Be Drunk, By Charles Baudelaire

Literary devices will be a primary source used to compare and contrast the narrative and stylistic choices made in the short story, “Harrison Bergeron” by Kurt Vonnegut, and the film 2081 directed by Chandler Tuttle. In the film the director is able to express visuals, sounds, and physical characters, to establish a firm idea of how the characters within the story act and feel based on their surroundings and what is happening around them. However, an Author in a short story is reliant on his words alone to paint the picture for the reader to understand the movement of the plot and its impact on the atmosphere. The literary devices used in creating and shaping pieces of literature will heavily impact the point of view of the

To support this idea, Bordwell illustrates how art cinema motivates its narratives differently, through two principles: realism and authorial expressivity. Firstly he proposes the notion that art films reflect realism in their characters, space, and time. Psychologically complex characters are present in real worlds dealing with true-to-life situations. Art cinema is concerned with the characters ‘reaction’ to these situations, rather than their ‘action’. Thus it bares an element of psychological subjectivity as the characters survey the world they are in, which aids the realisation of the distress of

Alexander Mackendrick’s, The Sweet Smell of Success (1957), is a ninety-six-minute film noir, that incorporates many techniques in cinematography to depict the dark and mysterious genre of film noir itself. This paper will go over the summary of the film, the concept of film noir, followed by a formal and social context of the film, that is the techniques in cinematography used to portray the essential theme of darkness or distrust in the genre of film noir – more specifically, the roles that women play in this particular film. Thus, Mackendrick’s The Sweet Smell of Success (1957) is a classic genre of film noir that uses extensive low-key lighting to portray a certain darkness in the world of film noir, and the darkness in each of the

During the nineteenth century, Paris further developed into the entertainment capital of the world. Alistair Horne, the author of the Seven Ages of Paris, vividly illustrates several historical moments that occurred in Paris. Through the horrors and triumphs, Paris was able to endure through it all for ages and still emerge greater than before. In comparison, Vanessa R. Schwartz, the author of Spectacular Realities: Early Mass Culture in Fin-de-siècle, demonstrates how the explosive popularity of the boulevard, the newspapers, wax museums, panoramas, and early cinema led to the creation of a new culture in Paris. Driven by consumerism, a cultural revolution was happening, who’s new culture transcended gender and class divisions. Both authors

In his poem, “The Bad Glazier,” Baudelaire writes about actions taken by people that seem unwarranted. He claims that some unknown motivation forces us to do things that we know we should not. Baudelaire utilizes multiple examples of situations where people do things that they, logically, should not, such as loitering by the entrance of a building to avoid bad news or trying to set a forest on fire to see what would happen. Baudelaire’s usage of examples, whether hypothetical or not, brings to mind other instances we may have done that we should not have because our actions do not serve to improve our respective situations and stem from an illogical, impulsive place. There is no reason for the readers or examples to have taken the actions that

Throughout the short stories of Ernest Hemingway, alcohol inevitably lends its company to situations in which desperation already resides. In an examination of his earlier works, such as In Our Time, a comparison to later collections reveals the constant presence of alcohol where hopelessness prevails. The nature of the hopelessness, the desperation, changes from his earlier works to his later pieces, but its source remains the same: potential, or promise of the future causes a great deal of trepidation and lament throughout Hemingway's pieces. Whether the desperation comes from trepidation or lament depends on the view point from which it is observed, or rather, experienced.

I read the poem “Stopping by Woods on a Snowy Evening” by Robert Frost and listened to the song “Live Like You Were Dying” by Tim McGraw. They have similar themes that the authors developed using poetic techniques. In Robert Frost’s poem, the theme is to keep working even though obstacles may get in your way. In lines nine and ten, Frost uses personification when he says, “He gives his harness bells a shake to ask if there is some mistake.” The horse is like a friend or parent asking if he should be stopping before all of his tasks are finished. In lines 15 and 16 Frost uses repetition when he says, “And miles to go before I sleep and miles to go before I sleep.” This shows his determination in finishing his promises before he stops to

The similarities and differences between the developments of the two themes of the poem “Stopping by Woods on a snowy Evening” by Robert Frost and the song “Live Like You Were Dying” by Tim Mcgraw are very different. Robert Frost starts to develop his themes by using words like “watch his woods fill up with snow.” this starts to show how beautiful nature is and that you should enjoy it. Another theme that Robert frost states is from the last two lines “And miles to go before I sleep.” which is repeated again. This hints that he is on the verge of death. In the song by Tim McGraw his theme develops by the repetition in the song. For example it repeats “I went skydiving.” and many other words and phrases. The theme of his song is that you should

