Imagine that two men, ragged and exhausted, have found their way onto a cold shoreline and collapse. Having witnessed death and feeling like death, they had finally returned home. These two men had just returned from the Crusades, where they had initially acted out of their religious idealism and returned with that idealism destroyed. The viewer cannot say for sure what these two men had witnessed, or what they had done, all in the name of God. All that can be established from these opening, dialogue free scenes is that both men have returned damaged men, men who have seemingly lost some sort of will, and most possibly some sort of faith. These men have arrived home, but their home has now been hit by fear and disease.
These are the first two
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The first scenes presented featuring either of these characters, who we later learn go by the names Antonius Block and Jöns, set the tone for what type of character they would remain to be throughout the film. The first man, Antonius Block, the knight, is seen praying; yet his prayer feels shallow and blocked, as is he is failing to feel that his prayer was heard. The second man, …show more content…
“A” is the aesthetic, the self-absorbed individual, while “B” is the ethical, the individual who is part of the universal, which is held as an absolute. From the depictions of the two characters from Bergman’s Det sjunde inseglet, it is no stretch to see them as representations of Kierkegaard’s “A” and “B”.
While these two characters can be synonymous with Kierkegaard’s “A” and “B”, the very idea that they are currently “A” and “B” as understood through Either/Or is nonsense. By looking at Kierkegaard’s “A” and “B” from Either/Or through the lens of the characters of Antonius Block and his squire, Jöns, from Ingmar Bergman’s Det sjunde inseglet (with Jöns representing “A” and Antonius Block representing “B” respectively) a new understanding of “A” and “B” can be determined, as both characters represent not “A” and “B” as written in Either/Or, but they represent a broken “A” and a broken “B”. These new understandings of Kierkegaard’s “A” and “B” through Bergman’s film will come to light through the analysis of Bergman’s characters as “A” and “B”, siphoned through theme of death as depicted in Bergman’s Det sjunde
The Frontline film Separate and Unequal discussed about creating a new school system; however, there are opposition by others who wants to maintain the current school system. If we look at the perspectives of the two groups, it is understandable in why there is support and opposition from the people of the city. The supporters of the new system wants a system that can provide better opportunities for their children without any violence. As the film claimed “the school was not teaching and were only babysitting the children”, which was likely a reason why there was a need for a new school system. With the chaotic and uncontrollable situation in the current system, many supporters have push forward the idea of a new system in a new city. From
Juxtaposition is used to put two characters side by side and depict the similarities and the differences of them. Within the novel, Ethan Frome, Zeena and Mattie were two contextual characters whose individuality stood out. By studying Zeena’s and Mattie’s attitudes towards life, their roles as women in the late 19th century, their age, appearance, and their treatment of Ethan and each other throughout the novel, the reader can more deeply comprehend not only the similarities and differences of these two characters, but the function their differences serve as well. A person’s attitude towards life determines how successful they will be in life.
In contrast, William Shakespeare’s “Hamlet” explores identity through the lens of morality, power, and madness within the setting of the Danish royal court. Both works provide a rich backdrop for examining how characters define themselves against and concerning the “other,” be
Film Noir is a style that first originated during the early 1940s, influenced by the tumultuous social and political environment of World War II. These style of films was a subversion from the conventional gangster films of the 1920s and 1930s. The resurgence of Noir style films in the 1970s retained the themes of crime, vice and moral ambiguity, but updated the content due to the relaxation of the Production Code. In this dissertation, the origins of film noir and its techniques will be examined, with the films The Third Man (Carol Reed, 1949), and L.A Confidential (Curtis Hanson, 1997) contrasted to highlight the impact of the Production Code.
Analytical Thesis: Get Out is a psychological thriller that analyzes the racial issues in modern America through the use of visual rhetoric: such as film noir, symbolism and metaphors.
Hegel’s and Kierkegaard's philosophies can be attributed to the Romantic influences of the late eighteenth century. Each were also opposed to their predecessor; aspects of Romanticism were criticized by Hegel, while Kierkegaard had a negative disposition to Hegel’s ideas as he deemed them inapplicable to one’s personal life. In Sophie’s World, Hegel’s “world spirit” is described as “the sum of human utterances.” In the same context, Kierkegaard’s existentialism is described as “the only important thing [is] each man’s ‘own existence.” It is also worth noting, though Kierkegaard rebuked Hegelianism, the man himself was dead a decade before Kierkegaard was thirty years old, so it could not be said the two men were direct contemporaries.
Get Out is a film by Jordan Peele, which was release on February 24, 2017. Get Out is a social thriller, which follows an interracial couple, Rose and Chris. Chris and Rose take a weekend to visit her family, the Armitage family, home in a isolated area surrounded by a forest. The plot spirals out of control following many disturbing discoveries by Chris and in turn, Chris must get out of the Armitage household.
