“...kept me reading late into the night. PETER’S CHRISTMAS will please Nightstalker fans any day of the year.” -Fresh Fiction -a Night Stalkers White House romance- NAME: Kim-Ly Geneviève Beauchamp JOB: UNESCO World Heritage Chief of Unit for Southeast Asia MISSION: To protect a Cambodian temple NAME: Peter Matthews JOB: President of the United States of America MISSION: Stability in Southeast Asia They met at the United Nations, two people from different worlds. Peter Matthews, D.C. born and bred. Since the tragic death of his wife two years before, he ranks as the most eligible bachelor on the planet. Genny Beauchamp, a French-Vietnamese beauty, with an intelligence that dazzles Peter. Little do they know that both their
A feel-good Christmas story for older kids and their parents, Elf trades heavily on Will Ferrell's physical comedy skill set. The film offers good and awkward moments in equal measure in the tale of an out-of-place "elf" searching for his real father and trying to reignite the Christmas spirit. There’s been a lot of hatred and prejudice clogging the news outlets during winter, even during a time of year when a large percentage of the world is supposed to be celebrating the arrival of Christmas and flurries of warm, fuzzy thoughts. Even if you’re not celebrating Christmas, there are still plenty of reasons to have warm, fuzzy thoughts. And the warm fuzzes, you know, can cross cultures, languages, climates, and skin colors. They can be profound, too, or silly. In the midst of so much intolerance and confusion, of bitterness and cynicism, I feel, once again, that a little bit of a good movie can do a lot to bring to mind the silliness of war and the healing power of peace and understanding, even under the most ridiculous of circumstances. Which is why, today, I recommend—seriously—the movie Elf.
As the story develops, the reader’s thoughts are guided by the structure of the piece in a way that Tan is able to share an important lesson through the form of a personal narrative. The opening text immediately introduces the narrator and her insecurities as she wishes for a “slim new American nose” (Tan 1). The story initially takes on a negative tone as Tan proceeds to have a negative outlook throughout the entire evening. Her overwhelming anxiety can almost be felt by the reader as she worries what Robert will think of her “noisy Chinese relatives who lacked proper American manners” and overall “shabby Chinese Christmas” (Tan 1). With the tone set, Tan continues to amplify each dreadful detail of her family’s traditional Christmas Eve dinner. This includes the actual meal, that of which appeared to be
As Jack wonders through the forest he stumbles upon a doorway to Christmastown, he is impressed by the excitement and feeling of Christmas. Jack shows Halloweentown what he has found and tries to explain Christmas. He decides to take over Christmas by getting the residents of Halloweentown to follow through with his plan. Part of his plan is to get the kid trio to kidnap “Sandy Claws’’. Sally has a horrible premonition that Jack’s Christmas is going to go all
Documentarians often want to get as close to their subject matter as possible. Some documentarians have an insider perspective which ignites a spark to create a piece that illuminates a specific topic or area of study. There are also documentarians that have no affiliation with said subject matter, but want to explore the topic in question. Finally, there are documentarians that have a foot in both worlds. Insider/outsider is a theory in which a documentarian can be close to a subject, but also possess characteristics or traits that make them distant from the topic in question (Coles, 1998). Such is the case with the directors of both Stranger with a Camera and The House I Live In. Due to their own location, both Eugene Jarecki and Elizabeth Barret exhibit characteristics that make them fall into the insider/outsider roles as directors. Robert Coles defines location by stating, “We notice what we notice because of who we are” (Coles, 1998, p. 7). Included in this is, a person’s education, race, class, and gender. Both directors realize they are outsiders and utilize a lens into a world in which they are not otherwise a part of. Jarecki’s lens comes in the form of Nanny Jeter, his family’s nanny from when he was a child. Barret’s lens for her documentary is the community that she shared with Ison. The two directors enter into a world that they are not a part of because of their location, but forge a connection to the subject matter through means of a lens.
The novel “Night” reveals the alienation of Holocaust victims and how their rights were violated. There were indeed consequences for taking away human rights from these innocent jews. This consequence was the Universal Declaration of Human Rights adopted and proclaimed by the General Assembly in December 10, 1948.
During the Holocaust, Jewish people were forced into concentration camps. They were given little to none of the things necessary to survive, and were forced to work until they died from exhaustion and malnutrition. They were treated like animals; dehumanized by the Nazis. In Night, a memoir by Elie Wiesel, Elie shares his story of the agony, grief, and torment he experienced during the Holocaust. The one thing that kept him going during this horrific event was his father. He depended on him and it's clear if he didn’t have his father's presences he wouldn't have survived.
