Rashomon

The author broke down the book into four sections: the Transfer, the Initiate, the Son, and the Traitor. They all show specific points in Four’s life. The author portrays Four’s perspective to the readers by writing the book in the first person of Four. This made the book seem like a personal journal or diary, with words that show feeling and passion in different emotions. The author not only tells the story in first person, but she had quotes showing a conversation between characters. She then lets readers inside the mind of Four with what he might be thinking about something he or someone else said. The language was perfected to liven up the story.

The play is episodic. Tension builds throughout each scene so that the audience can see the deeper mystery and bigger

Akira Kurowasa’s film, Rashomon, (released in 1951) is a remarkable detective/crime film which revolutionized the film making industry and won many prestigious awards, and was said to the best foreign film out there. The scene took place in the Ancient Japan. The story of murder talked and showed a Japanese woman who got raped, and her husband getting killed in a sword fight. The Woodcutter who was one of the protagonists claimed that he saw the testimony through his very own eyes. However, there are four distinctive points of view, each telling their own side of the murder. Unfortunately, many of the Western movie critics misunderstood the film, or just simply oversimplified its meaning. They believed the true meaning of the story was the subjectivity of the truth, which is not what the story talked about but rather it’s about the quicksand of ego. The quicksand of ego is an important term since its one of the many moral implications shown in Rashomon which ties nicely with philosophical topics as well as moral dialogue itself. Rashomon effect which is defined as Kurosawa saying the film is not about the truth, but the quicksand of ego, which Priest who was another main character refused to accept. The true and pure meaning behind the Rashomon effect is that we cannot see the truth in everything, because we as a society are questioning our true believes and goals in life. It is very difficult to find truth, especially when

central to the play. I am going to look at only the first act of the

looks at how the director choose to introduce the situation the characters face, the conflict that happens and the resolution of the story.

The first part in the three act structure is the introduction, this is how the film is going to be set up. We are introduced to the characters and the location of the film is usually set in which The Lost Boys act 1 we are introduced to a mother and her two sons moving to Santa Carla, California after a divorce, to live with her eccentric father. We are then exposed to what the story line is about in which Michael befriends a motorcycling gang while trying to impress Star. The first plot

These scenes are stitched together in a way that is meant to bring nuance to the story, but instead was hard to interpret and confusing. It was sometimes hard to know which characters were being referred to and where each stood chronologically with relation to the others. For example, two of the plot lines had characters with the same surname. In this case, it would have been helpful for the separate groups to have been further differentiated and identified. For these reasons, I believe that if the author was trying to convey some sort of complex plot, she did not succeed in this

story. By showing three different perspectives the reader is able to have a better idea of

If Arthur Miller had left these scene on the act it would have exposed too much information about what would be coming up next and the readers would not be surprised then with the things that happened in the play. The reader shouldn’t be given the whole information of a play in one act there should be more suspense and exciting things happening on the future acts for the readers to enjoy the play. If the reader already knows how the play is going to end and as they are reading it they realize that it is all being repetitive they would just stop reading the play because there would be no “cliff hanger” for them to get excited about in the continuation of the reading.

Then the player characters move through a series of scenes that build the action to a climax. Cast members portray the allies and antagonists met by the player characters in every scene. Since there is only one plotline running at this event there will only be one writer.

into three Roman-numbered parts, with each section having its own climax. A number of themes run through the story, but at the center are

ways as the each author’s intentions are to direct the reader to the main plot by describing the

is portrayed and how it relates to the moral of the story – if, in fact, there is one.

There are three distinct levels of action during the play. Firstly, we as the audience see the characters play out the main narratives. Secondly, Shakespeare introduces a play-within-a-play during which the audience observes the mechanicals acting out their tragedy, and thirdly, as part of an epilogue, we are addressed directly by Puck. These differing levels of viewing the play encourages the audience to reflect upon, and compare, the interplay between the levels of address; when the three levels are compared to each other a deeper reading of the play becomes possible, even though the structure is irrational with regards to rational narrative structures. The dramatic conflict is resolved after the fourth act, begging the question of why Shakespeare opted for a play-within-a-play for his final act. The effect of “Nature” (V.i. 278) is contrasted between the main

The editing of the movie allows for the audience to have a unique perspective of how the events transpire. The non-chronological order of the film allows the audience to see the effects before the causes, and to see the deception through a non-linear lens. The events are lined up in a manner that is more like the recollection of memories, than the linear nature of recorded film. By using the two journals as a form of narrative we can see what we think is the inner monologue of the different characters, or rather what about themselves they want to reveal to each other. It is this nature of editing that allows us to slowly understand the secretes of the film in a unique way. The film shows the answers to questions before they are asked