The urge for one to understand the motives and inner beliefs of others stems from insecurity about one’s self. However, as Freud evokes, the genesis of humans’ ideas and thoughts manifests from their unconscious. More specifically, one may think they know someone, and not know them at all. Likewise, in Shakespeare’s masterpiece “Hamlet”, Hamlet’s true motives are never explicitly revealed to the reader, rather they are hidden in the vast marsh of Hamlet’s antic-disposition. Indeed, it appears that Hamlet’s antic-disposition acts as a guise: covering up his true character. In fact, the discussion of Hamlet’s inner thoughts has driven Shakespeare’s play to the helm of acclaimed plays. Hamlet’s inner motives are a direct reflection of Denmark’s rotten behavior, neglection of empathy, and lust for corrosive revenge.
North by Northwest, is a 1959 American archetypal thriller film directed by Alfred Hitchcock. This fast-paced espionage noir thriller follows protagonist Roger O.Thornhill who has been mistaken for a fabricated agent named George Kaplan. In an effort to clear his name and demonstrate his innocence, Kaplan is recklessly chased across the. Thornhill is then Implicated in the murder of a united states diplomat Lester Townsend and forced acquire Kaplan's identity, whilst being confronted with a mysterious femme fatale blonde Eve Kendall. Through Hitchcock's explicit use of mis-en-scene's and complex cinematic structures, his film is influenced by the 1950s era.
Many film producers during the 1970’s and 1980’s didn’t attempt to create films that required symphonic underscoring, instead they produced films that were non-symphonic and utilized synthesized scores. The synthesizer played an important role in the production of Hollywood film music that allowed composers to select a more wide variety of musical colors. The three most common styles that were synthesized included modern, traditional and popular music. A few films that were first produced with synthesized scores were Midnight Express, Halloween, and Blade Runners. In Midnight Express, the score incorporated both modernistic and popular melodies that mimicked musical instruments. Towards the final cue, a ballad is played quietly as Brad attempts
There were at least two ways in which an ordinary, or rather more than ordinary, dramatist might have dealt with this other “majesty of Denmark.” He could have been made a crude dramatic villain—a crowned “Shakebag” or “Black Will,” to use the phraseology of his creator’s own day. He could have been made pure straw—a mere
Part 1 - In American author's 2009 book, The Help, the primary thesis is the relationship between Black maids and white households in Jackson, Mississippi during the early 1960s. The story is really told from three perspectives, Aibileen and Minny are Black women, both maids, and Skeeter is the nickname of Eugenia Phelan, daughter of a prominent White family. Skeeter has just finished school and hopes to become a writer. In general, the relationship between the Black maids and the White employers is six sided: On one side we have the White employers who have three views: 1) Their personal and private beliefs that can range from extreme scorn and bias to kindness regarding race; 2) Their public persona that must have the "proper" attitude about Blacks and "the help," and 3) Their employer attitude, which is condescending and parental. The Black view also has three segments: 1) Their personal and private beliefs that usually range from understanding not all Whites are the same and an extreme love and empathy for the White children for whom they care; 2) The public persona that is deferential, polite, and stoic to their White bosses; and 3) Their attitude and view among the Black community, which usually separates the "poor and ignorant but rich" White souls from the Black view of family and common sense. All in all, the relationship is contentious, phony, and based on economic advantage.
A major controversy that has divided the literature community for hundreds of years is the debate of whether Hamlet, in William Shakespeare’s well known tragedy, Hamlet, is feigning madness or is actually mad. It can be proven though textual evidence that Hamlet is not mad but is disgusted by life because he cannot overcome his innocence which disjoints Denmark. This disgust has been created by uncertainty and changes which have changed the innocent view of the world into one of which includes experience. Hamlet, however, does not want to see the many shades of gray in the world; he wants to see the world in black and white, so he knows the absolute right from wrong. His disgust towards life can be seen thorough his interactions between Gertrude,
The interactive oral discussions are focused on Ibsen’s criticism of the restrictions placed by society in Norway during the late 1800s. Through characters such as Hedda and Lovborg, Ibsen was able to reflect on the conflict and psychological trauma faced by those restricted by societal rules.
William Shakespeare’s Hamlet, regarded as one his most famous plays, is based on the story of the Hamlet, the “Dark” Prince of Denmark. The protagonist, being Hamlet, is an extremely complex man with such a multi-dimensional personality that to this day, critics struggle to understand him. Each reader is left to decide his/her own interpretation of him — whether he is evil and insane, if he’s a tragic hero, or if he is a victim of circumstances beyond his control. A man of radical contradictions, Hamlet’s character remains one of the most ambiguous in American literature.