“I’m sorry … but I don’t have any idea what you’re talking about.” Katsuki’s next words dies in his mouth when he notices that he can no longer see himself in those green eyes. Astonished and frozen on his spot, Izuku takes it as his chance to fully get away from the other. He’s still within Katsuki’s reach, but somehow, it feels like Izuku’s miles away. What have you done? Katsuki wants to ask, but Izuku’s already bowing, intent on leaving him behind.
Okonkwo is the protagonist, so it makes sense for him to demonstrate a lot of pride which he undeniably does. Okonkwo is constantly bragging and boastful talking about how many men he or Umuofia has killed and is constantly scared to be perceived as weak. An early example of this is in chapter 7 when Okonkwo kills Ikemefuna. He is advised by his elders not to go and just stay at home. But Okonkwo goes anyway, which leads to him killing Ikemefuna because "He was afraid of being thought weak."
One was young Hikaru’s hakamagi, where he officially entered boyhood at three. He refers to kami here and there, but the story is not overly religious. However, for the strong Buddhist flavor in Heike Monogatari, there are also hints at Shinto ceremonies. An instance that comes to mind is when a clan leader wanted divination as to which side to battle on. He went to the shrine of Ikumano and had sacred dances and cock fights performed for the kami that had been absorbed into Buddhism.
Rather power brings out the dominant, preexisting strengths and weaknesses in an individual. The apocalypse that nearly took place in Akira could have been avoided if someone more mentally stable and solid in their morality such as Kei had gained that same power. The chaotic portrayal of Tetsuo’s character before the power inside him awakens leads to the conclusion that he struggles with his mental health. At the beginning of the movie Tetsuo nearly beats a rival gang member to death. Before Tetsuo could kill the biker, Kaneda yells at Tetsuo to stop and Tetsuo retorts in anger.
While parents are usually responsible for keeping families by exchanging their labor with money for their needs, Chihiro's parents are cursed by Yubaba in the film. By forcing Chihiro to trade his business with what he wants, the film represents Chihiro as a worker from the working class, a child whose childhood has been stolen from him. In the example that makes the working equation from Miyazaki's perspective with the slavery of wages, in one scene Chihiro meets with Kamajii, the boiler man (boiler), who introduces himself as "the slave heating the bath." Since the whole bath is owned and managed by Yubaba, it means that he is a slave of Yubaba. In addition, Kamajii has six arms to operate a boiler that shows itself as a new engine that allows the minimization of paid employees - unlike the robots contained in the production system.
Regarding romance, it seems a little forced at times despite the insane interventions Koiwai interferes in the relationship Moriko-Sakurai. They sometimes look embarrassed but it's not excessive. Moriko and Sakurai are not very confident individuals so it makes sense to see them a bit hung-up. The scene when Sakurai finds Moriko (who was waiting for Koiwai for a date) was very powerful. Some dialogues seem a little empty and repetitive but overall it was very
As the scene progresses, he, and the remaining students realize this is a trial of sorts, although an utterly unfair one, as Takahata soon discovers. Soon after, Shun meets one of his friends, Ichika, who has also survived a similar massacre and the two of them proceed to the gym, where another trial is expecting them this time from a giant cat. While running for their lives in there, they meet Amaya, a cold and dangerous student who eventually accompanies them to a giant cube flying over Tokyo, where additional trials expect them. Takashi Miike directs a paranoid film that plays out as a video game, with the protagonists having to overcome trials in order to progress to the next stage. However, the fact that those trials are presented by dolls that came to life (as the one with the Matrioska Dolls, in a hilarious concept), the permeating slapstick humor and the omnipresent bloodbaths, take the film in a whole other direction, similar to the usual Miike
Courage in “Seven Samurai”, by Kurosawa In the film “Seven Samurai”, Akira Kurosawa the director portrays courage through the characters such as the samurais but and the peasants. The story is set in the Sengoku period, which meant that Japan was undergoing numerous civil wars, and bandits were raiding a starving small village where Kambei and the 6 other samurais decide to protect later on in the film. In this essay, I will discuss the ways in which Kurosawa shows courage firstly in Kambei and between the male and the female, secondly its link to Aristotle’s idea on courage, love (both romantically, and in the family), and thirdly its relevance in post war Japan. The main character Kambei Shimada is a ronin who rescues a hostage child from a thief in the village, gathers six more samurais in order to defend that village form being attacked by bandits. It is easy to consider that he is the most courageous person throughout the film.
As a result of enabling Toranaga's escape, Blackthorne is made Hatamoto (a high-ranking samurai.) Back in Anjiro, Toranaga avoids Yabu's traps. He does this by honoring Yabu in front of all his men, who cheer "Toranaga!" Then, Toranaga quickly exits before Yabu realizes he has been manipulated. That night, Blackthorne attempts suicide to protest Yabu's order that the entire village be killed unless he learns Japanese.
One of the most hilarious scenes of the film takes place in Kaede’s room, where she keeps a picture of Tetsuo’s head in the wall, occasionally writing her opinion of him on it. 4. Anti-Porn (Sion Sono) "Anti-Porn" is quite difficult to describe, since the borders between fantasy and reality, and past and present are almost non-existent. In that fashion, the film starts with Kyoko, a famous novel writer and artist, who wakes up in a studio bursting with yellow color, except the toilet that is vividly red. There is obviously something wrong with her, as she starts to rave about anything that comes to her mind, without actually making sense, like when she shouts “I am a virgin and a whore.” Things become even more frantic when her assistant, Noriko enters the studio.