M. Emmet Walsh

The Iron Giant (1999), released less than a year after I was born, evokes primarily feelings of nostalgia. The root of the nostalgia I feel when thinking about this movie comes from having watched it many times since its release. Over these many instances of seeing the film, I’ve come away from it greatly enjoying the experience because of the connections it has to earlier in my life, and from the quality of the film that is hard to surpass with any other animated film produced for children. In my

In the film “The Iron Giant” the characters teach us two main lessons about life. The biggest, most important lesson that you can get out of this film is that you can be whoever you want to be. It is really important to be yourself because if you just play the role of someone that you aren’t people will never see the real you. We also learn that violence does not fix anything. Violence is never the answer and in this film the characters showcase that idea very well. I believe that you should be

The Iron Giant: Proving America Wrong Although the Iron Giant is a huge metal beast, he still has feelings. He is the same as the average human on the inside, yet he looks very different on the outside. America does not like different. America likes familiarity. In the film The Iron Giant, the Iron Giant experiences the hardships a foreigner must face before gaining acceptance in America. The Iron Giant overcomes the judgements made based on his appearance by showing that he is a normal person on

In, Blade Runner, by director Ridley Scott, the well-debated question, "Is Deckard a replicant?" still may leave audiences perplexed to form a response. In my opinion, after scrutinizing the film and reviewing my notes, I stand uncertain if Rick Deckard (Harrison Ford) is a replicant; however, I will rationalize why I think he is a replicant. First, the reasons to believe that Deckard is a replicant, begins in the clip when Deckard is eating Chinese noodle at an outside strip restaurant

The film Romeo + Juliet was released in 1996 by director Baz Luhrmann. The director does an exceptional job updating Shakespeare’s “Romeo and Juliet” to a more modernized version. This essay will analyze how specific decisions made by Luhrmann created effects such as suspense, drama, mystery, tension and the endless principle of star-crossed love throughout the film. The structure of the story and the setting add to the way Luhrmann wanted to present the storyline of the original play to the viewer

A. Interpretive Process (pre-figuration, configuration, and re-figuration) If God’s wider presence is real on the earth in cultural artifacts like Calvary, how do we identity or discern it? Put differently, how do we carefully make theological meaning out of Calvary? In Time and Narrative, Paul Ricoeur links Aristotle’s characterization of narrative and suggests three stages of interpretation. He calls them mimesis1 (prefiguration), minesis2 (configuration), and mimesis3 (refiguration). Ricoeur

Historical fiction part 3: research: annotated bibliography (15 resources) Era 1: United States in the 1960s POV: from a NASA woman spy POV who worked to spy in Russia, age is about 27-30 1. Cabral, E. (2008, March 10). What a Ride! (cover story). Student Research Center. Retrieved January 10, 2014, from http://web.ebscohost.com/src/detail?sid=48dacef8-9126-4b87-9d13-3d736a97643d%40sessionmgr4004&vid=1&hid=4101&bdata=JnNpdGU9c3JjLWxpdmU%3d#db=mih&AN=31381859 • This article from the EBSCOHOST