In the midst of this fear, this panic, in the eye of the storm, lies the character of Abigail Williams. As we witness the play unfold, we are able to see Abigail’s true character, and though she tries to conceal her true personality, the reader is able to identify it through her actions and most interestingly her beliefs. Abigail Williams varies far from traditional Puritan society. Instead of abiding by the general rules of Puritans, Abigail decides that she is above the laws. This fact becomes evident when she pursues, then successfully seduces John Proctor, and when she
Even though the princess professes to love the accused, her self-centered mentality unable her to consider anyone but herself when making a decision. Thus, the evidence causes the reader to believe that the princess’s lover opens the door to the tiger as a result of her barbaric personality, jealousy, and selfishness. The princess barbaric nature leads her to choose the
Katherine Watson lives by her own definition in many different ways. From the beginning of the film we see Katherine in half light, suggesting that she is conservative and does not voice her opinion also gives us the impression of mystery, like all the other women in the film. Towards the end we see how Katherine Watson's opinion becomes valuable to the girls and now instead of seeing her in half light, we see how her whole face brightens up and we see her as a true leader. Katherine is most of the time framed within a frame giving us the feel of her, women in general, being trapped. From the day she arrives at Wellesley, her personality is completely different to everyone else, director Mike Newell portrays this in the differentiation of colours she wears compared to the pale and plain colours everyone else around her wears.
Stella: Haven't you ever ridden on that street-car? Stella’s so-called true love between her and Stanley increases the gloom of her mind. She feels as though she could hardly endure such a life. But Incomplete and partial resistance never get her jump out of the rut, and her irrational fight could not guide her to the real happiness but to inevitable annihilation. That is to say, in conflict with herself and her environment, her partial resistance of this kind signals her impending doom.
“‘...you’ve got to do something about her,” Aunty was saying. ‘You’ve let things go on too long Atticus, too long.’” (Lee, 136). Aunt Alexandra was a fickle creature, insisting things be done in a proper manner, done with such etiquette, such precision. Harper Lee’s “To Kill A Mockingbird” tells a compelling story of growing up and coping with the aspects of everyday life, even when it be out of the ordinary. Scout being a young and free girl had to learn to cope with the everyday pressure of her Aunt Alexandra’s expectations pushing her down.
The true star of the novel was Maddie, as where Maciel could of wrote her as the crazy girl with no bounds, she gave Maddie not only a brain but a heart as well. Rosie on the other hand, not such of a nice character. She is what you expect; the pretty girls who knows it and flaunts it everywhere. She flips her hair, laugh at the jocks jokes, and slept with half the football team without being labeled as a slut. But Maciel lets us see the volunteered side to Rosie, the one that she tries to hide, yet is forced out of her by Alex.
In Kathleen Karlyn’s third chapter of Unruly Girls, Unrepentant Mothers, she states how Girl World is ambivalent. Not only is Girl World unruly because the films place female desire as a focal point in the film, thereby validating the existence of female desire, while also being manufactured by the ideologies of patriarchal and postfeminist cultures with female power stopping at basic normative femininity. The film The Devil Wears Prada (2006) finds itself in agreement with both of these ideas. On one hand, women like Miranda Priestly and Andy Sachs are at the helm of their own desires and power, while on the other hand are also punished in the universe of the film for stepping out of normative femininity and trying to have it all. During
The only excitement she gets is whenever Tom visits. She desperately worships Tom, knowing that he is her only chance of getting out of the life she is stuck in. Myrtle let’s Tom boss her around, hit her (37), and blatantly use her sex; eventually her devotion to Tom is what led to her death (137). The only poor woman in the story being used for sex shows that the upper class viewed the women of the lower class as nothing but a cheap date. Through the examples given in The Great Gatsby, it is clear that Fitzgerald portrayed the women in his novel as bored, superficial, and lost to bring to the surface the non-progressiveness of the flapper feminist
Also present are the film codes that make us feel sympathetic for certain characters. A dragon that we sympathise for becomes an unexpected friend from the film “How to Train Your Dragon” (2010). This film is great as it shows the film codes throughout the film so that it can make you sympathise for the characters, making you anxious to as what will happen next. This film is one of the many great films out there as the film codes make the movie very detailed while attracting the audience further into the story as it progresses. The film as it goes on, we see change in characters and they become more innocent and characters that we feel like we know in
Sally is very stubborn, adamant in her views, she acts as a male supporting figure for Nirmala. Nirmala is very calm, docile, tranquil figure, who always desires love and protection from a male counterpart. Even though it is subtly portrayed, there are several similar gestures used within the movie that portray the nature of the two girls. After escaping from the school trip in order to change their identity Sally transforms her physical appearance by shortening her hair. Throughout the movie, Sally expresses an obstinate and resolute kind of behavior.