The Road Warrior (1981‚ dir. George Miller) begins with Max (Mel Gibson) and his dog getting tailed in what appears to be some kind of apocalyptic future.This can be seen through what they drive‚ the styling of the two guys on the bike (mohawks and strange outfits...even for the eighties) and the harsh look of the climate. Max is obviously worried about being tailed and so is his dog‚ which is why the puppy keeps looking back while Max tries to speed up. There’s threatening music too. They then encounter
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purposely or accidentally. Although both Wilde in his novel The Picture of Dorian Gray and Edward Arlington Robinson in his poem “Richard Cory” explore the concept of the figurative masks worn to conceal parts of oneself‚ Robinson’s poem is about choosing to hide‚ while Wilde’s novel describes being forced to do the same. Both of these stories discuss the ways an individual hides from others. In The Picture of Dorian Gray‚ Dorian hides the literal scars on his
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Dorian Gray: Static on the Surface‚ Dynamic Underneath In The Picture of Dorian Gray‚ Dorian Gray is an extremely dynamic character‚ and who he is differs phenomenally from the beginning of the story to its end. Dorian changes from an innocent youth‚ completely impressionable‚ to a terrible man who indulges his every wish in secret. There are many events that show how Dorian’s character transform‚ but I picked three that display it at its three main points- little strong character at all‚ some
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The Picture of Dorian Gray and Gothic Literature The Picture of Dorian Gray is not the typical gothic literature‚ but this book does include several elements of gothic literature. Although Dorian’s mansion is not spooky‚ the old‚ secret schoolroom‚ where he keeps the portrait‚ is spooky and is covered in cobwebs‚ which are gothic elements. There are a couple of scenes in the book where the spooky‚ gothic literature themes become present. One of the scenes appeared when Dorian visits the opium house
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and mystique‚ a muse’s traits are often idealized with their circumstantial virtues hyperbolized by their artist‚ while conversely‚ their critical character flaws are neglected or even omitted (Craft). Dorian Gray‚ the titular protagonist of Oscar Wilde’s novella The Picture of Dorian Gray‚ exemplifies all aspects of the muse archetype with his stunning looks and grace that inspired his friend the Artist Basil Hallward to capture Dorian’s picturesque figure in art. Although Basil originally intended
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Chapters 11-12: For years‚ Dorian finds himself under the influence of the book however he never tries to free himself from its grasp. He buys more than nine copies of the book from Paris and has them in different colors to represent his different moods. As years pass‚ Dorian remains as young and beautiful as he is when Basil first paints him. Rumors that he lives a dark life go around town but once people see his pure look‚ they do not believe the rumors. The difference between Dorian’s pure appearance
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The evasion of reality is reflected in Streetcar and Dorian Gray but the authors incorporate motifs that represent reality within their narratives. In Dorian Gray‚ Wilde uses the portrait to convey the true nature of Dorian’s soul‚ which he covers in order to hide his internal ugliness. In Streetcar‚ William’s uses lighting effects and music in dramatic expression to convey how Blanche refuses to acknowledge the reality of fading youth and past trauma. Blanche uses a lantern to avoid light and protect
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Picture of Dorian Gray was written by Oscar Wilde in 1891‚ who himself was a key proponent of the aesthetic movement created by Walter Pater. Within the novel Wilde shows blatant contradictions and struggles within his characters‚ particularly those of the upper echelons of British society. Wilde parodies with great success main characters such as Lord and Henry and later on Dorian‚ yet also lesser characters‚ such as Lord Fermor. . As a potential ‘reincarnation’ of Narcissus‚ Dorian Gray embodies both
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Picture of Dorian Grey – Passage Analysis Chapter 5 Wilde’s description of Sibyl Vane as a caged bird invokes the thought that Dorian’s love for Sibyl has trapped her. There are two instances where the imagery of her entrapment is brought up‚ “the joy of a caged bird in her voice” and “in her prison of passion” are both statements where the common entity is a sort of cell like set-up for Sibyl. The use of these metaphors is a representation of the confinement Sibyl is in in this relationship‚ where
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Dorian Gray Motif Notebook Beauty: “If this girl can give soul to those who have lived without one‚ if she can create the sense of beauty in people whose lives have been sordid and ugly‚ if she can strip them of their selfishness and lend them tears for sorrows that are not their own‚ she is worthy of all your adoration‚ worthy of the adoration of the world” (59). Sibyl has inner beauty and Basil realizes that‚ but Lord Henry and Dorian only see the physical or symbolic beauty of her form. This
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