The ghosts in A Christmas Carol are by turns comic, grotesque and allegorical. Professor John Mullan reflects on their essential role in developing the novel’s meaning and structure. There had been ghosts in literature before the Victorians, but the ghost story as a distinct and popular genre was the invention of the Victorians. Dickens was hugely influential in establishing the genre’s popularity – not only as a writer but also as an editor: his journals Household Words and All the Year Round specialised in ghost stories, and other contemporary journals followed. Dickens’s close friend and biographer John Forster said that the novelist had ‘a hankering after ghosts’. Not that Dickens exactly believed in ghosts – but he was intrigued by our belief in them. In A Christmas Carol (1843), the first of his ghost stories, he harnesses that belief by making the supernatural a natural extension of the real world of Scrooge and his victims. This is a long way from the spectres of earlier Gothic fiction. The terrible and the comic The first strictly supernatural sight in the story is the door
When Papa says this things been a long time coming, T.J. just triggered it, I think it mean that the night men were going to come but T.J. made them come even earlier than expected. I think this because people haven't accepted that everyone is equal and segregation isn’t right. T.J. was not the only one who killed the man and stole things, R.W. and Melvin did to, but they wore stockings over their face to look black. Even if R.W. and Melvin weren't wearing the stockings they wouldn't have gotten as much trouble as T.J. because they are white. No one could kill or sentence them to a chain gang back then because if you did their racist father would call the Night Riders or kill you. I know that the Night Riders also known as the KKK did horrible things to people, T.J. was no exception. R.W. and Melvin father was one of the ones hurting T.J. and his family, so clearly they were also teaching their children to do the same. Hanging out with these kids, T.J. had it coming getting in trouble because his so called friends were racist and just using T.J., just like their father. He should have realized that, but he didn't, and things didn't end up going well for T.J.
During the Holocaust, approximately six million non-Aryans, especially Jews, perished under the rule of the Nazis. Prisoners were frequently beaten, starved, and treated as if they were animals. In Elie Wiesel’s memoir, Night, he recollects the traumatizing experiences he and his fellow prisoners
How does feeling a sense of belonging affect someone’s ability to survive? Belonging in the Holocaust helped people stick together and live through the troubled times. An important part of the Holocaust was to feel accepted into a group and to have someone care about you, like in the book Night, The boy in the striped pajamas, and Heroes of the Holocaust.
In Spring Ford Community Theater’s production of A Christmas Carol, the rhetoric utilized by the director and actors in the creation of this play helps strengthen the argument that the tale is still relevant and connects to the modern era, which is proposed in Stephanie Allen’s Charles Dickens’ “A Christmas Carol” Told Uncomfortable Truths About Victorian Society, But Does it Have Anything to Teach Us Today?. Through the use of emotional appeals and the chronological progression of the play, this production makes the tale believable and reconnects it to common themes found in modern literature. The purpose of this production is to reinforce how these themes affect life and to display a positive outlook to the holiday season, which is done by the connection of this production with the viewer.
In Speak, the author, Laurie Halse Anderson uses imagery to portray Christmas as a positive event for the main character, Melinda Sordino. Melinda has a distant relationship with her parents due to the fact that she often feels ignored by them. On Christmas Day, her parents “…give [her] a handful of gift certificates, a TV for [her] room, ice skates, and a sketch bag with charcoal pencils. They say they have noticed [her] drawing. [She] almost [tells] them right then and there. Tears flood [her] eyes. They noticed [she’s] been trying to draw. They noticed” (Anderson 72). This quote is significant because it reflects steps of improvement in their parent to child relationship. Since Melinda withdrawals herself from the attention of her parents,
Unable to find the book they Decided to read it by Memory. reading The Night Before Christmas
Forugh Farrokhzad’s The House is Black is a harrowing, disturbing, artfully made documentary, one of the few films directed by the Iranian poet Farrokhzad. Her subject here is leprosy, and she looks directly, uncompromisingly, at the devastation that this disease causes the human body. She does not look away, not from the cruelest deformations this disease generates. Her purpose was to expose the punishing and superfluous way that lepers continued to be treated in Iran, funneled into quarantined leper colonies where their disease went relatively untreated, causing them to slowly and painfully degenerate. Farrokhzad’s film was deliberate in raising cognizance about these conditions, and to emphasize that this situation need not be. Produced during the reign of statist documentary cinema, Farrokhzad’s work was a wild contrast from the other documentary films created in this timeframe. Farrokhzad’s The House is Black deliberately and openly disobeyed “the official style” of Iranian documentaries during the 1960s, paving the way for Iranian New Wave cinema. From striking mirror scenes to deep pans of a classroom, Farrokhzad’s auteurist interventions are more obvious than subtle – although Farrokhzad’s directorial hand is heavy in The House is Black, this documentary was among the first to reflect a powerful yet unnoticed reality against the wishes of the Iranian government.