The Lost Boys Of Sudan Film Analysis

Because the boys were often completely severed from all family ties, they had to learn to build new trust with boys they had barely known in order to take care of each other. The camp was maintained until the government collapsed and the boys were forced to flee again, but this time to Kenya. Another journey of hundreds and even thousands of miles had just begun. By the time the Lost Boys had reached Kenya, their numbers had been cut to 12,000. In such times, the people had to find ways to keep their minds occupied and to discuss issues such as returning home to a safe and unified Sudan. Slowly, the culture of the Sudan boys had been adapting and changing. Because there were few adults to raise these children as would their parents in Sudan, the boys developed their own semblance of their culture. Other societies take for granted that their culture is passed down by their family and other surrounding sociological forces, so for thousands of young boys to have to figure it out for themselves in an astonishing thought. Many other cultures do not understand the genocide that occurs in Africa, more specifically Sudan. This is not a cultural norm that exists in Western society where people are more accepting of other cultural ideals. This ethnocentrism raises concern by many other regions of the world, but because they are not actually a party of this seemingly strange culture, not much is done in order to end such crisis

In the movie Precious, a 16-year old girl named Claireece Jones also known as Precious is physically, sexually, and verbally abused by her parents. Precious has one child and is now pregnant with her second child which causes her to be kicked out of school. She transfers to an alternative school. Precious is illiterate; however, she learns to read, write, and to gain self-respect from her teacher at the alternative school. In the end, she becomes a woman, learning to stand up for herself and she raises two healthy children. There are three different types of abuse Precious faced from her parents. An example of how Precious mother physically abused would be when her mother would get out the chair and beat her daughter by throwing things at her, because she did something minor or nothing at all. Precious mother verbally abused her daughter by calling her “stupid, fat, and she will amount to nothing”. An example of how Precious father sexually abused her would be he raped ever since she was three years old, impregnated her with two children, and he also gave her HIV. The movie faced several biological and environmental issues in the family. One example of a biological issue faced in the movie would be when Precious was hungry, needed water, and sleep. She needed to have this because she was pregnant with her second child. In the movie, it shows Precious goes into a restaurant, to order some food, and runs out without paying. She stole the food because she was starving and her mom did not give her any money. An environmental issue would be Precious was from Harlem, New York. During that time, Harlem was a city in poverty, so she grew up with hardly any money. The income her mother got from her welfare check, she did not give Precious anything.

One thing the film did not do so well was an accurate representation of the Arabian people.

“I have been rehabilitated now, so don’t be afraid of me. I am not a soldier anymore; I am a child” (Beah 199). Ishmael Beah had a long road to rehabilitate but he was able to rehabilitate because he had vital forces shaping him. In Ishmael Beah’s memoir, a long way gone, Ishmael was a child soldier in Sierra Leone. He wrote a memoir sharing his experiences of being a child soldier and of him rehabilitation. During 1991 to 2002 there was a vicious civil war going on in the western African country of Sierra Leone between the RUF rebels and the government forces. Ishmael Beah was a young 10-year-old boy who lived in a small village, he liked rap music and dancing hip hop with his friends. Ishmael was never affected by the war until one day when

One of the most recurring themes in Warren St John’s 2009 novel, Outcasts United: An American Town, A Refugee Team, and One Woman’s Quest to Make a Difference is community. Throughout the book, the protagonist, Luma Mufleh, creates a unique community amongst refugee boys living in Clarkston, Georgia. In the 1990s, Clarkston became a resettlement location for refugees and their families. The boys and their families were selected by the United Nations High Commissioner for Refugees (UNHCR) for resettlement in the United States. These families were forced to relocate after living in countries with war, persecution, natural disasters, environmental crises, and poverty.

Since 1983, the Sudan People's Liberation Army (SPLA) and the Sudanese government have been at war within the southern region of Sudan. This brutal conflict has ravaged the country claiming hundreds of lives and exiling a vast number of the southern Sudanese people. Most of these outcasts were young men aging between five and twelve who were tending cattle to return home to see their village being attacked and their villagers being killed. These boys fled not knowing what they would encounter on the journey to escape the violence in their own country. Hungry, frightened, and weak from their long and hellish journey, the boys finally reached refugee camps outside of Sudan. Even though many young men were killed on their multiple

The Lost boys of Sudan is about the arrival in the United States of three brothers. In 1990 the war broke out in Sudan, thousands of boys were seperated from there families. Many died from dehydration and starvation, some even died from crossing the river and eaten by alligators.

