Film Analysis Of Oedipus Rex

Shakespeare's play, “Othello, the Moor of Venice,” is a powerful example of a tragedy and it’s main character, Othello, is an excellent illustration of what Aristotle constitutes as a tragic hero. The play imitates life through basic human emotions such as jealousy and rage. In addition, Othello is far from being a perfect character - another quality that meets Aristotle's requirements. Othello also matches Aristotle's ideas of tragic hero because our Othello realizes the error of his ways, causing us to feel sympathy for him. If we carefully examine the third scene in the third act, we can see how Othello fits into Aristotle's definition of tragic hero. This passage reveals how much Othello has deteriorated as far as his ability to reason

A “tragedy, for Shakespeare, is the genre of uncompensated suffering” (Dutton and Howard, 2003, p. 9). To really understand the play Othello is to truly understand a tragedy; thus, this researcher will analyze Aristotle’s view point and compare it to phrases (or quotes) from Shakespeare’s Othello.

4. What attitude toward the gods does Oedipus exhibit after learning of Polybos' death? Again in light of ode 2, what is foreshadowed by Oedipus' statement? What effect upon the audience might the similarity of reactions of Oedipus and Jocasta have?

A tragic hero, determined by Aristotle, must show a nobility and virtue of a certain magnitude however, their path to happiness should be ceased by their destructive vice (Harmartia- the flaw that eventually leads to their downfall). Peripeteia, the point where the character’s fortune changes, must evoke a state of pity and fear amongst the audience, and give above all, a didactic message. The outcome of this characteristic should result in a complex but sole instigation of both the hero’s

The task of tragedy is to bring ‘Catharsis’ to all its spectators, the belief of witnessing a spectacle consisting of tragic themes, is to provide the spectators a feeling of being cleansed and renewed which purges the spectators’ emotions. However, the idea was to strike pity and fear to all who go to see it. Tragedy is commonly defined as a play involving a main character who is born of royal blood with good intentions, the mistakes they commit leads to their downfall. However, what makes Oedipus The King a highly-regarded piece of Greek Theatre is due to Oedipus not realising that he has already fulfilled his fate by committing the deeds that were

Incendies is a 2010 Canadian mystery-drama film that was nominated for 15 awards. The story focuses on Canadian twins, Jeanne and Simon, who travel on a quest for their missing brother and father, after their immigrant mother dies. The film is based on the play it was heavily influenced by, but most critics didn’t address that it was based off Sophocles’ classic tragedy Oedipus the King. Oedipus the King was first performed in about 430 BCE. It is a tragedy by the Greek chronology playwright Sophocles. It was the second of Sophocles' three Theban plays to be produced, but it comes first in the trilogy (followed by “Oedipus at Colonus” and then “Antigone.”) The story follows King Oedipus of Thebes as he discovers that he unknowingly married his mother and killed his father. Over time, it has become known by many as the summit of Sophocles’ achievements. In both Oedipus and Incendies the symbolic and thematic motifs are quite similar. Like the tragedy, the film is based on a plot structure that begins at the end and ends at the beginning. Unlike Incendies, In Oedipus the King, Oedipus is the only one to accept responsibility when he discovers the truth. However, just like Oedipus, the heroism can be recognized in Nawal as well.

Sophocles' play Oedipus the King has endured for over two thousand years. The play's lasting appeal may be attributed to the fact it encompasses all the classical elements of tragedy as put forth by Aristotle in Poetics nearly a century before it was written. According to Aristotle, tragedy needs to be an imitation of life according to the law of probability or necessity. Tragedy is serious, complete, and has magnitude. It must have a beginning, middle, and end and be spoken in language that is fit for noble characters. Furthermore it must be acted, as opposed to epic poetry, which is narrated. Tragedy shows rather than tells. Finally it must result in the purging of pity and fear, or a catharsis. Tragedy is based in the fundamental order of the universe, it creates a cause-and-effect chain that clearly reveals what may happen at any time or place because that is the way the world operates. Tragedy arouses not only pity but also fear, because the audience can envision themselves within this cause-and-effect chain. Tragedy as a whole is composed of six elements: plot, character, language, thought, spectacle and melody. Melody and language are the media by which the effect of imitation of action is carried out, spectacle is the manner or way the tragedy is carried out, and plot, character and thought are the means that initiate the action. Oedipus the King possesses all of these elements.

In the Poetics, Aristotle provides an outline of how the artist is to portray or represent the perfect Tragedy. A Tragedy, of course, was nothing more than a drama, in which the characters appeared "better" than in real life (in a comedy, they appeared "worse," according to Aristotle). Aristotle's Poetics makes several references to other dramatic works to illustrate his points, but he most commonly calls upon The Odyssey to support his argument for how a dramatic structure should be designed. However, along with the Odyssey, Aristotle extensively references Sophocles' Oedipus Rex. Both poetic works were enormously popular in their time (the former had been passed down orally for generations, and the latter won the top prizes at the dramatic festivals). Therefore, Aristotle is comfortable using both to support his viewpoint concerning Tragedy and the Tragic Hero. This paper will analyze the standards that Aristotle sets out concerning the definition of the Tragic Hero and show how Sophocles' Oedipus exemplifies Aristotle's definition of a Tragic Hero.