In Modernist literature, the artist is the most important occupation that a person can pursue. The artist is the person who is responsible for holding a mirror to the culture of the community. It is thus their responsibility to show that community exactly what the community was truly about, especially if that truth were particularly harsh or ugly. Paris, France is famous for being a location wherein one could indulge in every kind of sin, the more lascivious the better. This aspect of the city is often depicted in literature, but never as an exploration of that lifestyle, but instead as a comment on the true hollowness of such an existence. In the earliest half of the twentieth century, a growing number of people became dissatisfied with the world they had been living in following the First World War. These people became dissatisfied with the government, with their lives, and with the status quo. In the United States, women were abandoning their roles as wives and mothers in attempts to find an individual identity as a single human being. Men and women were finding themselves attracted to members of the same sex and, for the first time in American history, were unashamed to act on their feelings, although they would often have to keep their orientation a secret from the public world for fear of ostracism or violence. This new concept of sexuality and the belief of the artist as modernist critics are all interrelated. This is evident in the books Tropic of

The third chapter will mainly discuss Woody Allen?s The Purple Rose of Cairo (1985) to examine how a theme about cinema-goers reflects a desire from the filmmaker and the audience. The film fabricates a fantasy where the protagonist of a film called ?The Purple Rose of Cairo?, Tom Baxter (enacted by Jeff Daniels), ?steps? out of the film during a screening. He joins Cecilia (starred by Mia Farrow), a frustrated waitress and aggrieved wife who has watched this film countless times, and starts an adventure in the real world. Confronting the chaos caused by Tom arbitrarily leaving the screen, Gil Shepard, an actor who impersonates Tom, comes to persuade Tom to return to the film, while pursuing Cecilia at the same time. In the end, Cecilia chooses to stay in reality but ends up alone due to Gil abandoning her for his career in Hollywood.

Many critics have noticed that Mulvey’s application of psychoanalysis and filmmaking appears in an ironic return to Freud and Jacques Lacan. Mulvey uses the gaze to examine male pleasure in narrative cinema, but Lacan

The film Pulp Fiction was an immediate box office success when it was released in 1994 and it was also well received by the critics, and celebrated for the way it appeared to capture exactly a certain pre-millennial angst and dislocation in Western capitalist societies. The term post-modernist, often used to refer to art and architecture, was applied to this film. The pulp fiction refers to popular novels which are bought in large numbers by less well educated people and enjoyed for their entertainment value. The implication is that the film concerns topics of interest to this low culture, but as this essay will show, in fact, the title is ironic and the film is a very intellectual presentation of issues at the heart of contemporary

With modernity comes sweeping boredom. The reader can attempt to distance themselves, but in doing do you are reinforcing your ignorance and indifference to the control your boredom has over you. Baudelaire urges the reader to emerge from their state of ignorant boredom. He accuses the reader of “know[ing] this squeamish monster well,/ --hypocrite reader,--my alias,--my twin!” (Baudelaire, “To the Reader”, 72). This hypocrisy of art, or “safe” spectatorship, is double sided as Baudelaire brings to light the mirroring of poet and reader. They are one in the same. The poet urges the reader to become aware of boredom's hold on them, while he admits to being in need of this awareness himself. No one can be exempt. This is the price of modernity, as the world accelerates in pace and innovation, we become more and more accustomed to instant gratification. These expectations cannot be realistically met for the entirety of a person's life. Dissatisfaction will take hold and wreak

This is an agreed conception of film and human life, that man is a being with the possibilities of success or failure. We also see that Schatz’s way of thinking is how film and the settings of the culture are with in the film and what drives the film to its climax for the viewer, but at the end it does due what Schatz’s talks about with gangster films.

Naomi Greene once said that, “Pier Paolo Pasolini was the more protean figure than anyone else in the world of film.” This means that Pasolini was a versatile film director because he simplified cinema into the simplest way possible, while still visually embodying an important message to his cinematic viewers. Because of his encounter with Italy’s social changes, it influenced the writing and films he chose to write. His aspirations regarding his written work “Cinema of Poetry” explains how a writer usage of words and a filmmaker’s choice of images are linked to how cinema can be a poetry of language. He characterizes cinema as irrational and his approach on free indirect point of view is used to achieve a particular effect in his body of work. His claims made in the Cinema of Poetry illustrate why he stylized his films in the manner he did, such as Mamma Roma through the images he portrayed on screen. By examining Pasolini’s approach to poetic communication in the Cinema of Poetry, we can see that these cinematic attributes about reality and authenticity depicted in Mamma Roma are utilized to question cinematic viewer’s effortless identification of cinema with life. This is important to illustrate because Pasolini wants to motivate viewers to have an interpretative rather than a passionate relationship with the screen.