Analysis of “August: Osage County”

Leading to the end of Day of Tears, Emma, Joe, Charles, and Winnie escape Mistress Henfield’s plantation towards freedom. Jeremiah Henry, an abolitionist and businessman, helps the four by leading the way to Philadelphia. Their flee was very pivotal to the characters and developed the story’s ending. One, the characters were able to own their own houses, make a family, and just live life without any disruptions. Two, it developed the story’s ending by providing the falling action. Their escape was the resolution to the ongoing climax of their slavery and wondering what master is going to be sold Emma and her friends. In conclusion, this major event was the most surprising, but was a nice to tie to the

The family consists of the mother Beth, father Calvin, and their son Conrad who are living in the aftermath of the death of the oldest son Buck. Conrad, who has attempted suicide and hospitalized because he inability to overcome grief and misplaced guilt, and therapy as way to feel more in control. Beth on the other hand always favored Buck and does not connect with Conrad. Whereas, the father Calvin is trapped in trying to hold the family together, but those pressures are building and he is coming to realizations of his own.

“To Kill a Mockingbird”, written by Harper Lee and “Mississippi Burning” directed Alan Parker can be compared and contrasted with each other. Both texts share many themes especially the theme of prejudice where one group of people had bigoted views against another. It is shown in the form of racism throughout the two stories where whites discriminate the blacks. In the town of Maycomb and Mississippi, there is bias, discrimination and injustice between the blacks and whites. Both Harper Lee and Alan Parker explore this theme of prejudice through what their characters stand for, the events that took place during both text and the context behind both stories.

Her unforeseen actions are due to the rest care tradition, which has progressively worsened her mental state and caused her to overlook her role as a caring wife in desperation to escape the imprisonment of the tradition. As witnessed from the two short stories, conflicts arise amidst families due to the events of old traditions, establishing a divide between family members that is difficult to overcome once constructed.

Barb blames Janice for Anne's death to hurt her and make her feel guilty, not knowing that Janice already feels guilty but does not express it. However, Barb does not think about the challenges Janice might have endured but is angry because she is not the ‘ideal Janice’ that she had been expecting. Barb is too busy and eager wanting to express her anger towards Janice that she cannot relate to Janice’s problems and the struggles that she goes through. Barb’s lack of sympathy towards the unexpected changes in Janice’s life only results in a bigger gap in their relationship. Once Barb and Janice start talking, Barb is again angered by Janice’s quietness and her unwillingness to strengthen their relationship. However, she does not make an effort herself to understand why. Barb says to Janice: “You told us the facts. I don’t know one damn thing about you, the person” (36). Barb is annoyed and frustrated by Janice keeping to herself, she cannot understand her. Barb wants a strong relationship with her as sisters. For Janice, the sister relationship is too difficult and would rather prefer being friends. However, Barb does not acknowledge or accept Janice’s different views but expects Janice to want the same. Barb misunderstands the quietness of Janice and takes it personally, thinking that she wants to keep a distance from her and does not want to open up. Barb does not think of the opposite. What if Janice can’t

The world of film has changed dramatically over the last fifty years, both in technology and perceptions on how the industry should work and how it is viewed by the public. The ending of the production code in Hollywood started the cultural change in the industry. With this restrictive institution gone, many directors chose to take advantage of this in many different ways. My favorite of these is Mel Brooks; he chose to break and push boundaries both socially and comedically. Brooks’ style often includes crude humor inlaid with deeper jokes and meaning, many fourth wall breaking moments such as the “We’re in now now” scene of Spaceballs, to stand out in the world of comedy. His masterpiece, Blazing Saddles, is one such film that did just that. Through its new found sense of humor in the post production code era and its twists on common genre tropes of the time, Blazing Saddles was able to find its place into the New Hollywood Cinema.

This film August: Osage County tells a story about the women of Weston and how their lives flipped outside down with a family crisis. In Lieu of an untimely death it brings all of them together under one roof, where they are forced to face some unwanted truths. The film depicts the effects of prescription pill abuse on a family unit and the ways that each individual character copes contributes to the family system.

