Hitchcock/Descartes

Despite the amount of traumatising murders Charlie comes across, he is determined to understand people that are different from himself, providing him with a sympathetic and compassionate personality. Charlie's efforts to understand the minds of others does not go to waste as he successfully learns in-depth details about Jack Lionel "I don't know who this man is, but he didn't kill anybody. I've done everything wrong. Mad Jack Lionel isn't a criminal. He's probably not even mad. He's just old and sad and poor and lonely" (Charlie Bucktin p234). Through the sympathetic side of Charlie, a softer and more vulnerable component has been added to the novel, expressing Charlie's curiosity towards understanding Jack. A transition between Charlie regarding someone as dangerous and cruel compared to a harmless and nostalgic man is clear throughout chapter seven of the novel as Charlie begins to develop a further and deeper understanding of Jack's personality traits and motives. Instinct is a powerful aspect of the novel as it begins to delve into the innocence of the mind of Charlie when he originally assumes the worst of Jack before having a moment of realisation where Jack is no longer the criminal but instead a lonely, old man. After evaluating the multiple aesthetic features that constructed this particular novel, the innocence, understanding and sympathetic components are highlighted and contributed to the description of Charlie as a typical

Charlie, also has a peculiar speech pattern. Despite being a young teenager, his language is somewhat outdated; and he has a sardonic sense of humor. He shifts from “fancy” vocabulary to a more simple type of speech on a regular basis. In his first letter of Part 4, he describes someone’s face as “ashen”; but he had previously described his family members using the words “nice” and “fat”. Surprisingly simple speech from someone so seemingly contemplative. He, Charlie, is also very “matter-of-fact” about things. He does not say things that he does not believe to be true; and if he’s unsure, he states his ignorance as a fact. This is easy to see in Part 1 when he states, “I am really in love with Sam, and it hurts very much,” like it was an immovable thought or an unchangeable

The character of Charlie (being the protagonist) is who the readers are directly linked too, as we are taken on a journey with him through his actions, feeling, ideas and perspectives. His journey also includes his maturation/ coming of age as he does not escape from his issues and problems however he faces them head on. “I have no idea where we’re going. The further we move, the keener my apprehension grows. Still, there is something emboldening about being awake when the rest of the world is sleeping. Like I know something they don’t.” The passage has shifted from the description of late-night Corrigan to the thoughts/feeling of Charlie. He has been called to a mysterious place by a peculiar figure called Jasper Jones. As they travel further and further away from Corrigan the more Charlie’s worry and doubt comes to him about where they are travelling, what they might be doing and why did Japer choose him over everyone else? The readers are unaware of why Charlie is following Jasper blindly and so is Charlie. This is a stage in the narrative where Charlie’s progression as a character starts. The mood is created here from the events that are happening and from the readers attachment to the protagonist. The thoughts of the characters are reflected as the feeling from the readers. In some ways we already understand what might happen based on different reading from

The thing that was exaggerated in the movie was when Charlie said my aunt didn’t hurt me, she always loved me, we were great friends, why did she have to die, it was all my fault she was getting my birthday present, it was all my fault she died, she was such a good friend. The thing that was embellished was what happen in the movie after Charlie was being treated by a medical faculty, and after his parents found out what he has been hiding all these years, he learned that even though you can't change where you come from, you can always choose where you go from that point on. Charlie realized that he is alive and that he can do anything he wants to. His friends Sam and Patrick helped him believe that with the tunnel experience. Existence precedes essence: Charlie can go about his goals and dreams and live life to the fullest, living an authentic life. He knows he is going somewhere and that somewhere will take him so, many places and make existence on the world that much more meaningful. He can do what he wants. It's his life, and he's in full control- no one can stop him. He is

Charlie begins to hang out with Sam and Patrick and is getting in the routine of going to football games and then going out afterwards to celebrate. Afterwhile he catches feelings for Sam and the way he expresses them further deepens our understanding of his depression. Instead of going with the flow and not telling her about the dreams he had about her, he professes his love for her in the form of sharing his dreams and telling her just how he feels. Perhaps, this isn’t all his fault because when Sam tells him that she’s too old for him, he becomes obsessed with his love for her and can’t stop thinking about how perfect she is in his eyes. The only thing this confession has done for him is make his feelings grow and send him in a downward spiral of

Charlie’s life was relatively easy until one night changed everything. While reading, Jasper Jones , the town outcast, finds Charlie and leads him to a discovery. Someone in town has been murdered. After Charlie reluctantly agrees to help hide the body so that the blame isn’t unfairly placed on Jasper, he realizes he is involved, and that if he and Jasper don’t find out who the murderer is quickly, they will both be going to jail.

