Director of the postmodernist film 'Pleasantville ' (1998), Gary Ross, incorporates the idea of change through the use of intertextuality with a wide range of historical and biblical references along with literature and artwork. He uses allusions from the references to demonstrate the idea that utopias work well only in theory and that life cannot be scripted. The postmodernist film reflects the way society is constantly changing; beginning as a stereotypical perfect, passionless life in the 1950 's and ending as a society with flaws, imperfections and knowledge. Ross shows this by repeating the techniques of intertextuality, along with allusions, parody, pastiche and cinematography to convey the idea of change. Ross plays with the idea of religion in his attempts to show the changes occurring in 'Pleasantville ' throughout the film.
parodies the Odyssey. The Coen brothers accurately portray the Odyssey and Odysseus’ struggles. The Coen brothers take careful thought into remastering Homer’s writings. The movie, though somewhat of a parody, still crafts the book into a modern film. The Coen brothers wrote and produced O Brother, Where Art Thou?
‘The Sunshine Makers’ is a 2015 documentary by Cosmo Feilding-Mellen, covering the fabled exploits of American clandestine LSD chemists Nick Sand and Tim Scully. Written by Connie Littlefield (who also wrote the excellent ‘Hofmann’s Potion’), the subject seems like a natural progression for Feilding-Mellen, given that he’s the son of legendary self-trepanees and counter-culturalists Amanda Feilding (artist and activist – now Lady Neidpath, heading up the Beckley Foundation) and Joe Mellen (gallery owner and author of the seminal ‘Bore Hole’). Tim Scully & Nick Sand - LSD chemistsMuch anticipated by the cognoscenti, ‘The Sunshine Makers’ (aka ‘Breaking Good: the Untold Adventures of Two Underground Psychedelic Chemists and Their Mission to Save the World One Trip at Time’) is a well-presented and warm take on a fascinating period of the underground psychedelic culture. Based around interviews with the chemists and their fellow travellers, we learn exactly what it was that
The full proverb is “live by the sword, die by the sword”, which appears in the Latin Bible in the Gospel of Matthew, chapter 26, verse 52. The addition of this biblical quote could be a reference to the time when Jonah Grayer made one of the Engifted, Gordon Edmonds, recite our father for a chance to walk free before she died. This also implies a more symbolic approach seeing as earlier Norah made reference to the fact that the operandi was built by “people and not gods”. This twists Norah’s words slightly and adds a dramatic layer to the
He is the one individual that stands in the way of Plainview 's relentless pursuit of wealth. While the film does culminate in Sunday 's demise and the substitution of piety with materialism, this does not suggest a change in the management of ideology. Covetousness and religion are fundamentally separate in their application but have many similarities in practice. For instance, Plainview refers to Sunday as a "false prophet" several times throughout the film. By the final scene, he kills Sunday and effectively replaces him as the new prophet, extolling the virtues of the now-ubiquitous American
In his introduction to ‘Paradise Lost’, Philip Pullman relates an anecdote in which a country squire listening to Milton’s poem being read aloud suddenly exclaims: ‘”By God! I know not what the outcome may be, but this Lucifer is a damned fine fellow, and I hope he may win!”’ (Milton, 2008, 1). It is this effect Roman Polanski aims for in The Ninth Gate by presenting the anti-Christ, another aspect of the unholy trinity, as heroic, and his means of achieving it the utilization of the model of the hero’s journey as formulated by Joseph Campbell. Whether or not we consider this aim achieved, such is the film’s subversive use of the hero’s journey, its tropes and its character archetypes, we may consider it in conversation with and critique of the model itself, be it Campbell’s original model or that further refined for writers by Christopher Vogler. Dean Corso (Johnny Depp), an authenticator of rare books, leaves the ordinary world and for an advance on his fee accepts a challenge laid down by a collector of occult books, Boris Balkan (Frank Langella), to travel to Europe and authenticate Balkan’s copy of ‘the Nine Gates of the Kingdom of the Shadows’ by comparing them with the two other extant copies in Portugal and France.
My second critic is Jean-Claude Salle. Salle is a journalist. Salle believes the ode presents a retrospective of Keats’s thought, and submits early beliefs to the test of mature reflections. I agree with Salle on this idea.The figures depicted on the Urn at first symbolises to the poet, that man’s ability to idealize earthly beauty is the “intimation of a form of immortality consonant with the heart’s desires” (Salle). This perception lines up with my thesis of Ode on a Grecian Urn using symbolism to represent the urn.
He have allowed us to redeem one soul already, and we go out as the old knights of the Cross to redeem more. Like them we shall travel towards the sunrise; and like them, if we fall, we fall in good cause” (Stoker 340). In this quote Van Helsing imagines that their struggle is analogous to the Crusades, and this empowers him to carry on his task and defeat Dracula. This excerpt alone shows Stokers opinion towards Christianity and also how much he incorporates its symbolization into the book and its characters shows this as well. Most of the symbols within this novel have to do with God or the good He brings.
Aldridge makes such an eloquent statement that sums his exclamation up, “as the comedy is finally neutralized by the weightier force of terror and death, the fateful ubiquity of Catch-22 finally eclipses all demands for logic and sanity”. Aldridge ends his article discussing how after 25 years, Catch-22 is a novel that reminds us how much we not only take for granted, but also the madness
Quetext about widget FAQ contact It is frequently agreed that at the core of F. Scott Fitzgerald novels runs poetry of desire, an entrenched course of pursuit set on motion by attractiveness. Gatsby youthful dreams, for illustration, effect possibly what Greek idea called a metanoia or adaptation of revelation to a further length of truth or fate: "a satisfactory hint of the unreality of reality, a promise that the rock of the world was founded securely on a fairy 's wing" (100). Unpreventable compelled by visitations of a reforming glamour, concerned with the field of divine existence, the author who in the 1920s fashioned himself the trumpeter of the Jazz Era would in an earlier age have voiced his stunning troubles in the dissertation
“His plays deal first and foremost with the human personality, passions, and problems” (Guisepi). For example, the passion and common emotions that Romeo and Juliet share largely fuels the plot in Shakespeare’s tragedy, Romeo and Juliet. Their love and desire to be with one another ultimately becomes their fatal flaws. While the historical aspect of Catholicism held no prominence in his literature, Shakespeare did follow the pattern of portraying Christian virtues in his work. Throughout the time of the Northern Renaissance, “Christian Humanists thought that the best elements of classical and Christian cultures should be combined…The classical ideas of calmness, stoical patience, and broad-mindedness should be joined in human conduct with the Christian virtues of love, faith, and hope” (McKay 384).
The 1997 American speculative fiction film ‘Gattaca,’ directed by Andrew Niccol delves deeply into the concept of the human spirit and truly follows throughout the film one simple theme; that the human spirit will always prevail despite an uncaring fate. Niccol explores the notion that the human spirit has the capacity to overcome in his futuristic world of ‘Gattaca,’ by following Vincent Freeman. Vincent represents powerful notions such as perseverance and humanity, and through his victory epitomizes humanities triumph over science. The definition of the human spirit and its relation to the term ‘God Child,’ implies that valid children are without human spirit. Niccol therefore, through that connection implies that all children deemed valid