It was not so long ago that elves, orcs, and dwarves were treading the fringes of popular culture; Peter Jackson rejected this, and thrust them into the limelight and mainstream for the first time with the help of an ensemble cast, New Zealand’s stunning landscape, award winning makeup and costume artistry, innovative cinematography, and cutting edge visual effects. Jackson’s epic depiction of J.R.R. Tolkien’s fantasy world of Middle Earth in “The Fellowship of the Ring” shook the foundations of filmmaking upon its arrival. From Jackson’s wake, a new wave of fantasy has emerged in film and television, streaming the way for such titles as HBO’s Game of Thrones, The Chronicles of Narnia, and MTV’s The Shannara Chronicles. Tolkien’s original story afforded Peter Jackson a wealth of resources and specific details--so many details, in fact, that Jackson’s real test was not synthesizing material to incorporate into the films, but rather whittling down a journey of many years into a few short hours of screen time.
DiCaprio 's portrayal of Gatsby is said to be the movie 's greatest and simplest special effect: an illusion conjured mainly through body language and voice. On page, the character is so mysterious, so much a projection of the book 's narrator, that one would think he would be a difficult role to play but DiCaprio makes him comprehensible and achingly real. DiCaprio 's acting evokes Nick 's description of the human personality as "an unbroken series of successful gestures." Luhrmann cuts some scenes to make it seem as if the character is really omniscient and can see and hear for miles with the ability to read people 's thoughts and feelings. Gatsby 's entrance is delayed for a half-hour and, when the moment comes, there is a smile on DiCaprio 's face which makes it is impossible to look away from him.
Because of her examples from people who you would never think to dress provocatively, this will help to persuade the readers of the realization of how women just to want to dress out of the norm. Stephanie Rosenbloom argues the message and logical reasoning for, “Why have so many girls grown up to trade in Wonder Woman costumes for little more than Wonderbras?”(165). She drives the readers to reflect upon their own experiences on the night of Halloween, and how more tighter and shorter the costumes become as the years go by. For example, my sophomore year of high school I wanted to be a greek goddess for halloween. little did I know, the white flowing dress as thin as sheer curtains, would fit equivalent to the size of a child’s bathroom towel horizontally.
In many of Nolan’s films, a main character starts off with redeeming qualities only to be shown later as having evil qualities. These characters can be the protagonist or someone who is at first assisting the protagonist. They often start off as heroic or seem like they have good intentions, but by the end of the film are anti-heroes. The Dark Knight creates an ambiance of unease throughout the film by constantly shifting identities and allegiances. There is no clear good guy or bad guy, with the Joker standing up to the crime lords, Dent dissolving into Two-Face, and Bruce retreating into Batman.
Superman is an archetypical hero, a hero in books and movies that fights villains with supernatural powers. Mahatma Gandhi is a historical hero, a hero that made a huge impact in the past to better the world by breaking unfair laws. Veronika Scott is an everyday hero, an ordinary person who becomes a hero by doing one or two extraordinary deeds. Dallas Winston is an unlikely hero, a person who becomes a hero by accident and doesn’t want to be one. Even though they are different types of heroes, all four of them have certain traits and actions that make them heroes.
Yet, despite the fact that the more modern versions of the same fairytales tend to work on portraying a more feminist side of the story, the beautiful girl always gets the Prince (or finds any form of love), falls in love, and becomes rich. If not, then misery envelopes the protagonist. Feminist critics try to shed a light on the reality of these stories and how the moral lesson is always the same. Even when it comes to real-life based fairy tales, like Pocahontas, where a young twelve-year-old Native American tribe princess is kidnapped from her family and forced to marry, the only “feminist” version that we hear of today is a Native American young woman who falls in love with a European man who is forcefully taken away from her. Despite the fact that these women had to suffer great ordeals during those times, fairytales have decided to convert this dreadful story into a story of love.
Angela is one of my favorite characters in this novel. She comes off as a sophisticated and smart woman to me. Angela having made a sex tape in her young age is hard to believe. Angela does not come off as a carefree type of person or someone who would let loose. “I don’t, and he probably does, scum that he is - but I doubt that the other girls are deans” (150).
After the success of Sarah J. Maas’s series Throne of Glass, female assassins have become more prominent in young-adult fiction and an obvious trope. Not only this, but she has a Grace, like a superpower or extreme skill, that we originally believe is the extreme skill to kill well. However, the author deems it “too violent” or “too evil,” and we learn that no, she is not a savage (because that would be repulsive and unappealing) but can survive through anything. I absolutely abhorred this change; with killing as a skill, perhaps the author could have built more on Katsa being a morally-grey protagonist, something young-adult fiction lacks, but she instead goes on to introduce all sorts of other ways Katsa is oh-so-good and working to help others. She runs The Council, a group of people who oppose corrupt and power-hungry male leaders, another trope.
Moreover, the narrator envies her sister for being more popular and having a boyfriend. An example is when Molly died, she was in serveral newspapers, and he narrator commented with “[Molly] was the one who wanted to be famous” (p.8, l.13). However, this is false. It is the narrator herself who seeks attention and acknowledgement due to her feeling of slightness. In the introduction