Trapped Water Film Techniques

The mother in “The Other Family”, by Himani Bannerji, has numerous static traits. Perhaps one of her most dominant traits being affection. It is clear various times in the text that she is affectionate when she felt “sorry that she was putting such a heavy burden on such young shoulders” (Bannerji 2). Before, she had also said that she did not want “frighten [her daughter]”(Bannerji 2). She even manifests panic just from thinking of potentially losing her daughter. Her second most evident trait is loneliness. The mother displays loneliness when she sometimes is “unsettled” with the news contained in “letters that [arrived] from home”(Bannerji 1). This could most likely be that the letters may be about certain people or things she misses from

Murasaki often doesn’t wish to see Genji or speak to him, so their relationship is troubled at times, but also quite strong and passionate. Genji wants her in the role of the perfect woman, but Murasaki hopes for different things. Murasaki is envisioned by Genji to be the ideal women, so evidently Genji wants her to be an intrinsic part of his life, and therefore spends a lot of time pursuing Murasaki, though her daughter role and the role of possible lover alters the way Genji pursues her. Murasaki has the power to resist however, and she at times neglects Genji, which occasionally upsets him. This could parallel how Genji treats Aoi as often times, Murasaki does not want Genji to be part of her life. Each of these three examples clearly outlines the different roles and influences women play throughout Genji’s life, and each one has the power to bring out different emotions and characteristics in Genji.

Mama has insecurities about herself that give her a negative outlook on the world around her. Mama describes herself as being a “large, big-boned woman with rough, man-working hands” (p.315). She thinks her daughters will appreciate her more if she was “a hundred pounds lighter, skin like an uncooked barley pancake, and hair that glistens in hot bright lights” (p.315). She has

Mothers are pictured as the care giver of the families and the ones who love their children unconditionally no matter the situation. They’ll do anything to support their family and raise their children right. In “The Queen of Mold” by Ruth Reichl, the mother in the story is pictured as the one who makes a meal almost out of nothing, just to provide and have something on the table for her family. Even though the food she cooks is moldy, this is how she demonstrates her motherly love.. In “Everyday Use” by Alice Walker, the mother is portrayed at first as an over excited mother waiting for her over achieving daughter Dee. As the story progresses the excitement for the daughter starts to go away and her motherly love towards Dee becomes complicated because Dee thinks she is greater and much smarter than the rest. Both of the stories depict complex motherhood, in Reichl story her mother’s love becomes complicated when she cooks food for the guest and her daughter tries to save the guest from being killed, while by the end of Walker story she only has love for the one daughter that has always been by her side and that’s Maggie.

Mothers are typically seen as kind, loving, and nurturing, at least in a perfect world, that’s how they are. Rather, in the real world many of us wish that is how all mothers are. Various situations can lead to a woman to be too mothering. It is a factor that transcends real life. This conflict causing dynamic is very prevalent in numerous stories, films, and plays. Two plays where it is shown in significance are Machinal and The Glass Menagerie. In both cases, the actions taken by the mother roles in the shows, resulted in some of the character’s roles ending in unfortunate events of some sort.

Sayuri is taken to become a geisha while her mother is dying. She is separated from her sister and has to struggle against Mother and Auntie as well as her the woman teaching her the ways of the geisha. She also has to come to terms with the fact that she cannot be with the man she loves.

In society, it is most common for a mother to teach her daughter about being a woman, but sometimes the mother is very stuck in societal norms that she hinders her daughter growth; Arimah portrays the dynamics of an estranged mother-daughter relationships through the relationship Ogechi has with her mother.

A mother can impact lives greatly. Could you imagine growing up without a mother? You can either be very lucky with a mother that cares for you or be deprived of that sense of love from a mother figure. It is inhumane to destroy any kind of maternal bond because mothers are not people to depend on, but are people to make depending not required.

     What a loving mother! Lena Younger, or Mama, is nurturing and supportive when it comes to raising and maintaining a family. Personally speaking, being nurturing means to love, care for, and show concern over someone. Analyzing Mama’s relationships with family members can show us her view on parenting and ultimately show us her devotion to her family. In A Raisin in the Sun, by Lorraine Hansberry, Mama is a nurturing mother who cares for and protects her family in her struggle to keep them unified.

