In the film Hotel Rwanda, we see the portrayal of events at the Hotel Des Mille Collines…
Description: Pierre talks about his life in Congo and his family. He lived in a village without electricity. He also talks about school, how he had to walk 25 kilometres in order to get to school, years in college and his struggles i.e. financial difficulties.…
Throughout the film, moments of heartbreak are interlaced with quaint solitude and at times, comical encounters. Two of which in particular appear jarring and disrupts the lethargic pace of the the film. They are, perhaps, Truffaut’s way of mirroring life’s mundane rhythms. When Antoine skipped school with his friend, he enters a revolving wheel at an amusement park. The speed of the wheel’s circulative motion accelerates the pace of the film and the viewer’s sense of time. It is a subtle defiance against the literal and figurative gravity of life at school and home — a fleeting, weightless joy, only to return to normalcy when the ride ends. The juxtaposition of motion and stillness points to the contradictory paradoxical nature of one’s experiences, such that one finds a peculiar middle ground: melancholic joy, elated sadness. After Antoine accidentally sets fire to a curtain by lighting a candle for the great Balzac — an idolatry sans substance — the scene is followed by an almost meta-cinematic interlude where the Doinels head to the cinema and, for a stolen moment, are happy. The happiness is tangible but nevertheless…
Before you can ever jump on stage and sing any new song there is a process of seven steps to help you perform it correctly and well. You need to study the piece and prepare it properly. This component study involves seven detailed parts, text, rhythm, meter, and tempo, melody, form, voice, harmony, and dynamics, phrasing and musical articulation.…
The character of Pierre is one of a deep emotional type. Pierre lived his life with blinders on. He saw only what he wanted to see forward in his future, living for his moment. When he has to return home, and hasn’t reached his life goals and fulfilled his dreams, he devalues himself and lives with regrets that blind him to what is right in front of him. He cannot see what happiness can be obtained because he has put too much emphasis on his failures and his place in the world, as well as his age at the time of the story.…
Jules and Jim are Truffaut’s creation of male subjectivity fighting the maternal force deployed by Catherine’s voice and finding refuge in the visual pleasure provided by filmic representations of her body (64)…
In the song “The Phoenix” Fall Out Boy talks about how there isn't much time left and how they are going to make change. With this in mind it would go with the part of the book when Montag is floating down the river. This is because he doesn't have much time left to escape and he is going to need to change his ways.…
Ever been through a traumatic situation, that you can’t seem to get over? Or there was always something there that reminded you of it? You’re not the only one. The romantic Blanche DuBois is a traumatized protagonist who encounters many crises throughout the play. In A Streetcar Named Desire, Tennessee Williams utilizes the “Varsouiviana” (Polka) song in different aspects of the play to reflect the emotional trauma in Blanche’s life.…
Being one to love expressionism, his passion for it gives meaning to convey and express emotions and feelings. He exaggerates the boy giving specific detail and emphasis to his ears. The distortion of his ears expresses the impossibility of closing his now larger ears. The figure to the right is racist Terre Blanche driving the propaganda into him, taking advantage of his naïve and young position.…
This is an interesting poem that appears to deal with the subject of a person rebounding from a failed relationship into a new romantic encounter set against the cliched romantic backdrop of Paris. However, upon closer inspection it seems that despite the overt romantic language and imagery there is also a dark side of this poem suggesting that the heartbroken speaker is merely looking for some company to help them deal with the fallout of a failed relationship.The title of the poem, 'In Paris With You' establishes what the reader supposes is the setting of the poem: Paris. It is perhaps useful to remember that some people refer to Paris as 'the city of romance' or 'the most romantic city in the world' due to its association with romantic literature, 19th century liberalism, the sexual freedoms of the 1960s and a general racial stereotype that maintains that French people enjoy pleasure above all else. Stereotypes aside (we should never deal with stereotypes) Paris is a beautiful and historic city perfect for a romantic trip away or 'dirty weekend'. The title of the poem immediately puts the reader in mind of romance, particularly that the title indicates that the speaker is in Paris with someone else. It could be that the poet is establishing a cliched setting for a poem that despite its overtly romantic language is actually dealing with what could be an awkward sexual encounter between two strangers. On the other hand, the poem could be a celebration of finding new love, or an exciting and unexpected romance in one of the most beautiful cities in the world.…
