Pinocchio, A Classic Film Directed By Norman Ferguson

Identity Achievement occurs when someone makes a personal decision or commitment after going through a crisis and exploring his or her option.

However, there is also apositive side of human characteristics that has been posited in the movie ‘Minority Report’, which is perseverance. John Anderton, who has been set up by his trusted friend and superior Lamar Bergess, as John had discovered the Anne Lively murder, never gave up trying to prove himself innocent although the pre-cogs’ visionswere never doubted. John even had his eyes ‘changed’ in order to unravel the truth of his innocence, and to continue

What makes a person who they are is a difficult dilemma. Mark Twain's novel, "Pudd'nhead Wilson and Those Extraordinary Twins" is a critical analysis of how nature and nurture can cultivate emotions and free will, which in turn affects the life of individuals. "Twain's faltering sense of direction began about slavery, moral decay, and deceptive realities (Kaplan 314). The debate of `nature versus nurture' has been one of the most intriguing scientific and cultural issues for most of the twentieth century, in determining the behavioral aspects of human beings. The changes in environment, society, education, political influences, family values and morals

Tim Burton’s gothic drama film Edward Scissorhands explores what is immoral with our society. A present issue with humanity is people who are different are encouraged to conform. In addition, society plays by the rules and follow societal norms rather than listening to their hearts. Most importantly, humans are cruel and exploit those who are vulnerable for their own benefit. Through the use of film techniques, Burton proposes the faults in humanity and the brutal nature of humans.

Humans generally face struggles in their lifetime. Such struggles could be within themselves or with someone or something else but commonly stem from some sort of opposition in lifestyle. In Yann Martel’s novel, Life of Pi, Pi’s passion for personal survival conflicts with his moral obligations to himself internally, morphing his external character.

For as long as man has encompassed this world, the divisive enigma of humanity has prevailed. Seeping its way into each generation, while sparking heated conversations, it has become evident that there is much we do not know about what truly makes us human. Regardless of our genetic composition, philosophers often ponder the deeper meaning of humanity. We know that, biologically, recreating the genetic makeup of a human does not yield humanity, so what is the missing aspect? Humans -have the ability to contemplate their own existence in this world. Awareness of existence. This driving force enables us to analyze situations while placing ourselves within them. Our involuntary ability to understand the impact of our actions and the affect they have on others causes us to be inherently human. Our actions evoke strong emotions within us that allow us to learn through our experiences. We retain the resonated feelings of certain occurrences and apply them to others in order to deduce outcomes. Often this facet of mankind is taken for granted, yet we are reminded, through both literature and hypothetical scenarios, of its importance. Frankenstein, by Mary Shelley, constitutes as one of these profound reminders. Shelley develops a theoretical story in which the humanity of Frankenstein’s monster is questioned. Despite having the accurate organs and framework of a human, Shelley causes the reader to seek the missing aspect that is preventing the monster from being human. Likewise,

To simply be alive consists of the acts of breathing and having blood pump through the body, but to be a human being consists of much more complexity. The nature composed of a human being involves having self sovereignty on our own emotions, opinions, desires, faiths as well as having a moral subconscious. Yet, what occurs when a situation allows an individual to react in a behaviour that doesn’t follow these defining factors of human nature? In Yann Martel 's Life of Pi, he creates the conflict of a cargo ship sinking, and the only notable survivors on the life raft consists of a hyena, a zebra with a broken leg, an orangutan, and a 16-year-old Indian boy. The protagonist of the novel, Pi Patel, is faced with a personal survival conflict

In broadest terms, human nature is known as the psychological characteristics, feelings, and behavioral traits shared by all of mankind. In the short story, there are several examples of trust, thinking before acting, giving second chances, and materialism. “She was walking alone, when a boy ran up behind her and tried to snatch her purse.” (Hughes 1) In the story a boy of the name Roger tries to snatch a woman’s pocketbook for some “Blue suede shoes” that he wanted to buy, which we are all familiar with. What caused roger to do this? Based on the text in the story “And your face is dirty… Ain’t you got

