The Good The Bad And The Ugly Essay

The short story is set at a park by a lake. “They were up on a picnic table at that park by the lake, by the edge of the lake, with part of a downed tree in the shallows half hidden by the bank.”1 The downed tree sets the mood to be sad and dark. We also learn that the main characters Lane A. Dean, Jr. and his girlfriend Sheri Fisher are sitting very still on the picnic table2, which tells us that the atmosphere is quite intense. It does not say for how long they sit by the lake, but it says that the right sides of their faces get shaded so it can be assumed that they sit there for a while.3

During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that,

In the novel, A Tale of Two Cities Charles Dickens opens with an anaphora, about how the world is throughout the novel. A reoccurring theme throughout this story is the battle between good and evil. Most of the novel is about the struggles each force has and how most of the time good triumphs over evil. In A Tale of Two Cities, the triumph of love, the death of the Marquis, and the contrast between Sydney Carton and Charles Darnay shows how good triumphed over evil.

   In "Good Country People" by Flannery O'Connor, the masked truth is reflected unequivocally through the reality in the story, its equal counterpart. For every good or evil thing, there is an antagonist or opposing force. Each character has a duplicate personality mirrored in someone else in the story.

One of the oldest dilemmas in philosophy is also one of the greatest threats to Christian theology. The problem of evil simultaneously perplexes the world’s greatest minds and yet remains palpably close to the hearts of the most common people. If God is good, then why is there evil? The following essay describes the problem of evil in relation to God, examines Christian responses to the problem, and concludes the existence of God and the existence of evil are fully compatible.

The concept of living “the good life” means something different for everyone. There is a general understanding that living “the good life” is associated with unyielding happiness and lasting satisfaction. The exact meaning of this desired life was pondered by thinkers and philosophers for hundreds of years. They constructed principals of behavior, thought, and obligation that would categorize a person as “good”. Although some of these ancient philosophies about “the good life” had overlapping ideas, their concepts varied widely. This contrast of ideas can be examined through two major characters in two famous works: Aeneas in “The Aeneid” and Socrates in “The Apology”. Aeneas exemplifies the philosophy that the direct route to “the good life" is through faith, trust in the Gods, and family, while Socrates in “The Apology” emphasizes free will, and vast knowledge of life.

The critically acclaimed film, Goodfellas, is a gangster crime drama that features an incredible amount of talent. Household names such as: Robert De Niro (Jimmy Conway), Joe Pesci (Tommy DeVito), Paul Sorvino (Paul Cicero), and promising stars like Ray Liotta (Henry Hill) and Lorraine Bracco (Karen Hill), attracted numerous Oscar and Golden Globe nominations. That type of cast power, linked with the signature talent of Martin Scorsese as a director, made for cinematic gold. Unquestionably, the actors and actresses did an excellent job augmenting the verisimilitude of this film and compelling audiences to empathize with their characters. But the cinematography in this film plays just as large a role in having audiences feel what the characters are feeling at a specific moment. Through the use of freeze frames, we learn of significant moments that shape Henry into the man that he is. By means of first-person narration we are able to know exactly what is going through a particular character’s mind. Finally, wonderful editing made great use of point of view and multiple jump cuts, which added to the sensation that we are undergoing the same experiences as the characters on screen. I will go into further detail and specify scenes that convey these elements as the essay progresses. Altogether, Martin Scorsese’s Goodfellas effectively depicts paramount scenes and allows the audience to empathize with the characters by virtue of stylistic editing and cinematography.

with some evil in it. Better? Why would God being so good and concerned about

The debate over Casablanca and Citizen Kane has been a classic argument between film critics and historians alike, and this is because both of these pieces are timeless pictures that have managed to captivate audiences well after their era. On a broad spectrum analysis this is an apples and oranges debate as the two films both have great cinematographic value but for different reasons. However, the real question at hand is which film is the greatest? Which film transformed the future of American film making? It is these questions that I as many others have, will attempt to answer in the following essay as I explain why I believe Citizen Kane is the greatest film ever made.

Being one of the world’s most popular art forms, it was inevitable that these archetypes would find their way into film as well. In this essay I will argue that the

Development and adaptation of the western genre has occurred throughout the twentieth century in relation to the shift in context, this is still relevant. Stereotypes of a western genre and the context are determined by the time in which the film is being produced. The time in which they were produced determine how social construction, gender ideas, values and attitudes, the setting and SWAT codes are demonstrated. I have chosen to present this speech by looking at the film studied in class, and a film of my choice and how the difference in context has changed in the tie of these two films.

He was the academy winning Western legend, recognized as one of the best filmmakers of all time, his name was John Ford. He started out his career in film in July 1914 as an assistant, labourman and actor for his brother Francis Ford. It was not until 1917 where he made his debut as a director with the lost film, The Tornado and ended his career in the early 1970s with his last film Chesty: A Tribute to a Legend. During his early years, he was making silent films where Westerns were very popular during the time. When the introduction of sound came and the birth of Talkies came, however, the genre started losing its popularity. Yet, that did not stop the director from working on the genre, eventually to the point where he is now credited today as the man who played a huge role in bringing the westerns back to popularity. So, in this video essay, I will be talking about John Ford’s take on Westerns and how he revolutionized the genre.

In her short story, Good Country People, Flannery O’Connor employs all the elements of humor, irony and, paradox intermingled within the system of Christian belief in evil and redemption. This is no more evident than in the character of Joy, the daughter, who had lost a leg in a hunting accident at the age of 12 and who now has a wooden leg in his place. Throughout the story, it becomes increasingly clear that Joy’s physical affliction is closely paralleled by a spiritual one as well. As the narrative unfolds, the great lengths Joy has gone to recreate her inner self, her soul, are revealed in painstaking detail. It appears she has succeeded in fashioning her own soul into a spirit that is as

The world is filled with many different words, some harder to define than other. One of these difficult words is considered by many to be evil. The definition of the word evil depends entirely upon the reader or writers perspective upon the word. The most innocent and simple ways that of would define evil is by simply saying that evil is the exact opposite of good, but what is good? In order to understand the true meaning of evil, we must first be able to describe what good is, what has goodness produced, and what has evil truly defied.

The concept of morality plays an important role in human society. Through the discovery of what, exactly, determines that which is “good” and that which is “bad”, humans develop mechanisms that determine how they respond to or judge any given situation. What remains a mystery, however, is what, exactly, is the basis of morals. It is commonly believed that morals are learned through lived experiences, as well as, from those who act as each person’s individual caretaker(s). Even though these factors do play a significant role in determining morality, these factors alone neither create nor determine a person’s moral compass. In Paul Bloom’s work, Just Babies: The Origins of Good and Evil, we are introduced to the idea that morality, while partly learned, is something that is ingrained in humans from birth. Through multiple studies, performed both by Bloom as well as other psychologists, it is revealed that not only are babies able to perceive what is right and what is wrong, but also, from birth, babies are instilled with the innate knowledge of empathizing, valuing fairness and status, and valuing those who look similar versus those who look different. In spite of previous ideas, Bloom proves that babies are smarter than previously thought, while simultaneously recognizing the shortcomings of this “elementary” form of morality. Bloom’s finding prove to be revolutionary, in that they allow for the examination of different social structures, their shortcomings, and what