Oikawa Tooru Character Traits

Sankofa is an Ankan word which means, “We must go back and reclaim our past in order to move forward ( Diop, 2014).” The film Sankofa was produced in the year 1993 in Ghana directed by Haile Gerima. It is based on the Atlantic slave trade. It is the story slavery from the point of view of Africans. In the film, all characters represent an element of African American culture (Gerima, 1993). It also shows the traditional racial scale with the whites at the top followed by Half-castes in the middle and blacks at the bottom.

The low ceiling cowered above and the black plastic chairs formed a restless crowd around me. From my seat, I could smell the acute scent of cleaning fluid, whiteboard markers, and the nauseating perfume of the girl sitting next to me. Like so many other students, she exuded concentration. Her brows were drawn as her hand moved rapidly over the testing booklet, only pausing to reposition herself or cast an almost imperceptible sidelong glance. The effortlessness of her actions furthered my anxiety as I began tapping my foot uneasily against the speckled linoleum floor. Through the dusty shades that hung precariously in front the only window in the room, I could see the outline of a solitary building shadowed by the dense gray fog that clung to the courtyard outside. At that moment, I would have given anything to be able to run and scream at the top of my lungs. I had an inexplicable urge to break free from the confinement of that room and what it

A young girl walks through the halls of her high school, clutching a book to her stomach as if it were a shield, her hair falling in her face blocking most of her vision except what was in front of her. She kept her head down. She climbs the stairs one by one, the world turns into a blur as she sees her tormentor standing at the top of the staircase. It’s already too late to turn around and go back, they’ve already seen her. Hands grab at her book, and she is pulled away from the swarm of students. Without warning she is shoved, tumbling backwards. Her head meets a metal bar, her wrist gets caught in the railing, the weight of her body tugging on it until it snaps out of place. She slides down the rest of the steps, pain erupting her. Something skids

The movie Bashu: A Little Stranger, is a heartwarming commentary written and directed by Bahram Beizai in 1989 on the effects of war, love, and racism in a small village community in Iran. Beizai challenges the widely accepted Iranian identity through stars Susan Taslimi as Naii, Bashu’s adopted mother and Adnan Afravian as Bashu. The film boasts a simple plot, yet the societal critiques are strong and apparent. It takes place during the Iraq-Iran war, a war brought forth from long standing border conflicts and fears of revolution. Many critics agree that Bashu is a timeless film. Although produced in 1989, this situation could happen at any point in time.

Curiosity is the best word to describe a mongoose, this is because mongooses like to explore the world around them and mongoose are so curious that they rarely get frightened, as also explained in the Rikki-Tikki- Tavi story. People around the world might know that every mongoose has to fight a snake once in a lifetime since mongoose like to eat snakes. Although some mongooses like to eat insects, lizards, birds, and rodents. While others like the Indian mongoose like to eat snakes especially cobras. Mongoose is the name for 29 out of 34 species located in southern Eurasia and Africa. Rikki-Tikki-Tavi the book, was created by Rudyard Kipling while the movie of Rikki-Tikki-Tavi has a different author. Although this noticeable difference

BANG! The front door echoed behind Shy, as she walked forward. Shy continued walking through the school hallway, and right before she reached the end of the hallway she took a sharp left. She peered into the door that stood before her. Sat at a desk was one person, who was as asleep as a sloth. Everyone else was missing. The rusty door creaked as Queshya opened it with grace and ease.

Timbuktu, a movie that dares to humanize Jihadists begins its opening scene with a group of Jihadists in a pick-up truck driving after a gazelle across the desert. The Jihadists intermittent gunshots at the gazelle shows their goal was not to kill the animal, but to exhaust and scare it. The Jihadists want to exude power and instill fear to the people of Timbuktu, just like they were doing to the gazelle. Shortly after, the next scene shows the same men shooting and destroying traditional relics like masks and statues. Their goals of causing damage were blatant, with a constant stream of gunshots aimed at the artifacts. In the Jihadists’ eyes, physical statuettes avert people’s affection from the actual God and to the statues. Shooting the artifacts eliminates the physical distraction in hope of having the people’s attention focused on their God. This is a complete eradication of the preexisting culture, and installing the Jihadist’s notions and ideologies. Both scenes depict haphazard, senseless brutality and exemplify the Jihadists clear intentions of removing African culture, and installing an Islamic extremism one. Chasing away the gazelle is figurative for chasing away the traditional African customs and culture. This scene is very significant because it immediately identifies the groups; the Jihadists are the oppressors, and the common African people are the subjugated. Abderrahmane Sissako in his film Timbuktu shows the African cultures being expunged by the Jihadists

