Social Class In Gosford Park

In the girls’ home, Mary has to make a decision on whether she wants to clear her charges or live as a murderer. Stereotypically, girls like Mary face prejudice for actions they may or may not have committed, controversially, Mary acts unlike the other teenagers in her girls’ home trying

The concept of contrasting social class is manipulated using innovative cinematic techniques, including non-diegetic sound, mise-en-scène, bright lighting and various camera techniques and angles. The scene instigates with calm and composed music being played during the beginning of the

When she enters the bedroom, her voice changes from present to past tense and she starts to reminisce and begins to talk about her mother and aunts. She seems happy to remember her mother’s room and introduces her aunts to the audiences. Mary delivers her dialogue saying that the dressing table and the small elephant statue figures are all same. When Mary gently touches her mother’s photo, she delivers a sad tone. Her performance conveys to the audiences that she misses her mother. The tone of her voice represents that she is a gentle, innocent and a loving child. Her verbal and non-verbal interactions conveyed the viewers with a message that she is an orphan.

Mary begins the story as a doting housewife going through her daily routine with her husband. She is content to sit in his company silently until he begins a conversation. Everything is going as usual until he goes “ slowly to get himself another drink” while telling Mary to “sit down” (Dahl 1). This shocks Mary as she is used to getting things for him. After downing his second drink, her husband coldly informs her that he is leaving her and the child. This brutal news prompts the first change in Mary, from loving wife to emotionless and detached from everything.

In the book The Outsiders by S.E. Hinton, embarks on a story of a young boy Greaser, his gang, the rivalry with the Socs, and how it all ended. The main theme of The Outsider was social class. Socs have wealth that helps them through life and their parents have enough money to do anything for them Greasers do not have an education, and that’s true because they don’t have enough money and the privilege to get a good education. On the other hand, Socs don’t have to worry about not having a bad education because they can afford an education. Although greasers can the opportunity to stop and smell the roses, Socs have everything in life needed, they don’t have the cherishable life they wish for. Hinton notifies, through the text, the main reason for the gang’s separation is because of their social class and expectations.

Although the United States was a British Colony in the early 1700s, the differences between the two were definitely noticeable, especially in the socioeconomic fields, mostly due to the fact that slavery played a much larger role in the United States.

How does the film waver between middle-class values and street values? (Relate to excerpt from There Are No Children Here reading). How does one’s social class need to be a part of any discussion of law and inequality?

It was not uncommon in 1920’s and 30’s film and literature to allude to the ostentatious capitalist figures of the times. Figures like

A person’s name and position in society are significantly important for the upper class, due to the fact that if one were to marry into the family, a key member of the family would judge the person by their social class and the family name they carry to see if they are worthy to being a part of their lineage. In the play, “The Importance of Being Earnest,” a person's social class is highly admired. The main characters are high in society and are falsely appearing to live up to great expectations. In Oscar Wilde’s play, the theme of the social class is extensively explored through the characters, although they are living double-lives.

Some of the most common themes in contemporary biographical films revolve around social life as well as the accompanying problems that living in today's society entails. By making connections to individual personal lives, these films help most people make sense of the world in which they live. In this regard, this paper focuses on the film, The Pursuit of Happyness outlining various cultural issues as well as problems faced by the starring; Will Smith playing Chris Gardner in the movie. Moreover, the paper discusses how such factual films reflect and create popular ideas about social problems.

This optimistic and positive outlook hides her very sharp mind for crime, and contrasts greatly with the sinister things that are taking place around her. This emphasizes the nature of the events that have come to pass. Throughout the movie, the disparity between the demeanor of the characters and surrounding events creates a subtle humor really a second viewing of the movie to

In the movie called, “Gosford Park” the film distinguishes social class between upper and lower class. The movie starts with a fancy party hosted by Sir William McCordle and Lady Sylvia McCordle. The party has invited a house full of guests for a shooting party. The guests include Sir William sister, Constance, the Countess of Trenham, who depends on an allowance he is constantly threatening to withdraw, Lady Sylvia’s sister Louisa, who like Sylvia had to marry for money. Lastly Louisa’s husband, Commander Anthony Meredith is also invited to the party along with Lavinia, who is married to Raymond, Lord Stockbridge. And the Hollywood star Ivor Novello. Beneath the stairs is the butler Jennings, the housekeeper Mrs. Wilson, and the cook Mrs. Croft. In the movie the guests have to perform certain roles to satisfied their owner. For example, Lady Constance is threatened with financial ruin. Novello has to sing for their supper; while below stairs, a man like Jennings is obviously extremely happy to head the staff of a great house. The conflict begins when Sir William McCordle was murdered.

In the opening scenes, Shakespeare displays to his audience the affluent society of Illyria, where aristocracy is its major component, festivity is the social norm, and leisure is the way of life. Orsino and Olivia, elegant and wealthy members of the nobility, are at the center of people’s discussion—they seek love; Sir Toby and Sir Andrew, the rich knights ranked high in the social hierarchy, “care not for good life” (II.iii.34)—they seek pleasure. However, the Illyrian society of aristocratic customs and sense of licence is established upon the laborious work of those who are excluded from the indulgence in festivity, and whose financial ability and social status do not afford this social liberation.

Mary deals with the sense of displacement because of the absence of a stable home. Since her husband, James, was an actor, the family would have to move around depending on his schedule. Leaving Mary and her children on cheap hotel room. Mary was not a fan of this, she never had a place to call home. She fondly remembers her ideal childhood home, and contrasts it with her present dwelling.

The genre of comedy, throughout the history of dramatic art has always served to not only entertain audiences, but to make them aware of their own individual flaws, or flaws that exist in society. (Weitz, E.) Comedy has no precise definition, and its boundaries are broad. One function of comedy however has remained the same - to hold up a mirror to the society of the time but through pleasure, inviting audiences to reflect and also providing amusement. Set in the late nineteenth century, the play An Ideal Husband by Oscar Wilde (1895) epitomises comedy, as both a literary and dramatic genre. Wilde was masterful in his ability to combine aspects of evolved comedic traditions and dramatic conventions to critique Victorian society. Drawing on characteristics of Greek and Roman tragicomedy, the choices in the play’s plot involves elements of tragedy as well as scenes that serve as comic relief and give the audience a sense of finality through a happy resolution. (Bureman, L) Focussing on the upper class stratum, Wilde employs a comedy of manners Molière style, of the Restoration Period in the seventeenth century in the play by combining forms of comedy with aspects of realist drama. The portrayal of archetypal figures such as Lady Chiltern and Lord Goring satirize rigid moral value of the time and expose their hypocrisies, through dialogue involving irony, wit and humour. Elements of farce and disguises characterized by ‘commedia dell’arte’, a form of comedy first developed in