Aristotle, the great fourth-century Greek philosopher labeled this tragedy as “an imitation of an action of high importance, complete and of some amplitude: in language enhanced by distinct and varying beauties…by means of pity and fear effecting its purgation of these emotions” (qtd. in Kennedy & Gioia 885). Aristotle was portraying the epic Shakespearean drama, Othello. Aristotle prescribed three main elements for a disastrous theater recipe: First is a hamartia, or a tragic flaw in the main character that leads to the demise; second, catharsis or an emotional release of the audience’s sensations derived from the actors, so they seem to have felt they have learnt something about the play; and lastly, anagnorisis or the character’s astonishment of something that may have not before realized (Kennedy & Gioia 856-857). The protagonist in Shakespeare’s Othello satisfies all of Aristotle’s necessities for a tragic hero, as Othello is the character of magnificent status, which falls from that status of power to one of shame because of his hamartia. Furthermore the plot of Othello contains an influential katharsis through its peak and deduction, and an anagnorisis when Othello comprehends that Desdemona and Iago are not who they appear to

For example, the hubris of Oedipus could be recognized by his boldness and confidence. Creon’s callous nature was evidenced by his cold and unflinching expression after Oedipus gouged his eyes out. The lighting of the film enhanced my understanding of the mood of the play at numerous moments. Dim lights indicated lamentable or tragic occurrences whereas bright lights reflected an elevated mood. For example, the lighting was gloomy and blood red during the scene following Oedipus’ self-mutilation. The movie provided the opportunity to visualize confusing scenes and to listen attentively to prolonged discussions.

exercising his free choice by making bad decisions . Oedipus certainly meets these portrayals of a tragic hero. The dialect of tragedy consists of two circles: one is a relative point and the other is impacted and the effect on its audience. Sophocles and Aristotle’s achieve that task with absolute clearness. The modern reader, coming to the classic drama not entirely to the enjoyment, will not always surrender himself to the emotional effect. He is apt to worry about Greek ‘fatalism’ and the justice of the downfall of Oedipus, and, finding no satisfactory solution for these intellectual difficulties, loses half the pleasure that the drama was intended to produce . In dramatizing stories, there will dependably blends of passionate sentiments, suspense, and fervor to discover what’s

“You are your own enemy” (Guthrie, Oedipus Rex, 22:43). In the film adaptation of Sophocles’ “Oedipus Rex” (1957), Sir Tyrone Guthrie portrays the characters as truth seekers that are ignorant when trying to find King Laius’ murderer. On the other hand, Sigmund Freud’s hypothesis of Sophocles’ work introduces us to “The Oedipus Complex” (1899) which states that as we’re young we grow infatuated with our opposite sex parent and feel resentment towards our same-sex parent. These two pieces have adapted mirror like meanings of Sophocles’ tragic play. Sir Tyrone Guthrie and Sigmund Freud explore this through the use of ethos, irony, social distance, and the visualization of state of mind in order to show the manifestation Oedipus undergoes

Throughout time, the tragedy has been seen as the most emotionally pleasing form of drama, because of its ability to bring the viewer into the drama and feel for the characters, especially the tragic hero. This analysis of tragedy was formed by the Greek philosopher Aristotle, and also noted in his Poetics (guidelines to drama). As a playwright, Shakespeare used Aristotle’s guidelines to tragedy when writing Othello. The play that was created revolved around the tragic hero, Othello, whose tragic flaw transformed him from a nobleman, into a destructive creature, which would inevitably bring him to his downfall. This transformation follows an organic movement of the complex plot from the beginning, middle, to the end of the drama while

Aristotle said Oedipus is tragic hero who did not change his fortune. His life changes to sadness by an error. Means Light to Dark. Light and darkness both Pasolini and Sophocles discuss differently. We can compare Movie and text from our point of view. Sophocles' text showed light as knowledge and darkness is lack of knowledge. On the other hand, Pasolini used light to musk Oedipus's killing and darkness as a hidden truth. Which Oedipus tries to hides from his audience. Pasolini showed in the movie that the blind Oedipus as a

In the play Oedipus Rex, Oedipus unknowingly murders his father and marries his mother. When Oedipus discovers this he is disgusted with himself and decides to go into exile. The Misanthrope is a play about the self-exile of the main character Alceste. Challenged in court, he refuses to take back the criticism of a sonnet written by a powerful nobleman. Alceste and Oedipus are both convicted by their knowledge of the truth. Although, the United States grants asylum to more refuges than any other country, there is one man who has decided to self-exile.