Forbidden Fruit Analysis

After he steals the pie he states, “I knew an apple got Eve in deep trouble with snakes…” He uses this example from the Bible to show his religious upbringing and how he applies this story from creation to his sins. Like Eve, he realized that he did something wrong after the fact. At the end of the narrative, he brings up sin again to say, “I knew sin was what you took and didn’t give back.” He includes this sentence to show the purpose of sharing his childhood story with the reader and what he learned from his mistakes. He reveals his religious views and morals at the end to justify that he is aware of his wrongdoing and also to help the reader avoid the same fate.

Lee makes excellent use of these shots as a way of bringing the viewer into the action of the movie. His use of high and low angle, point of view shots both heighten tension and give the feeling that the characters

Writers use a variety of manipulative stylistics and structural elements to further emphasize the language within their pieces of literature. Whether the purpose is to frame the basis for an autobiography, essay, fictional, mythical or nonfictional tale, they always strive to integrate certain textual features to add distinction to their work. In Barbara Kingsolver’s, The Poisonwood Bible, she composes the novel with the intention of creating a multi-voice layout with distinctive narrative voices and perceptions. About the tragic undoings and miraculous restoration of a missionary family moved to a village in the Belgian Congo, the setup of the novel is unquestionably not one sided. The narrative voices are broken down between the main characters, allowing for each of them to tell their stories.

The camera movement from one side of the street to the unknown neighbor's house illustrated how unwilling they were to listen to Will’s reasoning yet determined to inflict violence upon a presumed “terrorist family”. The previous examples revealed that with the correct camera movement you can enhance feelings, and foretell them too. In specificity to these scenes, the reoccurring slanted motion appealed to the feeling of disarray and foreshadowed the mayhem to come. While the camera movement from one house to another depicted the wrath of the mob; proves that the cam movement allowed the viewer to receive a better sense of what unreasonable fear the characters are feeling.

Throughout the film, the director uses a montage to prove that Ben is in a constant routine that he is trapped inside of. A montage is when a series of short shots display a long period of time being passed. An example of when a montage portrays Ben being trapped is during the summer when he is going through the motions of being with Ms. Robinson and relaxing by the pool. Ben is trying to juggle being home for the summer after graduating and having a relationship with Ms. Robinson. He is constantly going from the hotel with Ms. Robinson

He refers to the story of Adam and Eve to show his panic but soon after follows with how sweet and delicious the apple pie was. He refers back to guilt when he decides not to share with Cross-Eyed Johnny in lines 50-52. Once again he soon follows with, “He watched my fingers greedily push big chunks of pie down my throat” (57-58). He expresses that he feels guilty and then cancels the guilt out with his satisfaction for the apple pie. The contrast between his Christian ways and human desires expresses his youth and maturity being a six-year-old boy and how he was influenced by his

Similar to how the hazy quality adds to the oneiric atmosphere of the shots in the Dietrichson’s household, the elements of the mise-en-scène contribute to the realistic characteristics of the first shot. Here, the viewer is presented with a seemingly perfect upper class neighborhood full of California Spanish houses. The children outside are playing baseball and an ice cream truck drives by, representing the epitome of the American Dream. The image is sharp and clear, with the light source coming from the right. However, the lighting is practically uniform in this shot. There are several hues and colors present in this shot, which is consistent with the realm of reality. Each frame of the camera is busy and cluttered, and there is a great deal of movement from both the props and the actors. However, it can also be argued that the first shot—though fairly realistic—is interrupted by oneiric qualities.

The summer at Devon is completely blissful and everyone, including Gene, is happily ignorant. When Gene is at the teacher’s house, Gene thinks, “Someday the Dean would probably live entirely encased in a house of glass and be happy as a sandpiper (12)”. Because Gene and Finny’s relationship is “just friends”, they were very honest with each other, which relates to the imagery of this glass house. They had no secrets from each other, which is similar to Eve and Adam. The glass represents clear feelings that are not hidden from each other. They trusted each other, but then Eve broke their promise, in a way ‘fogging’ the glass up. In the summer, Gene was feeling innocent and happy, the book says, “The tree was tremendous, an irate, steely black steeple beside the river. I was damned if I’d climb it”. The idea of the Garden of Eden, and the tree that gives the knowledge of all things good and evil, is similar to Gene and Finny’s relationship. This tree represents the tree of knowledge, because Gene wants nothing to do with knowing all bad things that happen. But, in the end he is blind to what he is doing. Eve takes the apple, when god says ‘You must not eat fruit from the tree that is in the middle of the garden, and you must not touch it, or you will die.”. Gene ‘takes the apple’ and he ends up

William had known that it was Melinda’s land, but as soon the the innocent boy laid eyes on the apples he couldn’t help himself. He dashed through the field, and into the apple grove. Immediately, William began pulling apples off the tree, and devouring them.

The narrator is immediately consumed by his first taste of desire. Its “sweet flesh” leaves “stains upon the tongue and lust for picking” (5,7). The vivid, sexually charged imagery of the first taste illustrates the seductive nature of desire; the narrator is irrevocably tainted by his first sampling of the

Billie Holiday’s “Strange Fruit,” and Kayne West’s, “Blood on the Leaves,” are similar because they both give metaphoric imagery about what is going, whether its personal or within a group of people. Blood on the leaves cause a controversy in many ways, it is the cover of Holliday’s, Strange Fruit, a poem which developed into a notable jazz piece. West uses auto-tuned vocals, all while over a variety of instruments in the background. In the song, he gives a vivid image of how he wants a family but fame begins to take over his personal thoughts; and how it all started with a pill, which seemed to cloud his judgement forever. The narrator is paying a debt, worth more than money; and it seems to expensive to pay for.

The use of camera angles was a clear way of defining a characters personality. The warden, Norton, is often seen from a low angles which highlights his high status in the prison and his authority.”Your arse belongs to me”. This effective way of showing Norton's position of power allows the audience to understand the significance of him. The prisoners, however are frequently shown from a high angle which

By doing so, the audience can feel sympathy, drama, and suspense throughout the film. A good example of a low angle shot is when District Ten is listening to the organizer of the games. When he is picking tribunes, the angle of the camera is down which displays that the tribunes are inferior to the organizer. The different types of shots also bring attention to something the director wants the audience to focus on. Along with informing the viewers of something from the character’s view point. A majority of the film is shot in subjective view, giving the audience an extension of Katniss and seeing what she is seeing. Although this is the case, there are objective shots to show the viewers the computer generated special effects in the film. It is also noticeable that the editing used helped capture the concept of social class in this film.

The speaker then goes on to say that “For all that struck the earth, No matter if not bruised or spiked with stubble, went surely to the cider-apple heap as of no worth” (33-36). The bruises on the fruit represent the mistakes or misused chances, maybe even failure, but the fact that these bruised apples considered worthless and discarded seems to be an epiphany to the speaker. He is realizes that while these apples were bruised, cider still came from them. The discarded apples act as metaphors for all of the mistakes that he has made in his life, and he now understands that they are in fact not worthless, as much knowledge can be gained from examining one’s mistakes.

The film ‘A Girl Walks Home Alone At Night’, director Ana Lily Amirpour, is a mixture of genres such as the Spaghetti Western, the teenage romance, and the vampire genre. The clash of genres in this film brings out the idea of hybridity and duality, with the sounds and cinematography creating a sense of ambiguity, or the ‘in-between’. The underlying mix brings out a sense of horror for the overall feel of the film as it leaves audiences with a sense of fear and realisation that not everything is as it seems.