The presentation of their masks and its routine, hides the overwhelming sense of insanity. This is a temporary happiness, which is not for them but is instead for the society that they dwell within, destroying their feeling of balance and place. This mask is similar to what Victor comes to believe earlier in Underground Airlines. Victor states, “It is remarkable, when you consider it, all the complicated worlds we construct to avoid anything that might disturb us or cause us pain.” (Winters 22).
In the opening scene, from the dialogue between the director of the Freak Show, Will, and Mendez the audience sees the drastic difference in the mind sets of Mendez and the director. The director addresses Will as the person "who God Himself has turned His back on", whereas Mendez goes up to Will and tells him he is "magnificent." Just from the dialogue we can see how different these two directors see things and that information alone is enough for the audience to make an inference that the Freak Show and the Butterfly Circus are on two opposite sides of the moral spectrum. With the differences between the directors and the show itself we get to see Will become a completely different person at the end of the movie. In the beginning he was a person that believed he was a mistake.
Specifically, this is achieved by including two very distinct sides of the story: the blissful ignorance of the upper-class and the harsh reality faced by the common people and returning soldiers. Most notably, this can be seen by Gordon’s predicament and Dean’s refusal to help as well as the fact that the Gamma Psi dance at Delmonico’s takes place the same night as a series of riots haphazardly organized by masses of soldiers. As for the story’s ending, there are multiple events that occur that evoke distinct feelings. For example, Rose is left as the only character who possesses an ounce of remorse over the untimely death of Key. Despite the fact that no one questions Key’s death, Rose is arrested for breaking Harry’s leg after Edith implicates him.
Both text and video have a similar mysterious and menacing mood, but they are different because the
Gatsby never engaged in the insouciant drinking at his prodigal parties, whereas Fitzgerald was a bit of an alcoholic. Fitzgerald was known to do asinine things like spewing insults and throwing punches in public when he was drunk. In The Great Gatsby, Fitzgerald pulls from those experiences and mocks drunkenness with comical situations at Gatsby’s parties. At one point, Jordan Baker says “It’s a great advantage not to drink among hard-drinking people. You can hold your tongue, and, moreover, you can time any little irregularity of your own so that everybody else is so blind that they don’t see or care” (Fitzgerald 77).
The setting is now adding on to the dark madness of the character. This in the delivers a more powerful concentrated emotional impact. In conclusion, “The Black Cat” and “The Telltale Heart” both effectively use the same point of view to deliver different concentrated emotional impacts. For the contrast is the setting and their level of efficiency in the stories.
When you and I look at these similes, the meaning we derive from them may greatly differ from the intended meanings provided by the author. Dreams are wonderful, mysterious, imaginative, basically your own little world you can escape to paradise whenever you close your eyes. Dreams aren’t always perfect, every now and then you will run into the flame storm of nightmares. Which can either make you “dry up like a raisin
Expressionist actors made no attempt at realistic performances, instead used exaggerated body movements to illustrate extreme emotional states. Shreck uses furtive, jerky gestures and this combined with his rodent like appearance (see Fig. 2), warns the audience that he is subhuman. Numerous accusations of antisemitism have been levelled against the film, for not only Nosferatu’s appearance but also his association with rats. These accusations are understandable in light of the fact that the film emerged at a time when anti semitism was rife in Germany. Orlok is the mysterious Other, moving from the East to the West, bringing disease and death in the pursuit of the blood of an innocent Christian woman.
In Othello, Act 2 Scene III Iago states “And what’s he then that says I play the villain, and know that it will laugh as though he were a clown”. Though he lies the most, with his manipulative ways Iago inspires all of the play’s characters by “using” the trait that is most important to Othello. This trait is trust. An example that is similar to Iago’s growth mindset is in the article “Mindset: The New Psychology of Success” by by Carol Dweck it states “That evening on the way back to your home, you find that you’ve gotten a parking ticket. Being really frustrated, you call your best friend to share your experience and you brush it off” (p. 53) this shows how Iago is when it comes to him being evil.
Evil can be portrayed in very distinct ways, sometimes it can be physical or spiritual depending in the situation you 're stuck in. That was the case of George and Lennie in the book of ¨Of Mice and Men¨ were the author John Steinbeck emphasizes the destruction of hopes. The backstory of every character is different but similar in the way that they are all renegades from society. Sometimes friendship is the remedy that can bare with wounded hearts and fallen dreams. What makes life worthy?
Sure their fun and all, but when they have had too much to drink the place goes to shit. I am sick of it! I grab the sword from the ceiling and marched down the hall, I whipped open his door and my roommate was covered in gofers, they all looked up at me like I was crazy.
In chapter three of The Hypersexulaity of Race: Performing Asian/ American Women on Screen and Scene, Celine Parreñas Shimizu explains the historical and performative impacts of stereotypical oriental femininity in Hollywood. She presents her argument by analyzing the movie stars, Anna May Wong, Nancy Kwan, and Lucy Liu. Importantly, Shimizu goes beyond simply pointing out the issue of stereotypical representations and delves into analyzing the roles and responsibilities of the viewers and performers within representation. To begin, Shimizu directly addresses how hyper-sexuality has been tied to Asian/ American women with countless examples from the acting careers of Wong, Kwan, and Liu. An example is The World of Suzie Wong (1960).