Anna Kavan

During World War II many films in Italy the Italian community created a new type of genre for that specific decade called Italian Neorealism.The Neorealism genre was a style of film characterized by stories done by the poor and working class. These movies were typically filmed on location meaning not in a studio but rather at a real place and used nonprofessional actors. The films themselves contended with the difficulty of life post World War II. The early films were about social issues and war

“Anna Karenina” and “Out of Africa” are two films that can be compared to a roller coaster ride at a carnival. A roller coaster ride excites and thrills us but at the very same time we feel anxiety and fear. The roller coaster rises, falls, twists and turns. This defines the journey of the characters as they embark upon their travels which are filled with peaks of joy and valleys of heartache, sorrow and death. The characters are vulnerable and impressionable as they face the dangers of adultery

The juxtaposition of two characters helps depict the themes of the novel as a whole. In the novel Anna Karenina by Leo Tolstoy, there are two dissimilar people with similar desires. Levin is a young man ready to propose to the woman he is infatuated with; while Anna Karenina is a young woman that realizes her marriage is dissatisfying after meeting her lover, Alexei Vronsky. Throughout the novel, the two characters change their viewpoints in life and become different people than what they once were

imperialistic empire. Anna Leonowens, a British

In “Whoever We Are, Loss Finds us and Defines Us”, by Anna Quindlen, she brings forth the discussion grief's grip on the lives of the living. Wounds of death can heal with the passing of time, but in this instance, the hurt lives on. Published in New York, New York on June 5, 1994, this is one of many Quindlen published in the New York Times, centered on death's aftermath. This article, written in response to the death of Quindlen’s sister-in-law, and is focused on an audience who has, currently

Gordon and Prue have quite a complex relationship that may be interpreted in different ways. Prue respects and cares about Gordon. When Prue is over at Gordon's house, Gordon gets hit by a bag, Prue shows interest in Gordon. “‘Did it hit you?’ ‘It made a hard sound for an overnight bag. Were there rocks in it?’’” page 63. This shows that she cares about his wellbeing and they seem to be friends. When Prue tells her friends about her night with Gordon, she portrays Gordon in a way that suggests she

Just to the east of riotous, industrialising Western Europe sat Imperial Russia, pendent between tradition and modernity, a vast empire of duality. As if trying to vent her frustrations, 19th century Russia produced a selection of history's finest writers; each writer packing their work with themes of duplicity, hope, and heavy social criticism. Duality was the cardinal theme for Imperial Russia. 19th century Russia was a peasant-filled, agrarian empire rushed through the gawky adolescence of

Trading Salvation for Personal Gratification in Anna Karenina The epigraph of Anna Karenina: "Vengeance is mine; I will repay, saith the Lord," implies that judgment is a theological entitlement  (Romans, 12:19).  Tolstoy uses both social and moral issues to illustrate his characters' attitudes towards religion.  For Oblonsky, Vronsky, and Karenin, religious values are secondary.  Their lives are devoted to establishing a social position and monetary gain.  Levin finds salvation and happiness

Regaining Control in Anna Karenina Anna Karenina features significant clusters of scenes, all of which describe notable moments in the development of the novel's major figures. One of the most important clusters is when Anna travels to see Vronsky. On her way her perceptions change; she throws her "searchlight" upon herself. Arriving at the next station she sees the rails and knows what must be done. Anna has had control over her own life taken away from her, due to the societal limitations

The War Experience in Italian Film The experience of war as it is presented throughout the history of Italian cinema is a uniquely composite display of historical reverence and cultural consecration. An analysis of this experience in all of its manifestations can be discerned from the evaluation of one or several works from the post-World War II period within the corpus of the Italian cultural signification. It follows from this approach that the essence of the results of this analysis