Alain Delon

The Struggle of the Mind The Psychoanalytic Theory is a means of literary critique which provides a framework for insightful character analysis. Its tenet is based on Sigmund Freud’s structural model of the psyche which identifies the id, the ego and the superego as the three theoretical constructs in terms of whose activity and interaction mental life is described. According to such model, the irrational, instinctual trends of the mind are the id; the rational, realistic part of

“The Talented Mr. Ripley” by Patricia Highsmith, set in 1950s in a somewhat vibrant, jazz influenced Italy, gives a vivid insight into the mind of a small-time conman turned psychopath. It also provides us with the central concepts of amorality, paranoia and how that survival and greed for money can turn almost ordinary people uncaring and self-indulgent. Highsmith’s use of third person narrative is an effective technique and is used to expand on the thesis of morality in the novel . Tom Ripley

In The Talented Mr. Ripley, Tom Ripley is the main character, and his adventures around the world. Breaking down the story, Ripley is imitating somebody to change his own personality. Ripley is attempting to change his personality not to one particular individual, but rather to a large number of individuals who are more successful and rich, for example, Dickie Greenleaf. Ripley feels the need to mimick people because he feels the need to escape his actual life and identify as someone normal and wealthy

Both Jeanne Moreau and Alain Delon star persona’s are notable for being embodiments of two distinctly different approaches to France’s burgeoning modernity in a post war context. Though each star 's representation of a new form of French modernity deviate due to their different gendered experiences. Their images of modernity challenged traditional codes and conventions of France’s past and represented different and new ideas of the French individual. These challenges were particularly gendered,

“The effective war film is often the one in which the action begins after the war, when there is nothing but ruins and desolation everywhere…” Francois Truffaut Francois Truffaut continued on to say that Alain Resnais’ Night and Fog, made in 1955, was the “greatest film ever made”. The 30-minute film based on the horrors of the Holocaust and Nazi concentration camps after World War II combines Resnais’ own cinematography with original images and footage of the captives in their unfathomable

Zara | Background information Zara is one of the largest international fashion companies and has over 2000 stores located across 88 countries. It is part of the large distribution group Inditex, which also owns brands such as Pull & Bear, Stradivarius and Bershka. Zara’s first store was opened in 1975 by Amancio Ortega in Spain. It featured low-priced fashion items that looked similar to the products of the more popular brands. As the store proved to be a success, Ortega opened more Zara stores

“Triumph of the Will” and “Night and Fog,” portray Hitler’s vision for Germany, and the findings of Allied liberators of concentration camps in the beginning of World War II. A comparison of the films present two very different views of what Hitler deemed necessary for Germany. They each displayed propaganda in a way they’re eye-catching simply because of the raw footage. It took everything that we knew about pre WWII and corrected it, so that we knew the truth about how the people of Germany felt

In Alain Resnais’ film “Hiroshima mon amour” (1959), the interplay of opposite themes runs throughout, often juxtaposing each other very obviously: war and peace, sex and death, past and present, reality and memory. One of the central themes of the film, the relationship between time and memory, one that Resnais explored in many of his subsequent films, gives rise to the notion of forgetting which becomes a very important element of the film. Resnais addresses the notion of forgetting through the

filmmaker used the decolonization war as the basis for a motion picture that would acknowledge both the scale and the hazards of historical amnesia. Few postwar films depict an armed conflict's far-reaching impact on a community more accurately than Alain Resnais's Muriel ou le Temps d'un retour (1963), which testifies about the relationship between past and present by concentrating on two seemingly different individuals with a shared inability to move beyond the past. Following in the footsteps of

The Atomic Bomb and Hiroshima mon Amour “You saw nothing in Hiroshima. Nothing.” In Hiroshima mon Amour, mise-en-scene and editing are used in conjunction with inspiration from the French New Wave Movement to express the severity and complexity of the traumas endured following the atomic bomb in Hiroshima, Japan in 1945. In this trauma narrative, mise-en-scene and disjunctive editing create a unique tone that ultimately represents the crippling struggle between past, present, and future. This “struggle”