The Motorcycle Diaries Che Guevara Analysis

Saroo Brierley’s story is incredible to say the least. The persistence he displayed is extremely admirable - a persistence driven by the strong forces of belonging. The human trait of curiosity goes hand in hand with belonging. We naturally want to discover who we are, and for Saroo Brierley that took a bit more effort compared to the average boy. Being torn away from his family stretched his sense of belonging, and later in life made him question that sense. His journey of finding his true identity as a member of the Australian culture, his home culture, finding his identity as a man, building relationships with his new family, maintaining a sense of pride and connection with his Indian culture, is truly inspiring.

The 2016 film Lion, which was first a book called “A Long Way Home”, is a film where a boy named Saroo was separated from his brother in the train station, which leads to Saroo getting on a train taking him thousands of miles away from his family and his home. Saroo, who was only five-years-old when he got lost, had to learn to survive alone in Kolkata, West Bengal. Days after arriving to Kolkata, the city the train left him at, he got admitted into an orphanage, which later turned out to him getting adopted by an Australian couple. But twenty-five years later, he starts to wonder where his first home and family are at the moment. With only his memories, determination, and Google Earth he starts looking and searching where his small

An individual’s discovery is transformative on their perceptions of the world. This is the case for the book ‘The Motorcycle Diaries’ by Ernesto ‘Che’ Guevara and Keats’s sonnet “On first looking into Chapman’s Homer”. In this book, we are taken on Che’s journey as he travels Latin America as a young man, before the fame. His diary entries lead the reader into his own eyes, as a typical young man on an adventure, not the revolutionary figure we all associate him with. Through his descriptive entries of the landscape he journeys across, we discover his deeper connection to the land of South America and the love he has for its people. As well as the beautiful things that South America has to

2a) Describe the differences between the fascist Norsefire government’s and V’s anarchist view of a “healthy country.” How do Norsefire and V define the role of the government and the role of the citizen differently?

Lion was an inspiring movie that had a main focus on Saroo's assimilation into Australian culture. His immigration into Australia is of course what started his assimilation. Consequently, Saroo lost the ability to speak Hindi, as seen at the end of the movie when he reunites with his mother, because he grew up in an English-speaking culture. As well Saroo forgot aspects of his culture, such as eating with his hands, that were uncommon or looked down upon in Australian culture. The scene in which Saroo is having a meal with his friends, he tries to eat with his hands, but then fails and resolves to eat with a fork and knife. Saroo's whole self identity changed as he grew up in Australia, causing him to identify more as Australian rather than

The Motorcycle Diaries (2004), directed by Walter Salles, demonstrates nuanced political motifs highlighting not only the overt political turmoil of Latin America as well as socio-political problems. Salles combines this with 'Hollywood' and filmic politics, Salle's own own understanding of the project of film-making in Latin America responds to what the film scholar Zuzana pick has called a “continental project” that is a common creative activity directed toward cultural decolonialisation, identify search, and political unity through the cinematic expression amid the continent’s countries (Elena, & Díaz López, 2003) in order to create a romanticised global product whose politics can be seen as determined by the need to appease film goers,

His travel included EMEA, as well as Asia and South America. During this travel he witness, for lack of a better term, life and notes his observations in a melodramatic way causing the narration to read a nothing more than quick annotation that tugs on one’s heart demonstrating his inexperience of being only 30 years of age.

The rules of society are set by society itself, however, they are not set in stone, and therefore people can reject or accept these guidelines. During the 1950s in America, there was a definite line between what was considered acceptable and unacceptable. The man was the breadwinner and head of the household, while the woman was the homemaker who provided a warm meal, a clean home, and well-mannered children. These where the guidelines set by society, and just about everyone felt obligated to follow them. The film Revolutionary Road, derived from the novel written by Richard Yates, depicts the struggle that one couple faces in following the rules set by society. April and Frank Wheeler set their sights on deviating from 1950s American societal norms by moving to Paris, but escaping the web of social conservativeness proves to be more difficult than they anticipated. Yates communicates that conforming to society, and its rules, is equivalent to committing suicide on a person’s identity.

Camera angles including aerial shooting throughout the duration of the film is incredible. In the first scene, the camera angle is aerial with young Saroo seen as a tiny speck against the large span of landscape, or in a similar case where he is seen incredibly small against the enormous, unfamiliar world, overpopulated with people. This gives a sense of isolation, which is highlighted by the communication barrier of only speaking Hindi, in a location where Bengali is the only common language. These significant variables of representation in “Lion” generate the overall impact in which the film has on the global audiences of age 13 and onwards.