In the past years, Disney/Pixar has revolutionized the premise of their movies by shifting away from princesses and portraying resilient male characters as the protagonists of their highly successful animated feature films. From 1995 to 2008, Disney/Pixar released eight films, all of which included a male lead, yet these characters are arguably unlike any other protagonist in early Disney animated films. In their essay, “Post-Princess Models of Gender: The New Man in Disney/Pixar,” Ken Gillam and Shannon R. Wooden call attention to the new manner Disney/Pixar use to depict their heroic male characters in their movies. Gillam and Wooden claim that Pixar is using their movies to promote the acceptance of a new standard of masculinity capable of embracing feminine traits, as conveyed by the male characters within the films. As a viewer, it is easy to recognize the emasculation of the male protagonists within Pixar movies, however, the authors’ claim is faulty; they fail to acknowledge that society now has room for a new sympathetic man because it is straying way from a patriarchal beliefs of the past.

Philosophers and scientists alike have debated for centuries whether a person’s character is the result of nature or nurture. In the writings of Thomas Hobbes, it is expressed that humans are endowed with character from birth, and that they are innately evil in nature. John Locke’s response to this theory is that everyone is born with a tabula rasa, or blank slate, and then develops character after a series of formative experiences. The idea that true character is the result of experiences and societal interaction is a theme deeply explored throughout Mary Shelley’s Frankenstein. Through different interactions with the monster, Shelley attempts to express that it is because of Victor’s failings as a parent and creator, because of the

Life of Pi shows that humans and animals should do anything necessary to survive whatever challenges they face to live instead of just accepting death. Whatever ways that help one to survive are necessary, even if they compromise personal values, are vicious, or are wicked. Pi, a human; a hyena, and a blind man all fight to survive in a variety of ways that are examples of this thesis.

In my essay I am going to reference two films, Edward Scissorhands (1990) and Vincent (1982), directed by Tim Burton. Edward Scissorhands, is Tim Burton’s take on the Frankenstein story. We can clearly see the influences that have appealed to Tim Burton in the classic Frankenstein (1931) was not the character’s monstrousness appeal but the sense of sad sorrow that audiences sympathized to in Boris Karloff’s performance. Whereas in Tim Burton’s vision, we see a “Special” character as the Frankenstein Monster, in the similar way that we call people with disabilities Special. And then we have Vincent, a short stop-motion animation. The short film itself is an entertaining aspect of a suburban boy named Vincent who recites Edgar Ellen Poe and categorizes with Horror film star, Vincent Price. With similarities to Edward Scissorhands, the main character is a chance for Tim Burton to represent himself on the screen as a tortured boy, outsider and artist. I am going to discuss how cultural and psychological concerns are represented through characterization, art direction, cinematography, and sound. I will support my discussion by analyzing a reflection on both the similarities and differences between the two films, and whether a distinctive “Burton” signature (aesthetics, cultural and psychological concerns) is evident.

At the beginning of the movie we are shown an opening sequence introducing the main characters in the movie. We are briefly introduced to each character’s situation and the goals they are trying to achieve but we soon

The saying “desperate times call for desperate measures” holds truth to an extent. In the award winning novel Life of Pi by Yann Martel, drastic measures are taken by characters in order to survive while stranded on a lifeboat in the middle of the ocean. Through his journey, main character, Pi Patel, endures many hardships and witnesses several deaths. Significantly, the death of the zebra accompanying Pi and the other animals establishes a generalization of human nature being sophisticated yet inherently vicious according to methods of survival.

The tale takes place in an Italian village, initially in Geppetto’s workshop which is full of wooden gadgets and chiming clocks, yet he does not know what time it is. The gentle woodcarver is wishing upon a star for the puppet to come to life and to be his son. The Blue Fairy brings the toy to life out of compassion for Geppetto who is a good man, but is lonely and wanting someone to love. The puppet named, Pinocchio, is not yet a human boy. He must earn the right to be real by proving that he is brave, truthful, and unselfish (The Walt Disney Company, 1992). It is not an easy world for the puppet. He must learn what it means to be a good person, including: going to school, working hard, making friends and putting others’ needs before his own. In the end, after learning some important life lessons, Pinocchio is transformed from the wooden puppet into the real boy Geppetto has always wanted (The Walt Disney Company, 1992).