... blend the old with the new. They were both impressed with his miraculously fresh configuration of many different themes from classic film and mythic origin into a cohesive and entertaining movie. He has achieved a witty and exhilarating synthesis of themes and cliches from the Flash Gordon and Buck Rogers comics and serials, plus such related but less expected sources as the western, the pirate melodrama, the aerial combat melodrama and the samurai epic. The movie's irresistible stylistic charm derives from the fact that Lucas can draw upon a variety of action-movie sources with unfailing deftness and humor. He is in superlative command of his own movie-nurture ...
... problem. If possible, they would carry out their day turning a blind eye to the devastation that swirled before them. Most of them justified the acts in concentration camps by saying, “…the acts of torture were committed by a small group of insane or perverted persons” (page 151). Also, the German government did an outstanding job of using propaganda to deny the truth about the camps. When the reports about the camps were believed, the government quickly went to work to repress the terror and convince the German population that nothing horrible was happening. In the film Swing Kids, the main characters are Peter, Thomas, and Arvid. They, along with many ...
... burst into the castle prepared to kill his father's murderer. Laertes, in great contrast to Hamlet, takes immediate action. Finally, Fortinbras represents the middle path of revenge. He does not miss the knock of opportunity because of over analysis, nor does he act too swiftly to realize whom he should attack. In the end of the play, Fortinbras arrives just as everyone is dying and does not have to exert a great deal of strength to accomplish his task because the others have killed one another. Each character has a different approach to get to the final goal of revenge, but each achieves his quaesitum. In each instance, the character is retaliating in orde ...
... similar subjects and have comparable compositions. As impressionists, Monet and Van Gogh brought great attention to the surface of the landscape as well as to the surface of the canvas. The viewer is completely aware that the images of are illusions. Both paintings are about impression and color sensation. However, the approaches behind these paintings are quite distinctive. As a result, the contexts of the impressions portrayed are different also. Compositionally, Monet and Van Gogh spread their landscape onto the entire page and centralized the page with a linear perspective. Their landscapes are surpassing the canvas and surpassing us, the viewers. We are in ...
... that is a step on which I must fall down, or else o'er-leap, for in my way it lies" (I. iv. 55-57). With the help of his wife, Lady Macbeth, Macbeth was able to kill the Duncan, the king of Scotland, a man whom trusted and loved Macbeth. With Duncan dead and the two princes fleeing, Macbeth was crowned king of Scotland. In the end, Macbeth had fulfilled his prophecies but in doing, he had committed treason against his country. Macbeth's second great crime was committed against his friends, the people around him whom use to admire him. After he had been crowned king, Macbeth believed his greatest obstacle had been overcame but that assumption was far th ...
... 2 line 94). Her father immediately believes that he is "Mad for thy love?" (Act 2 Scene 2 line 95). Opelia answers a question posed by Polonius by which she replied that she had told Hamlet that she could not see or communicate with him any more. Her father makes reference to Hamlet's madness once again by proclaiming that what his daughter said, "... hath made him (Hamlet) mad." (Act 2 Scene 2 line 123). The argument of whether Hamlet is insane because of his love for Ophelia is often debated, but a more confusing and complex situation is the struggle within Hamlet's mind. His personal struggle is revealed to the audience in scene one of the third act. ...
... financial ruin) Even when Lopakhin attempts to rescue the family with ideas that could lead to some of the estate being retained, they dismiss his ideas under the illusion that the situation is not so desperate that they need to compromise any of their dignity. Lopakhin: As you know, your cherry orchard's being sold to pay your debts. The auction is on the twenty second of August. But there's no need to worry, my dear. You can sleep soundly. There's a way out. Here's my plan. Listen carefully, please. Your estate is only about twelve miles from town, and the railway is no ...
... does not directly say she is vein but it is implied. Another time that she is noted for being vein is in "Scene Ten", this is when Stanley and Blanch are yelling at each other: Stanley: And look at yourself! Take a look at yourself in that worn out Mardi Gras outfit, rented for fifty cents from some rag-picker! And with the crazy crown on! What queen do you think you are? Blanch: Oh-God... Stanley: I've been on to you from the start! Not once did you pull any wool over this boy's eyes! You come in here and sprinkle the place with power and spray perfume and cover the light bulb ...
... vampire women are portrayed as mere objects of Jonathan Harker’s sexual fantasy. The second scene in the movie in which an elaboration was used was when Dracula lured Lucy Westenra from her house at night. In the novel, Lucy is known to be a frequent sleepwalker who at night is needed to be watched by her friend and Jonathan’s wife to be, Mina. The novel describes this particular scene through Mina’s journal. It begins with Lucy sleepwalking and Mina eventually tracking her down only to see a tall slender being hovering over Lucy as if almost kissing her. However, in the movie Lucy is portrayed as a very flirtatious women who is very vulnerable to m ...
... Act 3, Scene 1 of Romeo and Juliet, Romeo is seen to be upset at Mercutio's death and predicts that the “days black fate on more days doth depend.” (III, I, 118) Tybalt then re-enters and Romeo becomes more upset that Tybalt is triumphant with Mercutio being dead (III, I, 121). As Romeo becomes overwhelmed with Mercutio's death and Tybalt's joy over it, he suddenly declares that either he or Tybalt must die with Mercutio (III, I, 128). Tybalt responds predictably and threatens Romeo (III, I, 129). Romeo takes the threat, then fights Tybalt until Tybalt is finally killed. When Tybalt dies, Romeo suddenly comes to grips with what he has done, and, un ...