A Thousand Splendid Suns: Response Mothers are known to always have the best intentions for their children. They go to great lengths in order to protect them and do what it takes to give the best for their kids. However in my opinion, some mothers may not be best suited in their role. It’s difficult to put things into perspective because Canadian culture and Afghani culture in Khaled Hosseini’s ‘A Thousand Splendid Suns’ are very different. Mariam’s mother, Nana exhibits behaviours that are in contrast to what I think is a good mother.

Both works of art place an emphasis on finding beauty in the soul of its’ characters and their misfortunes do not make them unattractive. If anything, it makes them even more endearing. In their time periods, it is not startling for the characters to be poor but to see it come from its’ 2,000 year old customs is another matter. Since Memoirs of a Geisha is set before, during and after World War II, the civilians are no strangers to poverty; everyone in Japan, both the poor and rich alike, struggled to get by. It was common for many geishas to ask their male friends for help but Sayuri did not in order to keep her independence –instead she worked as a farmer during the war and only returned to help her sister, Mameha. If anything, it is the life Sayuri would have preferred to have but as the book quotes, “We don’t become Geishas because we want our lives to be happy; we become Geishas because we have no choice” (Golden 310) The poverty line strikes at bay for widows as well; Chuyia refuses to beg on the streets for the ashram because she believes she can amount to being more than just a

Unlike the enthusiastic Western women, women grew up in oriental culture often have more restrained and gentle attitude, and this is one of the most symbolic cultural landscapes in Japan. In the movie, Sayuri chases for love and all she wants to do is to get closer to the Chairman. In fact, before the end of the story, she only sees chairman a few times in all, but she has strong faith to be with him. It could even be said that her whole life started from the few minutes of their encounters on the bridge. This is the typical oriental love, implicit but deeply passionate.

The theme of religion is very important in the novel and the roles of mysterious spirits that can be found throughout the novel. The character of Lady Rokuju can be used as a prime example for how spirits contribute to novel’s plot and help it progress. Her relationship with Genji goes on a downward spiral as the novel progress; therefore she begins to have feelings which Genji finds unwanting. She began to show distasteful feelings such as being ill-tempered and difficult to deal with. Genji becomes annonyed and tries to distance himself from this relationship by forming a new relationship with a youthful female named Yugao. They soon have a secret affair and Genji is dazzled

Both Sayuri’s childhood psychological unfulfillment and Tanaka-san’s role as her first “surrogate” father figure cause obsession with Chairman Iwamura. Adversity and emotional problems encountered during early childhood play a great role in shaping later behaviors. Sayuri’s lack of love from a father figure in her youth shapes her mind’s particular susceptibility to displays of affection from older males. When the Chairman performs the simple act of helping and complimenting her, she “changed from a lost girl facing a lifetime of emptiness to a girl with purpose in her life” (113), the event greatly impacting her psyche. She is led to believe, through her deadpan father, that men are generally uncaring, and as such

The two of them, along with Mameha’s danna, or wealthy patron, the Baron, help the mizuage bidding reach extreme heights, with Dr. Crab winning with one of the highest prices ever paid. Sayuri, as a result of her high priced mizuage, is adopted by the okiya much to the resentment of Hatsumomo and Pumpkin, and becomes a full fledged geisha. Soon after this success, however, the entire geisha district is affected by World War II. Nobu, in love with Sayuri, ships her to a safe house, allowing her to escape most of the war, and later enlists her help in wooing a potential client of his, where she is again reunited with her love, the Chairmen. Sayuri pushes away Nobu’s advances to become her danna, going so far to seduce his horrible client, and confesses her feelings to the Chairmen who happily reciprocates, ending with her becoming his permanent mistress and eventually leaving to New York. This story is full of hardship, human nature, and Japanese culture, following the development of Nitta Sayuri from innocent Chiyo to a jaded Sayuri.