing so well, being so rich and beautiful” (Warhol, 1975). Throughout history, luxury emerged as early as civilization did. For old Romans, the concept of luxury was a “disruptive power of desire”. They set up the first laws about luxury: “how much could be spent on banquets and adornment” (Ward, 2011). Since the rise of Christianity, luxury stared to changed its meaning to be related to lust and sexuality. Until 17th century, perspectives of

Whittle, J.(2012). Consumption and gender in the early seventeenth-century household: the world of Alice Le Strange. Oxford University Press on Demand.

Set in the 1930s, near the end of the era of domestic service in the U.K, Robert Altman’s Gosford Park through its film design and its usage of heritages spaces and period details examines the separate worlds — "upstairs" and "downstairs" — of rich society people and their servants at a country mansion.

When Jane Austen placed her novels in the leisured English middle class, it was in a society she knew best: a world in which ladies did charity, paid morning calls on each other whilst men were sportsmen, hunting, socializing, and developing their wealth. Her scale has already been reflected in discussion of her use of places which serve as settings, with an ideal of three or four families in a country village. Characteristic of this select social world are lavish rendezvouses, whose attendees, through their interactions, reveal the Georgian ideals on status, wealth, and gender. Even more is said about the Georgian society that Austen lived in through the speech, and more specifically, the manners, of this class. Such decorum provided a way

In an opening scene of Emma, Mr. Weston outlines the requirements to a successful life, “He had made his fortune, bought his house, and obtained his wife; and was beginning a new period of existence with every probability of greater happiness than in any yet passed through” (9). According to Mr. Weston there are three things that lead to a phase of happiness greater than ever experienced. Mr. Weston’s purchase of a home allows him to distance himself from the lower class, proudly display his fortune while finding a wife of equal social status. This all begins with the importance of obtaining an actual home that can lead to a pleasant life. The previous quote provides the groundwork for the rest of this essay, beginning in the next paragraph with the relationship between owning a home and wealth.

The country- house poem developed into a literary genre in the early decades of the seventeenth- century. Aemilia Lanyer's, `The description of Cooke- ham', and Ben Jonson's, `To Penshurst' namely represent the small genre which flourished so briefly. These poems are much more than domestic architecture and are more than simple exercises in praising and pleasing a wealthy patron and the readership at large. In country- house poetry, poets use the conjunction of the ideal family (the patron's) and the ideal site (the estate and surrounding areas in which the patron and his/her family live) as a means of reflecting on social values, the nature of the good life, and the ways in which other households fall short of the mark. The country- house

This paper will focus on how nobility affects social status, opportunities and how it provides a luxurious life to nobles. From La Fresne, I will study the fact that La Fresne’s luxurious possessions (blanket and fine ring), set her fate. Because of it she received an education and a decent living, and eventually met her parents. If she didn’t show “signs” of nobility her life would have turned out very differently, she could have been abandoned or worse.

Butterworth’s play with its set design consisting of real trees and chickens demonstrates a return to the rural side of England, the origin point of most of its culture. The revamped pastoral production, on the stage, delivers a gloomy portrayal of rural England. It is home to the generally disregarded part of the populace, consisting of the lower middle class, bereft of any sort of particular personality, or expression. Local public houses are under the control of large breweries, the annual fair mirrors stereotypical game and talent shows, and the culture of the English countryside is largely removed, supplanted by commercialized Englishness. As the Labour Party put it, it is very much a 'Selling England by the Pound' sort of scenario. This atmosphere portrays a sense of English identity. On page 98, Byron asks “what the fuck do you think an English forest is for?” Johnny’s question raises issues about national identity, the decline of rural communities, and the encroachment on the free spirit of an individual. Sociomusicologist Simon Frith suggested that “identity is mobile: a process, not a thing: a becoming, not a being.” The mobility of identity can henceforth be seen as being synonymous with the loss of culture; it’s a no U-turn road, as there’ no going back. Jerusalem captures many things that are core to ‘Englishness’ i.e. stereotypical English fair thins candyfloss, rides, Goldfish that’s going to