“When the coffee came, she held out the silver sugar bowl for him to help himself from first, and as he took it their fingertips came into brief contact. She apologized immediately, but a suspicion plagued her that he had seen the contact as premeditated on her part. It continued to plague her in the maddening heat on the train, so that every time the steady waving of the professor’s fan suddenly stopped her heart seemed to stop with it. She had never reacted in this way before. Perhaps the sense of responsibility she’d felt ever since the train had left Tokyo Station had made her oversensitive? The incident, for which there was no way of apologizing naturally, continued to weigh on her till, combining with the heat, it made it impossible for her to enjoy the scenery outside.”

He certainly didn’t come off as it, like Kuroo did, but there was something inherently telling Kageyama to not trust this man. However, he was too afraid to say “no” or even shake his head.

Remade twice, the classic 19th century black and white film Yojimbo magnifies a dark comic that captivates the viewers from beginning to end. While the colorless glare of light shines on the faces of interested audiences, eyes are glued to the screen as the opening of the scene starts off with a gruesome image of a walking dog carrying a cut off hand in its mouth. This opening expresses the village appears to be in no good condition for any person to be in, and even dangerous. Will there be someone to stop this kind of behavior or will it continue to frighten a village for a lifetime? In the film Yojimbo, the commencement of corruption of society and unity is triggered by an absence of human morals, disposition of greed and endeavorment of

"Talk to Her," is an emotional story of two different men forced together by fate. Movie that explores the intimate relationship of two men brought together under same situations. The movie begins with two men watching a Pina Bausch dance piece called "Café Muller," in which two unconscious females twist and turn around the stage while two males move chairs and tables out of their way. One of the men in the audience is Benigno, and another one Marco. They do not know each other, but later they both became friends.

I hesitantly approach the single closed door in the empty hallway. The laughter of campers had filled the dormitory just a while before; however, now that midnight was closing in, it had transformed into a serious atmosphere. The silence pounds louder than the shrieking bunch of kids at the peak of their puberty.

Both Rob Marshall and Warwick Thornton  have very distinctive and different directory movie styles. However, In memoirs of a Geisha (Directed by Rob Marshall) and Samson & Delilah (Directed by Warwick Thornton) Both Warwick and Marshall are able to communicate their ideas of exploitation similarly through a variety of shots and film techniques. These techniques are used in great succession and are able to capture the audience to sympathize with these characters at their lowest points.

How Miyazaki persuades his audience to accept his idea on a new relationship between humanity and nature has not been fully explored and appreciated. The social impact and the religious elements of ‘My Neighbor Totoro ' made it one of the most important films establishing Hayao Miyazaki’s name and reputation in the film industry, both in Japan and worldwide. What makes this film famous and powerful is not only the magical, mysterious world or the adorable character that Miyazaki creates, but also the film’s persuasive way of delivering an unusual message on the three-layered relationship between humans and nature. How Miyazaki makes his audience feel connected with the characters starts with a comparison between Miyazaki’s early childhood and the story of the film. Miyazaki uses his childhood memories and his careful observation of others to create a realistic and believable world. Then, with a selected scene of the girls meeting Susuwatari, a black creature in the old empty house, I want to illustrate that Miyazaki’s use of a familiar fear from many people’s childhood introduces the audience to a magical and unknown world, but also makes the audience feel the world is familiar and acceptable. The sacredness of nature is presented through a comparison between Japanese religions and ritual practices and the symbols in the film. This section focuses first on the analysis of selected scenes that depict the sacred qualities of nature: Susuwatari’s flight to the moon after the

It is rare that a film comes out of nowhere and shocks audiences, especially with the film industry 's emphasis on advertisements. However, Paranormal Activity did just that. Oren Peli, along with Katie Featherston and Micah Sloat, started a franchise out of a week long project with no script. By capitalizing on realism to provoke fear within viewers, Paranormal Activity grossed over 10,000 times its budget, in part by utilizing fans to promote the film.