Throughout the course of the play, Blanche is haunted by her tragic past life with her ex-husband, consequently causing her to go subtly mad. Prior to arriving in Elysian Fields, Blanche was happily married to a handsome young man by the name of Allen. However, her life took a turn for the worse when she discovered her husband in bed with another man. Her husband later ended up committing suicide. From that moment on, Blanche struggles to find happiness in her crumbling life. Memories of the night continue to haunt her and when she is alone, “the rapid, feverish polka tune, the “Varsouviana” is heard. The music is in her mind; she is drinking to escape it and the sense of disaster closing in on her” (139). That last night with her husband, when they danced the Varsouviana, haunts her throughout the play, and she cannot seem to forget the horror she felt that night. The memories from that dance, which signal her last moments with her husband, continue to burden her. She continues to feel helpless, lonely, and unsafe, without the presence of her husband around. As strong and confident as she tries to make herself appear, Blanche is a weak woman still horrified by the tragic suicide of her ex-husband.…
Luhrmann, through the use of textual, audio and visual film techniques, has effectively depicted Satine’s role as head courtesan of the Moulin Rouge and her duty to uphold Zidler’s interests. We are firstly introduced into Satine’s world in the ‘Diamond Dogs’ scene, where Bourgeoisie gentlemen are seen to be carousing with the dancers and courtesans of the infamous Moulin Rouge. The scene sets a mis-en-scene with the polyglot of diverse and somewhat grotesque looking performers, combined with seductive costumes and vibrant colors which effectively create a fantasy world for the upper class men. Luhrmann’s use of close-ups of the dancers naked limbs, combined with the Bourgeoise men singing “Here we are now, entertain us. We feel stupid and contagious” meritoriously illustrates the exploitative nature of Harold Zidler and his performers to have successfully gotten the “upper class gentlemen” to sing these words that lower their reputation as the elite. The repetitious shots of Christian’s face showing shock also reflects the breathtaking nature of the salubrious Moulin Rouge.…
The new enlightenment musical style developed as the Baroque style was rejected. A catalyst for the new musical style was the” Swiss-born intellectual philosopher, composer, and author, Jean-Jacques Rousseau (1712-1778). He gained enormous public notoriety and affluence in his time during the “1740s and '50s. The spirit of the Enlightenment was such that Rousseau became a prophet and he was listened to very carefully indeed” (L28, 14:03). He believed “the natural man” was good by nature but corrupted by civilization; society was ultimately detrimental to the well-being of human beings as individuals. According to Rousseau, only an operatic genre that artistically expressed the portrayal of real people in real situations singing natural music could coincide with the humanistic spirit of the Enlightenment. The Enlightenment’s humanistic spirit in addition to the War of the Clowns, an intellectual squabble over comedic and serious opera genres that lasted for two seasons, inevitably gave rise to the new favorite genre, opera buffa, comic…
The song consists of singing the praises of Gaston, his appearance and his accomplishments, such as his extraordinary strength and size (Woolverton et al.). By dedicating a whole musical number to this, he showed the audience how self-absorbed his character is and that he has reached an excessive level of pride. In the movie, Gaston and Belle have a little interaction, which Belle couldn't be more eager to leave from. She proceeds to run home and later, while conversing with her father, Gaston comes up to the conversation's topic. Belle states, "He's handsome all right, and rude and conceited and...Oh Papa, he's not for me! (Woolverton et al.)" Even with the limited interaction Belle had with Gaston, she was able to catch his true personality. This demonstrates that Gaston's vanity is very prominent and undeniable. Gaston proves times and again his true self-absorbed, vain, conceited personality, but even though he has an inflated self-importance, he may not be truly…
The film Moulin Rouge! is a classic love story which Luhrmann had modeled after the opera ‘La Traviata’, and it is known for bringing back ‘live-action musicals’ (Green, 1). Christian follows the Bohemian Revolution to Paris in 1899 and falls in love with the lead dancer of the Moulin Rouge, Satine, who is slowly dying of tuberculosis. They must hide their love or risk losing the deeds to the Moulin Rouge, and though their love lasts to the end of the film Satine eventually succumbs to her illness and dies in Christians arms (Moulin Rouge!, Baz Luhrmann).…