Billy Wilder's Some Like It Hot

Pulp Fiction is a stylistically provocative film designed to amuse and impress the most well-versed film connoisseurs. Through allusion, Quentin Tarantino boasts his wide array of trivia knowledge regarding pop culture and the cinematic universe. Tarantino frequently references John Travolta’s acting career by drawing connections to Grease and Saturday Night Fever. He also characterizes Butch through an association with Terry Malloy from On the Waterfront. However, these allusions are not simply braggadocious for they affect one’s overall viewing experience.

It was able to properly depict the scenes in the novel and its main events. It is not completely detailed, nevertheless the audience can interpret and accurately relate the sequence of the events from the novel. The film was enjoyable, the ambiance and story provided a measure of intoxication and, most importantly, the core thematic concerns pertaining to the American dream, self-reinvention and love lost, regained and lost again are obstinately addressed. At the beginning of the film, Nick Carraway, narrates from a doctor’s office and this effectively distinguishes the present and the past because he is speaking in the present however when he shifts to the past so does the scene. The message that is being portrayed is that the American-dream is not the root of all happiness as it may be displayed.

Even though Branagh fails to deceive the audience with Ganymede's feminine looks, his flaw does play in his favor during the scene in which Phoebe presumably falls in love with Ganymede. Phoebe never beholds that Ganymede is a woman in disguise, and she presumes she fell in love with a man. However, the film perfectly shows Shakespeare's intention of having Phoebe fall in love with a woman without her knowing so. Recalling Ganymede's feminine appearance, when Phoebe declares her love for Ganymede, the audience genuinely witnesses Phoebe sigh, play with her hair in a flirtatious way, and clearly stare into a woman's eyes. Despite Branagh's lack of cross-dressing technique obscuring, though not eradicating, the homoeroticism during the most

In the 1970s, El Topo was the favorite movie in cult genre, because the film was so weird. This movie was about “Spiritual Western” which showed about religious representation and occult descriptions. El Topo was full of clear sexual scenes and some episodes showed spiteful violence. 6. Celine and Julie Go Boating

Hitchcock uses close-ups to create suspicion in characters’ faces. A good example of this would be when Hannay and Pamela entered the hotel and talked to the hotel owners. Hitchcock zoomed into the owners face where no dialogue was needed to show that the characters were suspicious at first. Now, in order to show Hannay and Pamela’s marriage link through the film’s imagery, Hitchcock used a variety of imagery to suggest a romantic relationship link. The handcuffs could be seen as a symbol of wedding rings.

Candy goes on to say, “ She’s got the eye” and “I think Curley’s married … a tart” the derogatory remark describes Curley’s wife basically as ‘sexually derived’ because Candy is referring to the way she dresses (flaunting her assests) and her behavior such as posture and dialect (flirtatious and seductive). Steinbeck wanted to keep Candy’s descriptive dialogue quite minimal in opinions, and he did this by keeping Candy’s sentences short and factual, this gives a dramatic punctual effect that makes the reader believe and know Candy’s words are trustworthy which eventually leads us to judging her before she had even entered the novella. Furthermore, the introduction of Curley’s wife sparked the real disgust from George because the comments made from Candy were equivalent to the way she behaved, so it triggered tension between the 2

I do agree with Linda Patterson Miller to a great extent that the TSAR is Brett’s novel, when Brett was introduced in the novel she became the focal character. Wherever Brett goes not only men were attracted to her but “both men and women notice her,” physical appearance, which both identifies and traps her. During the fiesta Jake says “they want her as an image to dance around,” she was only something pretty to look at that made Brett felt isolated. Jake was the only one that realized that she feels isolated even though people are always surrounding her, that is why she only trusts him the “novel revolved around Bretts nascent assertiveness and self-awareness as she struggles to realize her own name,” Jake says lord Ashley is her title her own name is Brett, he tells Cohn as he explains men only fall in love with her image not her.

Girls Will Be Boys and Boys Will Be Girls: Gender Confusion and Compulsory Heterosexuality in Geoffrey Chaucer’s The Miller’s Tale On the surface, Geoffrey Chaucer’s The Miller’s Tale is a traditional fabliau, a bawdy tale of trickery, mistaken identity, and plenty of sex, designed to titillate and amuse the reader. The characters are typical of the trope: the effeminate buffoon, the lecherous lodger, the foolish husband, and his lusty wife. However, a closer reading, and application of the principles of queer theory, reveal The Miller’s Tale to have a deeper purpose than mere amusement. The main characters all behave in ways that are at odds with their stated desires and motivations, as well as their genders and professed sexual identities. These contradictions leave the careful reader conflicted and unable to adequately explain the author’s purpose.

The word coquette is a feminization of the word coquet, which simply means wanton, and is a diminutive of coq, which means cock. To be a coquette is to display a feminized form of masculinity through flirting. Wharton is seen as a flirt who wants to make her own choices and wants those choices to result in her being happy, which is far too masculine for her to do. Being widely called a coquette rather than a flirt demonstrates the underlying reasoning behind the disapproval of those around her. Her masculine actions of making her decisions herself and focusing on herself when she makes those decisions makes her peers uncomfortable, and they twist that discomfort against her to shun her from

I don’t tell the truth, I tell what ought to be truth. And if that is sinful, then let me be damned for it!” Blanches magic is seen through her illusions and delusions. In Blanches world Mitch doesn’t fit however she has reached a point of intimacy by being honest about her first husband and the guilt she endures as she begins to share the painful moment of her life with him. Stanley’s intrusion ruins her plans of marriage with Mitch and yet again she had to retreat in the world of her delusions. Stanley who represents realism in this novel and play pops Blanche’s illusion bubble through seeing the realism in scene ten he says: “not once did you pull any wool over this boy’s eyes!” Not only Stanley had broken her world of illusion, but also Mitch who is influenced by Stanley and destroys the protection of darkness by exposing her to the bright light.