Analysis Of ' Revenge Of A Son '

“Who giveth/presents this woman?” is asked by the priest in Vincente Minelli’s 1950 film Father of the Bride and in Charles Shyer’s 1991 remake of the same name, respectively. Both films are extremely similar in content, as the remake borrows heavily on dialogue, temperament of characters, scene progression, and the overall essence of the theme of adoration between a father and his daughter, even though they are set 41 years apart. It would be foolish to say that post-war 1950s gender roles of the original film are the same of those of 90s remake, but regardless of the vast societal progressions and gradual increase of women’s rights from the 50s to the 90s (and now) there is still a subconscious stereotype of a “traditional” family that conforms to the ideas of gender roles that live within films of today.

The Odyssey is an eight century epic by Homer which depicts the journey of Odysseus as he attempts to return to his home at Ithaka after the fall of Troy. During his travels, Odysseus faced many obstacles whom he had to overcome. In order to do so, Odysseus had to prove his intellectual capacity, strength and determination. “O Brother Where Art Thou” is a 2000 adventure film which follows the journey of a man named Ulysses Everett McGill as he attempts to make his way back home with two fellow convicts after escaping prison. Although it lacks the structure and does not follow sequence of events of the odyssey, the film portrays many of the fundamental concepts and ideas explored in The Odyssey. In this paper, I will explore the themes of the power of cunning over strength, temptation and vengeance in the Odyssey, in order to depict how they are portrayed in the film “O Brother Where Art Thou” and demonstrate the similarities in both tales.

Oh yes, you can count on me. I am a trustworthy kind of person. As said above, I am not an immature abuser or troller. You can count on me to treat my rank with respect.

The film “The Englishman’s boy” is a screen adaptation of Guy Vanderhaeghe’s book of the same name. Vanderhaeghe also wrote the screenplay for the film. The book was based on the true story of the Cypress Hills massacre in 1873. I will provide a summary of the film’s most important plot points, characters and background information. The movie covers the horrors that were witnessed in Cypress Hills and shows the inhumane way Native Americans have been treated since colonization, in 1873 and through to the 1920s. The movie explains how white men were hearkened as heroes for committing these atrocities which were largely excused because society at that time viewed natives as inhuman and therefore undeserving of human rights. The film was set with a background in both 1873 pioneer plains and 1920s Hollywood. This method was used to show a dualism within the two eras and that negative attitudes towards Native Americans had not been corrected as they should have been but only muffled. I will compare the film and its accuracy to the actual Cypress Hills massacre and determine what dramatics were used to make a point within the direction of the movie. This film and the subsequent essay is relevant to this class because I believe that even though the crimes committed against native Americans are less obviously racist, violent and vulgar today, there is still a derogatory indifference towards them and their cries for equality.

The composer of My Father’s Axe, Tim Winton, explores the universal themes of male identity in the modern age, throughout his short story. He utilises many relatable scenarios throughout his short story which conveys the stereotypical male identity in today’s society. “Jamie says he doesn’t know where the axe is and I believe him; he won’t chop wood anymore. Elaine hasn’t seen it; it’s men’s business, she says”. The composer is establishing the notion of an axe being a tool which is typically related to the male gender. Tim Winton symbolises the axe as a tool which requires great physical strength, a trait which the male identity are often expected to possess. The composer also depicts the male identity as the person who is solely responsible for the functionality of a family, “He left me with the responsibility of fueling the home” and “My mother called me the man of the house”. “I saw my father ball his handkerchief up and bite on it to muffle his sobs”. The composer’s use of imagery visualises the father’s attempts to hide his tears. This portrays the male identity as generally being subconscious of their emotions. Crying is an action often stereotypically represented as a weakness found mainly in the female identity, and not the male counterpart, therefore men often try to hide these “feminine” feelings to retain their sense of masculinity. This notion suggest

A great theologian—a St. Augustine, a St. Thomas Aquinas, or someone like that—could presumably make a powerful case for a religious interpretation of the Parable of the Prodigal Son. I am looking at it from a humanistic point of view. Either way, this tale is fundamentally about the relationship between the F/father and the son. If you underplay in your representation either of these figures you are depriving the story of its meaning and purpose. Now, I’m not interested in seeing the F/father dance all over the stage. In my original post I expressed strong skepticism that a truly successful ballet could be made about the subject. To the extent, however, that one views Balanchine’s ballet as not being about the Father, it points (in my opinion)

“If you seek revenge, dig two graves.” This ancient Chinese proverb explains the mood in Hamlet, a play, written by Shakespeare. The theme of revenge is seen throughout the play as each character extracts one form or another of revenge from a person who has wronged them. In the play the characters Hamlet, Laertes, and Fortinbras all desire revenge for a lost father; however, their motivations for murder differ.

Year 11 English: AS 90854 (1.10) Form personal response to independently read texts, supported by evidence.

I am a experienced staff member, and I work well with the staff team, especially some of the veteran staff. I am a chill persons. I have been Moderator once. I am a person with crude humour, and loves to joke around, but when its time to be serious, Im serious and I handle stuff professionally. A large majority of you guys know me, and have welcomed be back to the community, and I am grateful for that. Recently I have come back, and I intend to stay. I honestly just can’t get away from OPCraft. I don’t know what else to say really, as I am a person who tends to prove myself with my actions, and not as much my words.

Nothing I've said has been nearly as unkind as it could have been. That's the first thing.

With those memories, come the attacks. The times you lose control of yourself, spewing threats and insults as a blind rage takes over. I hear a second voice behind your tongue somehow. Yet, even when you direct the venomous words towards me, I know I cannot turn away. You don't really mean me any harm, no.

Those of you who have heard my vernacular, it may be surprising to hear that a lot of what I say originated from the real guy, the best guy. He seems to always have the perfect one liner for a situation, sometimes

And I'm never going down at the hands of the likes of you, because I'm so much better.

After Melissa's boyfriend, Steven, gets killed while on duty in the army, she tries her best to move on with her life but it's a lot harder than she initially thinks. She's young and full of life, but it feels like the army took her beloved away. Mark, Steven's step-brother, comforts Melissa and the two of them grow closer. Yet the closer they get the more guilty Melissa feels. Then, one evening coming home after work, Melissa realizes that someone is stalking her. Feeling on the brink of an emotional breakdown she turns to Mark for support again, but who is this mystery stalker, and will Melissa ever be able to have a life of her own?

Sestinas Song of Evil So much evil. The awkward moments of disconnection.