August Wilson is a well-known playwright from the 1980s, in which he wrote and published the “Pittsburg Cycle”, a series of plays about struggling black families in the city. In Wilson’s 1983 play, “Fences”, the topics of oppression and betrayal are discussed through the trials of a family living in Pittsburg whom the odds are seemingly stacked against. This play was made into a movie, where the trials and tribulations of this family are brought to life. Troy and Rose, husband and wife of eighteen years, share one climatic scene in which all the issues they face bubble to the surface. In this scene, Wilson utilizes rhetorical strategies to enhance the emotional appeal for the audience.

The scene I am referring to is in the movie “Blazing Saddles” and begins at 0:26:45 and continues to 0:29:09. This scene introduces Sheriff Bart (Cleavon Little) to the town folks. The scene begins with a man on a building shouting “The mayors comin’! The mayors comin’!” (Blazing Saddles) This scene is a very important scene in relation to the rest of the movie. This scene introduces the sheriff to he town folks. This scene also stresses the racial aspect of the film with many references to the sheriffs race. Without this scene the film would lose some comedic value, and the audience wouldn’t understand why the town folks are uncomfortable with the sheriff throughout the film.

The movie basically did a metaphorical domino affect, as you see the family slowly falling down. Like I mentioned earlier when a family gains or losses a family member it is now considered a whole new group. Sadly for the Jarrett family they lost a son and were now dealing with adjustments of living, in a sense, as a new family. Calvin, the father, does a very good job staying positive but still recognizing that something horrible happened to their family and things still need to be dealt with. Beth seems to only worry about the material things as a form of a distraction. You see her focusing on setting the silver just perfectly; worrying about what clothes her husband is going to wear, and she worries more about making sure that what is happening inside the family stays between the family. Conrad is emotionally going through a lot but tries his best to keep it inside.

This family comes together in a time when they all need it. Phillip at one point tells Judd he’s on his side and has his back no what the situation is. Then every time Judd and Wendy meet on the roof to talk they are creating a turning point during a bad time. It can be see that each brother, sister, brother, brother, and/or mother, child moment is a growing point where something/someone else is thinking and acting different. The Altman family displays resilience by walking away at the end and assuring each other that they have their backs.

Every movie has their own villain, but “To Kill a Mockingbird” creates a new perspective. As the movie begins, Bob Ewell is revealed to be a ruthless and drunken man. In the first scene Bob appears in, the camera catches certain aspects of his evil motives. The director plays no music in order for the watcher to carefully hear the antagonizing words of Bob Ewell. He clearly shows the watcher that Bob is the adversary of the movie. The positioning of the camera consists of close, crooked angles to represent his “crooked” views. Bob Ewell’s voice sounds rough and unclear, emphasizing his spiteful intentions.

"Anyway, I keep picturing all these little kids playing some game in this big field of

Uncle Tom’s Cabin, by Harriet Beecher Stowe, is arguably the most influential novel in American History. Stowe’s sentimental writing style seized the imagination of her readers and Uncle Tom’s Cabin became the standard of the abolition movement. Uncle Tom, one of the protagonists, spreads Christianity and dies for his faith, like Christ. By equating Uncle Tom with Jesus Christ, Harriet Beecher Stowe deliberately provokes her audience to social change and abolition.

The realistic play of "August: Osage County" has everyone relating to someone or something during the course of the production. The topics of cancer, marijuana, molestation, drug addiction, and much more have audience members connecting to these characters in a way that a play has never done before. This play is considered a dark comedy and it has people experiencing both laughter and discomfort, sometimes simultaneously (Black Comedy). They address topics that are taboo in society, issues that theatrical plays never dream of dedicating an entire show to. Tracy Letts is a fierce writer who doesn’t back away from subject matters that are controversial and not the norm for a traditional play. The topic of prescription drug abuse engulfs the entire