Of the many symbolic masks, the Guy Fawkes mask stands out as one of the most effective, often being used as a “masked identity” in order to make profound statements. Not only does this secret identity create more attention to the “masked one” but it also diverts attention to the cause rather than the identity. Literally using a mask, Fawkes was the main influence of the character “V”, in James McTeigue’s, V For Vendetta. V’s connections and motivations to Guy Fawkes, his attempt to justify himself as a terrorist, and V’s concealment of his true identity, collectively define the message that V conveys to his audience: to break parliament and take control of their own country.

It’s a title with a strong letter used as somewhat like a alliteration to exaggerate the ideas within this film, ‘V for Vendetta’, directed by James McTeigue, this defines what the true meaning of injustice which seems to be over exaggerated through action, sci-fi and thriller scenes. ‘V for Vendetta’ is a type of film where in a future, where there was a British tyranny or corruption in the government, a shadowy freedom fighter plots to overthrow it with the help of a young woman. This film shows the message of the best advice is to stop fighting it and embrace the fact that you have been given an opportunity if you chose to view it with a different set of eyes. And yet there will be many who miss this opportunity as they feel a false sense of security operating in the belief systems that harbor fear, anger and hate rather than letting go to face the very emotions that enslave them.This film uses fancy quotes or catch phrases, with a strong act of violence in acting around the main character(s), especially the protagonist ‘V’ and to the eventuality, ‘Evey’ at the end of the story. Special effects and the fanatical costume visuals (with the famous Guy Fawkes mask) all is used intently to make the audience with a tint of exhilarance, to make them think, what does this mean? What is the idea that V is trying to show in injustice? Through elements found in the film I’ve found that,......

The purpose of Octavio Paz’s collection of prose essays entitled The Labyrinth of Solitude: Life and Thought in Mexico, is to find an identity for the Mexican people so they will no longer be wondering who they are. Paz tries to answer the recurring question, “who are we?” that still hunts Mexicans today. On the search for the answer, Octavio Paz has found various themes that I strongly agree with. The two themes that I strongly agree with Paz is what he considers the wear of a Mexican mask, and been like a Pachuco.

So from a young age Guevara was exposed to political discussions and debate in the house. Ernesto also had developed asthma from an early age on which had hunted him till his last days. His struggle to endure and overcome this asthma developed a notable will power and a sense of purpose to triumph over. Due to his illness as a child he was forced to spend long periods at home, and encouraged by his parents he became an passionate reader.

“V for Vendetta" is a movie about freedom, about human struggle against the state, the government of the sacrifice of a symbol. V for Vendetta was born from the successful combination of a sudden, seemingly incongruous things: out of the comic’s conventions and the anti-globalization pathos. I think this movie is a combination of the of Lewis Carroll’s abstract absurdity and George Orwell’s totalitarian nightmare. Alice meets with Hitler. Evey dressed up and went out on a date, but instead of rabbit hole, she found the black "funnel". Once the British had already made a movie "It Happened Here," an alternative fantasy on the theme of the Nazi’s occupation of England - now the enemy did not come from outside but from the inside. In the near future, England is living under a power of tyrant, neurotic clown with flabby face. Supreme Chancellor autocratically governed the country. Bishops are concerned about the moral health of the nation. People are constantly live in fear of external threat after the tragic virus attacks a few years ago. Every person sentenced to death if he keeps a Koran. Same thing for the "unnatural" sex. There was nothing else to be executed for;

In The Motorcycle Diaries, Guevara’s discoveries of the devastating effects of US neo-colonialism in Latin America are only fully understood upon his rediscoveries of the equally harmful nature of not only tourism, but also his own vagabond traveling. Through their encounters with farm labourers, Guevara’s initial discovery of the Araucanian race’s “deep suspicion of the white man who… now continues to exploit them” is shown through the prominent motif of sharing mate, which highlights the early understanding between them. However, this understanding is expanded upon reaching Cuzco, where the symbolic juxtaposition of the three layers of the city emphasises his reassessment of how “a hesitant tourist [also] pass[es] over things superficially”. Even further, in Guevara’s encounter with the Chilean communist couple, graphic imagery accentuates his rediscovery of the “parasitic nature” of not