archetypal, and formalistic. I broadly follow Wilber Scott’s work Five Approaches of Literary Criticism. After much thought I have slated this section here for the following reasons: It provides the students a framework for interpretation and critical analysis of all the literary works they are going to study in the course (one may wonder why not we introduce approaches first and then move onto individual works. However, my experience tells me that dealing with the theory first makes it difficult to apply
according to Kolker, he „Determines our point of view and our emotional and intellectual attachment to the film. We are therefore, scarcely allowed any separation from what the central character is seeing.“ (218). He even does this directly by breaking the fourth wall twice in Goodfellas, and therefore making us feel as though we are the acomplices in all the things that were happening in the film. And we all know that it is very hard to judge ourselves effectively. Furthermore, Scorsese shows us how
In the film, Ralph Fiennes portrays three generations of the Sors/Sonneschein family during World War I, World War II, and the Cold War. Each generation of the Sonneschein line, progressively distances himself from his family’s heritage and culture. In Central Europes catastrophes on film: The case of Istvan Szabo, Katherine Arens describes the film as, “Fiennes is thus his own Doppelgänger across three different political formations:
CHAPTER TWO LITERATURE REVIEW AND THEORETICAL FRAMEWORK 2.1 Introduction: This chapter would analysis photography under conceptual review as the main concept of this study, it would look at the history of photography, types of photography, and types of cameras available till date, followed by empirical review and lastly the theoretical framework would come at the end of this chapter. 2.2.1 History of photography The concept of photography was coined out of a Greek words “photo” meaning light and