Persona Sparknotes

Indubitably, Louie Zamperini faced an extraordinary and life saving change in his lifetime. Unbroken, by Laura Hillenbrand tells Louie's story and how religion saved his life. The story takes place primarily during the mid-20th century, where the United States fully engaged in war against the Axis Powers.

Friday Night Lights: A Town, A Team, and A Dream is a 1990 non-fiction novel wrote by H.G. Bissinger. The story chronicles the pressures and expectations of the Permian Panthers football team in socially divided Odessa, Texas. Throughout the story, challenges are presented with each of the protagonists: James “Boobie” Miles, Mike Winchell, Don Billingsley, Gary Gaines, Brian Chavez, and Ivory Christian.

The Troubled Man Louie Zamperini a name that should go down in history. Louie could run a mile in 4:07.9 (indoors). He survived 47 days lost at sea, on a raft with 2 other people. He also survived 4 POW camps. In the book Unbroken by Laura Hillenbrand Louie Zamperini appears to be very determined and resourceful.

The historical novel Segu by Maryse Condé is set in the African country of Segu during a time of great cultural change. The African Slave Trade, the spread of Islam, and personal identity challenges were all tremendous and far-reaching issues facing Africa from the late 1700s to early 1800s. Condé uses the four brothers of the Traore family, Tiekoro, Malobali, Siga, and Naba, to demonstrate the impact that the issues of Islam, slave trade, and identity had on African people through the development of each character. The oldest of the sons, Tiekoro exemplifies the influence and spread of Islam through out Africa at the time.

The focus of Norma’s fame is a recurring theme throughout the film that is referenced in order to emphasise the extent to which fame has affected Norma and her life. When Norma decides to talk to Cecil DeMille about her script the young security guard questions her by saying ‘Norma, who?’ as the younger generation are unlikely to have heard of the actress. This further emphasises the harsh reality of fame and in particular, Hollywood, as new actors and actresses are constantly churned out to appeal to the audiences needs for the new Hollywood ‘star’.

In this essay, I shall try to illustrate whether analysing the movie Rear Window as a classical example of the Freudian concept of voyeurism, is appropriate. Voyeurism is defined in The Penguin dictionary of psychology as:

Finally, the depiction of figure is perhaps the most interesting and intellectually challenging element in this piece. The figure, while emotionally withdrawn from the viewer, is physically imposing. She is looking down and away from the viewer, as if the isn’t aware that she is being watched. Her mask-like facial features also do little in the way of conveying emotion. Her body, however, is quite different. The dark thick lines shaping her muscles and limbs, the detail in the curls of her hair, the placement of her fingers, and her exposed breast all demand the attention of the viewers’ eye. The bold lines that define her legs, waist, and hip, make her seem intrusively part of our space. The awkward placement of her

Alma travels to America, in search of a speedier recovery for her daughter, Maribel who suffered an extreme brain injury after she fell three stories from a ladder. Maribel accident makes Alma often feel guilty, since she believes that if she payed more attention to her, Maribel would not have fallen from the ladder. Her family leaves the comfort of Mexico and goes to the United States for higher quality medical care. Alma knows that her family had ¨bundled up our old life and left it behind, then hurdled into a new one with only a few of our things, each other and hope¨ (Henriquez 6). Focusing on her daughter's health, Alma reluctantly leaves her hometown in Mexico to move to Delaware. Alma has ¨bundled up¨ her old life, to attempt to focus on her new one. She is leaving her life behind to grow in her new one in America. The family is ready to build a new life in America. Alma doesn´t want to focus on her mistakes in the past, she only believes in hope to guide her in her journey in

This winter break I was able to play Persona 3 by Altus. The plot of Persona 3 is that the main character and his friends are blessed and cursed with the power of a persona to save the world from Nyx and her children called shadows. A persona is your inner strength to protect the mental you from life’s hardships. The main character is the “special one” since he can use multiple personas. His first persona was Orpheus since the main character loves music.

By exploring the theory of the “abject”, horror and the role of gender instability within film with regards to The Silence of the Lambs, this essay will attempt to explain the characteristics of the aestheticisation of abjection.

In this essay, I shall try to illustrate whether analysing the movie Rear Window as a classical example of the Freudian concept of voyeurism, is appropriate. Voyeurism is defined in The Penguin dictionary of psychology as:

Psychoanalytic film theory, which is derived from Freudian and Lacanian psychoanalysis, appears in the discussion of cinema early in the 1970s. As the conjunction of psychoanalysis and film theory, scholars use this theory for textual analysis and different elements like the monstrous-feminine, mirror stage identification, and the Oedipus complex are concluded and developed. To reexamine the mother-child relationship, I will argue that these key elements of psychoanalytic film theory are useful to understand the psychic activities of protagonists of Black Swan and The Babadook. Additionally, they provide some evidence to explain the mode of how a mother gets along with her child. I will begin by discussing the term

We first see Elisabeth enter Alma’s room, the soft light that engulfs the room is what makes me believe the sequence is a dream, there is an almost ethereal look to the scene. In the sequence Elisabeth’s husband confuses Alma for his wife and caresses her face, Elisabeth then takes Alma’s hand and mirrors the caress. This is one of the clearest moments, to me, that shows Elisabeth and Alma are one and the same. The

Fledgling is the story of an apparently young, amnesiac girl, whose alarming unhuman needs and abilities lead her to a startling conclusion. She is in fact a genetically modified, 53 year old vampire. Forced to discover what she can about her stolen former life, at the same time learn who wanted and still wants to destroy her and those she cares for. This is a very interesting parable that tests the limits of otherness and questions what it means to be truly human.

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.