Live Like a Dog, Alone

He lover was so sure that he would return to her on the day of his departure. When Kathleen says that he is going far away, he replies, ' Not so far as you think.'; If he were going to war, he would not say he was not going far away and would not be certain he was going to make it back. Her lover could have been stationed close by or he could have went AWOL and stalked Kathleen. If the person driving the taxi was Mrs. Kathleen Dover's former lover he must have stalked her or had some else stalk her to know where she was staying. When Mrs. Dover feels a draft from the basement she feels like someone is in the house and just left through a window. The person in the taxi could have already been in the house at the time she had walked in and watched her as she gathered her things. He now knowing she would not be able to carry all he parcels with her went to the taxi to wait for her. If it had been her lover stalking her he would not have stalked her all the time. He would have waited to find a time that Mrs. Dover was alone. Her going to a house with out anyone knowing she was going there would be a perfect opportunity to get Kathleen back for not waiting for him.

“And then she gets to the part about we all poor and live in the slums, which I don’t feature. And I’m ready to speak on that , but she steps out in the street and hails two cabs just like that.”

As a result, Ajay seems to talk to his portrayal of God more than his family. The cars in the parking lot can represent Ajay and his desire to have people who give him more attention and love then his present situation. The cars “waited for an opening in the traffic, their brake lights glowing” which could represent Ajay waiting for the right timing or opportunity to focus on and change his path. Throughout the story, many moments imply that Ajay wants to change his life, such as his interactions with his family and his conversations with his portrayal of God. In a way, these moments are like the brake signals that glow when the cars are waiting for an opening to leave. Ajay is constantly wanting to break free from his current circumstances, but does not have the right timing and support.

Once he circled around to end his nightly walk, “ he was within a block of his destination when the lone car turned a corner quite suddenly” then after the lone car “ flashed a fierce white cone of light upon him” (1). This event with Mr. Mead and the the lone car foreshadows that something is about to occur while he was on his way home from his routinely moonlit walk. After a conversation with the lone car,“ he passed the front window of the car he looked in. As he expected, there was no one in the front seat” (2). As the car started to drive down the dark streets only illuminated by the moon, Mr. Mead exclaimed “ that's my house, the car moved down the empty riverbed streets” (2). This foreshadows that even though he said that they passed his house, the self driving police vehicle continued to go down the street foreshadowing that Leonard Mead will not return home. This use of foreshadowing allows the audience to examine and reflect on how how technology has impacted this certain futuristic society with a great magnitude that Mr. Leonard Mead is seen as a completely different person for only being himself.

It was the driver of the car as well, her boyfriend, who was next to her during that turning point in her life. Together, they were driving towards a new place, a place where they could start a new beginning: "Your arm felt nice wrapped round my shoulder." For the first time after her mother had left the family, it was somebody else that took care of her and not the other way around. She had somebody besides her that supported and protected her. For the first time after a long while, she felt being loved.

First, the hitchhiker and the driver’s son have a lot in common. Both are trying to get

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.

The way I read the taxi cab portion made me think of it as a quasi mock confession booth, with the driver, Fekadu, serving as the priest. This isn’t very clear at the beginning of the ride when William’s trying to meditate and stuff his problems away into his imaginary deposit box. But once Fekadu gets the conversation rolling, the outpour of emotion starts, marking an important shift from William hiding problems to trying to face them.

In the short story, “The Story of an Hour,” author Kate Chopin presents the character of Mrs. Louis Mallard. She is an unhappy woman trapped in her discontented marriage. Unable to assert herself or extricate herself from the relationship, she endures it. The news of the presumed death of her husband comes as a great relief to her, and for a brief moment she experiences the joys of a liberated life from the repressed relationship with her husband. The relief, however, is short lived. The shock of seeing him alive is too much for her bear and she dies. The meaning of life and death take on opposite meaning for Mrs. Mallard in her marriage because she lacked the courage to stand up for herself.

The first encounter of the woman and the officer resulted with the woman's humiliation not only racist, but also in a sexually discriminating way in front of her husband. Her reaction to this incident and the discussion she has had with her husband even makes her marriage become on the rocks. The next day when she gets frustrated by her husband, after a failing attempt for dialogue, she gets involved in a car accident and gets stuck in her car. She reacts aggressively after seeing that the racist, sexually perverted police officer is actually trying to get her out of the car. After a while of resistance to the officer, she gives up when she realizes that the car is about to explode in a while. During the attempt of rescue, the flames around the car grow, and the other officers try to get the racist officer out of the car. Here, we can see another climax which creates an impact on both characters and the audience. The police officer gets away from his friends and keeps on trying to save the woman. In this moment we can see how both characters change the way they see each other, as a mutual point of basic contact and decent human communication. After saving the woman's life, it is noticeable that the police officer’s attitude changes along with the rescued woman who didn’t want him to save her at

he is estranged from himself. To help expand on this theme it is useful to look

One thing that is particularly crucial to the development of an understanding of the wider story line is the fact that Miriam is also Mrs. Miller’s first name. The fact that the two main characters in the story share the same name is indicative of their relationship. Another key moment in the story is when, shortly after meeting Miriam, Mrs. Miller

As they are travelling Richard gets a phone call from Stan Grossman, a business man he made a deal with so he can earn something from his motivational programme. Richard loses him so he stops over at a petrol station and calls him. Richard is excited at first but his facial expressions change drastically, Richard finds out that he isn’t successful with his programme and that he didn’t get the deal. This comes as a shock to Richard as he tried really hard with his programme. In the bus Edwin goes to Richard and tells him that he is proud of him. The camera cuts to a two shot of Edwin and Richard, this shows that Richard and Edwin connect and start to unite. This is also emphasized by violins and cellos playing a sombre tune in the background. They stop over at a motel to spend the night, Richard and Sheryl start arguing about what their problems and they didn’t get any money from the deal. Richard decided to go to Scottsdale and meet up with Stan Grossman, we see Richard trying to push the bus all by himself. This shows us the obstacles Richard is facing, this is also emphasized by the background music which sounds like slow carnival music which reminds us of a sad clown. As Richard is traveling on the highway he looks small and ridiculous travelling on a small scooter on a huge highway, he doesn’t fit in the picture. A sign on the road says Scottsdale 23 miles; this again shows the obstacles that Richard has to face by

taxi cabs, of being out, out, far to sea and alone; she always had the

In Taxi Driver, Scorsese manages his camera angles and editing to emphasize Travis seeing the world through glass or mirrors, especially the windshield and rear-view mirror of the taxi, through which all major characters enter Taxi Driver: Betsy through the panes of an all-- glass office; Palantine through his rear-view mirror; and Iris and Sport in a fleeting glance in his mirror. As Travis meets with a black-market gun dealer, and in this scene the weapon literally becomes the organ of perception. Scorsese situates his camera on Travis' arm as that arm takes the weapon and slowly pans it across the window looking down on the street below. Finally, in the scene which has made Travis Bickle a cinematic icon ("Are you talking to me?"), Travis looks into his mirror, challenges imaginary adversaries, and draws his various weapons in assault. The ambiguity of the image is poignant: Travis looks into a mirror and makes a self-destructive gesture foreshadowing his attempted suicide at the climax of the film, and Travis peers through the looking glass and