I think knowing that is very important because you don’t really know who the characters are. I think that if I hadn’t read the book I wouldn’t have known who anybody was, and it would have been hard to follow. Also, I don’t think people would have really understood what a soc and a greaser is, and why they fight. A piece that was missing in the movie was Sandy, she didn’t even exist in the movie, but I think that wasn’t very important part of the movie. It was probably a good thing they didn 't have her in the movie because The Outsiders isn’t really about relationships, and probably would have confused people more.
Music wasn 't really mentioned in the novel. In the novel, you had to imagine the character 's expressions. In the movie, they showed you how the characters were feeling. It showed how they didn 't have deep and real emotions. It also demonstrated how emotions were another important thing that the community was missing.
Watching this movie helped me learn how effective the communication between the characters is, what advice I would give to Riley if I were put in a similar situation, and how this advice is rooted in nonverbal communication. At the beginning of the movie Riley is a very happy girl with a great life full of friends, family, and hockey; However, when her family suddenly moves from Minnesota to San Francisco because of her dad’s job things begin to change. Riley and her emotions have a difficult time attempting to adjust to her new life. Joy has been Riley’s central and most prominent emotion throughout her life so Joy continues to try and keep things positive during this move; However, the other emotions clash on how to best steer Riley with starting over in this new place, house, and school. This causes chaos to arise in Headquarters, where the emotions are located.
In order to understand what happiness is, one must understand sadness because without feeling sad one cannot truly know the feeling of joy. “Watching the screen, Joy rests her head on Sadness. They’re a team” (Inside Out, 2015). The film, Inside Out, does an amazing job in depicting the crucial relationship that sadness and joy have in creating a peaceful environment. Riley goes through many ups and downs throughout the film and at the end of it we can see how she is kept grounded with the help of both sadness and joy.
For surrealism both characteristics are usually absent. As the images have neither a logical order nor a purpose to tell a story, this requirements are not complete. When Hitchcock introduces the image of the truck in The Lodger, there is not a special purpose or contribution to the rest of the film; in fact it does not affect the latter events. Besides as a movement which focuses on producing dreamlike images a logic order or a relation between the characters is probably not necessary. In Soviet Montage, these elements are required and maybe neither present.
The subtext in this story is the lack of connection Jude doesn’t seem to have. Like the usage of literary devise, connecting plays a role in this story. The lack of connection between Jude toward any other character isn’t directly stated within the story, but we can extract it from the story by seeing how the character reacts to situations and people in the story. This subtext within the story, is successful because it explains how Jude is and why he acts the way he does. His disconnection with other people, explains the scene on Thanksgiving.
Opposingly, “Harrison Bergeron” did not include adequate details of the handicaps worn by any of the government officials; however, Tuttle’s film illustrates an authentic society because of the details conscientiously added. Another example of fraudulent government is through the attempted censorship of Harrison’s speech and assassination. The handicapper general does not want the viewers to be motivated by his words or astonished by the action she was about to commit. In comparison to the short story, only one circumstance of censorship was presented, and it was not used to the extent of protecting Diana Moon Glampers’ reputation as it was to cease the chance of future rebellion. Diana’s notoriety
Patricia White further argues that characters that are portrayed as a lesbian or gay are often consigned to the status of supporting characters (p. 148). This is completely true because Snug is not a main protagonist in the film and the audience did not get to see her relationship with Celie blossom. Shug enters into the film for a brief moment just to act as a trigger for Celie’s new sexuality rather her lover. This was down because of the period the movie was set in, so the producers had to portray Celie as a woman not allowed to her sexuality.
Michael Hoffman’s 1999 adaptation of A Midsummer Night’s Dream, among numerous alterations from Shakespeare’s original work, fundamentally challenges the audience’s former notions of Nick Bottom. Often viewed by other critics and filmmakers, and even Shakespeare himself, as a simpleton, Bottom has seldom been portrayed as anything other than a lowly beast or a foolish clown. However, in his film, Hoffman abandons commonplace interpretations in order to create a rounded and complex character through which the audience finds empathy and compassion. Hoffman achieves this task of reinvigorating Nick Bottom through his use of thematic elements, costume design, and character interactions. Through their comical ignorance, in stark contrast to the
The movie also leaves out the racism of Mrs. Turner, who praises Janie 's Caucasian feature and despices Tea Cake 's dark skin. I acknowledge that movies don 't always include everything from the book it is based on but I really feel that some scenes should have been included. For example, Janie’s family history isn 't really involved in the film. Also, if you were to just watch the movie you wouldn 't understand why Nanny forces Janie to marry
The memoir has a linear structure, going chronologically through her life. I felt like I was definitely more interested in her story as it went farther along, however there was never a spot where I wanted to stop reading. Her teenage years and on were quite gripping, seeing her coming into her own as a young woman while trying to keep the family together emotionally and economically. I cringed at times, and at others I was truly inspired by her unconditional love for her family even when they treated her so poorly. As the reader you can really see the strength she gained as a child and it inspires.
This made particular parts more vital to the plot advancement. Arnold Friend’s personality stayed unaffected during the course of the film. He is revealed as a frightening, unnerving character that lies about his age in order to charm younger girls. Oates does not express how Arnold learns so much about Connie, her family, and her daily routines; forming an ominous atmosphere in the text because the reader is left envisioning whether Arnold Friend is a physical character or if he is a paranormal entity (conceivably Satan). In the movie, the onlookers learn that Arnold Friend lingers nearby Connie’s community and contacts Connie’s friends to manipulate information out of them.
Unlike the book, the parties in the movie were displayed as modern because of the choice of music the director chose. The music from the movie consisted of songs from artists such as Jay-Z, Beyonce, Lana Del Rey, Fergie, and Sia. The book did not once mention any of those artists’ music being played at any of the parties Gatsby hosted. After watching the Great Gatsby, I gathered the differences between the characters. However, in addition I also got similarities that stood out in the