     The book also focuses on Charlie’s home life. Charlie has two siblings that make him feel invisible. There’s a hidden resentment in the tone that is used by Charlie to explain his sister and brother. But by the end they have managed to form a certain bond that Charlie has always wanted.

In Alfred Hitchcock’s Rear Window, L.B. Jeffries, played by Jimmy Stewart, becomes completely obsessed with spending all of his waking hours watching his neighbors from his wheelchair. He even uses a camera to better his view and thus enhances his role as both a spectator and a voyeur. This contributes to the creation of a movie being played right outside Jeffries’ window. In this “movie within the movie” his neighbors’ lives become the subject for the plot. Each window represents a different film screen, each which is focused upon only when Jeffries directs his attention to it. He witnesses both the anxieties associated with the beginning of a marriage and the heartache of relationships ending. The

Eventually, Mary Elizabeth forgives him. It is about time for Sam, Patrick, and his sister to graduate and for his favorite teacher to leave. Charlie starts to wonder how he will cope with the loss of his friends yet again. Then, he learns of the hidden horrors of his childhood and becomes indisposed with the knowledge of his molestation. Charlie is sent to a hospital where he gets help in rediscovering who he is. Following his release, Charlie is much better at creating relationships and is more hopeful for the

Charlie Kelmeckis is described as a “wallflower.” He is socially awkward and likes to keep to himself. He also really enjoys reading and writing. Charlie cares deeply for others, but has a lot of guilt about past events. For example, Charlie believes that the death of his Aunt Helen is his fault, because she was killed in a car accident on an errand to get Charlie a birthday gift. Charlie has Post Traumatic Stress Disorder, Anxiety, and Depression. His mental instability was mostly caused by being sexually abused by his Aunt Helen before the age of seven. Charlie experiences flashbacks of his Aunt over the course of the movie, but all are portrayed in a positive light.

In the film industry, there are directors who merely take someone else’s vision and express it in their own way on film, then there are those who take their own visions and use any means necessary to express their visions on film. The latter of these two types of directors are called auteurs. Not only do auteurs write the scripts from elements that they know and love in life, but they direct, produce, and sometimes act in their films as well. Three prime examples of these auteurs are: Kevin Smith, Spike Lee and Alfred Hitchcock.

In the story, Charlie experiences being lonely in different aspects of his life. The first one that he feels this in is his family. His family consists of his parents, his brother and sister, and his aunt Helen. His parents, especially his dad, have never really been that involved or shown much interest in his life. This is shown when after he had been on LSD and was found in the snow, they never questioned if he was on drugs, they just contributed it to his prior problems of “seeing” things. His dad usually just ignored Charlie because he was different and quieter than the other kids. Charlie’s brother isn’t in the story much because he’s away at college playing football for Penn State. Charlie’s sister is in the story pretty often, but she doesn’t really talk to

Alfred Hitchcock is arguably the greatest director of all time. Many of his films are considered standards of American cinema and inspired many of today’s directors. Even though Hitchcock is known as timeless director, he had an understanding of philosophy that was beyond his time. Hitchcock had a brilliant perception as to how the mind works and human reaction. Hitchcock’s understanding of philosophy can be seen in his film Vertigo and illustrates how many theories can be debilitating in everyday life.

drives from the city to her lover and, on the way, stops at the Bates

Alfred Hitchcock’s attention to detail in his films is one of the many things that makes him one of the most recognized film auteurs of all time. He was very particular what about he wanted seen on screen and how he wanted to get those shots. From camera movements to the things found in the mise-en-scène, Hitchcock was very precise about every little thing that is seen in his on screen worlds. He would strategically place objects throughout the mise-en-scène and have characters wear certain clothing. By doing this, Hitchcock is able to let the audience know things about the characters and the plot without it having to be said on camera. Hitchcock once said that “If it's a good movie, the sound could go off and the audience would still have a perfectly clear idea of what was going on” (Tiffin). That’s why there’s no surprise that when Hitchcock finally made his first color film, he began to use color as another way of communicating with his audience.