I agree with Michael Uslan where he argues that superhero characters are a modern mythology. Although science can help explain the background of the superheroes powers, superheroes are usually regarded as a Saviour rather than a science experiment. Since superheroes are much more unrealistic, it tends towards being a mythology instead. Past mythology has iconic stories such as David and Goliath, the labours of Hercules, and the story of Moses. There are also counterparts which can be found in modern day comic books adventure.
The fictional world is full of chaos, as people tend to prefer unstable theories to countless philosophies. Specifically, there is a literary shift from linearity and order to randomness and fragmentation. Consequently, Postmodernist writers understand that their works are subject to interpretation; however, they believe that the flexibility of understanding in texts is the basis for the development of innovative ideas in society. Moreover, Kurt Dinan writes in a nonlinear, flexible fashion by writing with a component of Mystery. Subsequently, the reader can make different predictions on what will occur throughout Don’t Get Caught, and the ability to predict and analyze uniquely is one of the principal ideals of Postmodernist literature.
In respect to the graphic representation of violent scenes, as a modern viewer, spoiled by new cutting-edge special effects of modern cinematography, some scenes in the film under consideration are too artificial in terms of graphics. As a result in some cases you do not believe what you see and it is hard to perceive it as a real thing and sympathize with your heroes or express your indignation at too violent depiction of the story. Regarding justification of the violence pictured in the movie, to my point of view, it can be excused as far as heroes are fighting for their lives and for their justice (the way they perceive it). During the film there are a lot of violent scenes mainly connected with the heroes’ attempts to find the person who betrayed them and in reality is the policeman undercover.
It keeps the watcher outside the world which helps us learn the life lessons instead of empathizing with the characters in which was present in Macbeth. The reader could feel the guilt and anger that was going through Macbeth’s head as well as in Lady Macbeth’s. Both the play and the movie might have great similarities, but each has its own unique way to deliver the message to the reader/viewer. The philosophy in Throne of blood takes us well over Shakespeare, but they both serve the purpose of the story perfectly. Both Macbeth and Throne of Blood are unique in their own way, whether it’s the way the characters react, or to the themes.
Anderson’s signature establishing shot and unique narrative allows his audience to feel the humanness in the story, therefore revealing the realistic side of Anderson’s cinematic pieces. Through the characters of Sharp, Sam, Suzy, Gustave, and Zero we get to understand and sympathise their inner turmoil, and how Anderson’s characterisation of these people are basically a reaction against the flaws of society.
The mood of somber are present through the police officers grabbing the main subject. Another way the mood is created is by the emotions on the faces of the subject. In the same image as above, the main subject’s facial expression shows to readers the disapprovement of the situation and the concern. Next, the photographer uses the actions of the characters to create the mood. In the photograph, 300E-014-09A*, the situation of the man being arrested is used to create the mood because the main subject had to have been doing something in order to be arrested.
With the actors and the film choices, these helped diversified messages to dip into the film. Even though the film was mainly focused on the Prospera’s revenge and reconciliation, Taymor also brilliantly convey other small themes to the audiences as the tools to carry out the film. Such as the magic, which Prospera an Ariel tormented Antonio’s group, and the love with Ferdinand and Miranda, which lead to comprise with Alonso and Prospera. Furthermore, Taymor expressed usurpation, and treachery of Caliban and Alonso’s servant in a more absurd way than the original play, which I think it was one of Taymor’s dramatic choices in the film. Whereas “Much ado about nothing” is totally explicated in comedy, and love, albeit some treachery, reconciliation are in the film.
I concur with King that we play host to anticivilization emotions and this explains why people can crave horror movies. There is some level of darkness in us, but, at most times, this dark side is eclipsed by the increased emphasis on civilization. King (2013) cites the case of emotions related to friendship, loyalty, love, and kindness to show how the society adore civilization and strive at maintaining the status quo. However, this does not entirely suppress the dark side in us. “Anticivilization emotions don’t go away and they demand periodic exercise”(King, 2013).
Throughout the play scenes that arouse a high tension in the minds of the audience are followed by scenes that provide a sense of relief. The purpose of this construction is that "the contrast is required to bring out the full force of an effect. " The development of the conflict can also be seen as a struggle between two sides which may be
The differences between everyday life, brands and media - Many people may not make a distinction or care to see the differences between what is real, imaginary or myth. Social realists are firmly in the camp of disassembling these elements. See your culture for what it is - Not all is holy about our cultures, social realists have always been good at calling out and describing our deficiencies, hypocrisies and areas for improvement, as uncomfortable as these
The documentary explains why America is prone to gun related deaths, and attempts to persuade the viewer to believe that journalistic media is to blame. "Seeking to explain the fear and paranoia that lead American to arm themselves, Moore casts a wide net, but he avoids some easy targets. Moore dismissed the notion that violent video games play a major role, nothing the popularity of such games in such nations as
This can turn dangerous as some many feel they are deserving of more, so they go and create their self-righteous version of terror. Because of this powerful businessman and their rent-seeking activities and the abusers of the BlueServo project possess similar motives. But when people are the ones being viewed or spectated, humans attempt to escape reality to focus on irrelevant things. The
Alexie's “Superman and Me” attempts to bring light to a stereotype in his hometown community. Using his childhood as background, he reveals to the audience that he read anything and everything. His small, lower middle class neighborhood never supported higher education. Those in school were told not to live up to their full potential just based on the fact that they were Native Americans. In hopes to change this outlook, Alexie himself got out and revisits to encourage students that just because you are a Native American does not mean you have to stay down with the stereotype.
Distinctively visual techniques are crucial elements in conveying a sense of actuality of an event. They aid the reader’s insight and perspective sparking emotions of joy or empathy for the characters. In John Misto’s play, “The Shoe-Horn Sonata”, the use of distinctively visual assists in creating the atmosphere, in order to highlight the WWII catastrophe’s the protagonists encountered. In addition, this is thoroughly examined in the John Misto’s interview. Similarly, in the picture book “The Lost Thing” by Shaun Tan, the incorporated visuals assist in telling a young boy and a machine-like creature’s adventure in unraveling the true face of society.