The “Lost Battalion” film was a great film about World War One. It showed a lot about the horrors of the war. It also brilliantly depicted the reality of the war.

“Adveristements featuring sex, implied domination, and sometimes explicit bondage appears as often in women’s magazines as those aimed at men. From roadside billboards to prime time television, gratuitous bikini clad beauties ornamenting product slogan sustain society’s perception of women as secondary decorative, and expendable”. (Reading 74). When I was reading, reading 74 by Martha Burk and Kristen Shaw, this sentence stood out to me the most because it took me back to a time when I was watching a documentary called “The Lost Boys”, which was about immigrant boys from Darfur Sudan who were migrating to the U.S. and how they were dealing with being in different world apart from theirs and the huge difference there was between their world

When creating Agu, his fellow soldiers, and their context, I relied heavily on accounts and interviews given by former child soldiers from around the world, from Sierra Leone and Uganda, from Sri Llanka and Cambodia, from the former Yugoslavia and Colombia. Beasts of No Nation may be set in West Africa, but it seeks to tell a more universal story of this horrible phenomenon that has appeared in our world today.

This non-fiction article was written in April, 2001, due to the arrival of The Lost Boys in Fargo, North Dakota. They came from a war zone, Sudan, Africa, that , not only destroyed families throughout the country, but also created more tension between the rivals and the

The book "Master Harold"...and the Boys, is a play written by Athol Fugard. It is about a boy, Hally, dealing with his abusive alcoholic father and his relationship with Sam, who is more of a father figure than his dad. The film adaptation of Athol Fugard’s play directed by Lonny Price is an impactful piece of art and it truly compliments the play. In the scene of how we meet Hally who becomes concerned when he hears his dad is coming home from the hospital, we could see the director did such a great job at interpreting the play into a movie. What's significant about this scene is that it draws two major emotions - joy and anger- residing in the mind of Hally and it enhances the

At the beginning of the movie Mufasa comes to the rescue when Simba got caught in a stampede. Mufasa saves Simba, but when Mufasa needed help, Scar does not help him. Scar instead grabs Mufasa’s paws, flings him off the side of the cliff and he fell to his death right in front of his son. From the beginning the audience, especially young kids, has a dislike for Scar. Scar killed Mufasa and led Simba to believe that it was Simba’s fault that Mufasa is dead. He then went on to tell Simba that Mufasa would not have died if Simba had been more careful to where he was hanging out. Simba runs away to the jungle where he meets Timon a meerkat and Pumbaa a warthog, after being disciplined. Timon and Pumbaa teach Simba the ways of the jungle and how

Dominant media produces films using generalized, and distorted images of Africa to create the idea of a dark continent in need colonial help, due to native civilization’s inability to live in a functional society. Mountains of the Moon, follows Richard Burton and John Speke, two explorers in search of the Nile. Set in pre-colonial times, this movie constructs images of Africa, perpetuating African’s inability to live in developed societies, and shows their natural inclination to appease British explorers. The Kitchen Toto, tells the story of Mwangi, who becomes a British officer’s kitchen Toto after his father is killed for opposing the clandestine independence movement. This movie shapes inaccurate images of African independence movements, showing those who are not under colonial rule as threatening, malicious, problematic, and incompetent of leadership. A Good Man in Africa tells the story of a British Diplomat, Morgan Leafy, who lives in Kinjanja, a nation recently freed from British rule. This film portrays Africa’s dependence on neocolonial rule through the Kinjanja’s fait, which rests in the hands of Dr Alex Murray, the man who is in the way of Adekunle’s exploitive building project. These three films represent ho western cultures imagination has evoked stock narratives, creating artificial Africas, in dominant media and films, leading to falsified images expanding from pre-colonialism to twentieth century neocolonialism.

Pier Paolo Pasolini’s 1974 film, Arabian Nights, uses enframing in order to produce a rich dialogue around a particular theme seen in The Arabian Nights stories. His film uses two kinds of enframing devices, parallel stories and dictated stories. Parallel stories are instances where the camera moves between two different characters and their stories. Dictated stories are instances where the characters themselves read or relate a story. Both of these enframing methods work to draw comparisons between the main story of Nur Ed Din and the various enframed tales.