SIMILARITIES Both the films have similarities in terms of: Theme - Both films have the premise of trying to compete with his illusions, self-made challenges and more, in short, it is man vs. himself. Tony is given agency to compete with his delusion and paranoia after he gains the necessary power and wealth to warrant excuses. He eventually starts berating his friend Manny and wife Elvira, and his paranoia becomes more rampant with his drug usage. He inflicted his hell upon himself while trying to manage it. This delusional paranoia and cocaine use is what brought him to his end.
Many theories in Alfred Hitchcock’s movies stem from theories on human behaviors from Freud’s psychoanalytic theories. Psychoanalytical idea are extremely apparent in the film Shadow of a Doubt due to that psychoanalysis is therapeutic, and the way the mind acts by how behavior is affected. Such as comparing the Electra complex, which is similar to the Oedipus complex but relating to females in a familial situation due to the relationship between Charlie and Charles that would show their strange and unethical admiration to be accurate which is very opposed in socially and ethically in society. Such as their relationships is considered to be inappropriate during the film due to their physical contact with each other, which was extremely uncomfortable to watch between an uncle and niece. Another aspect is in James McLaughlin’s essay in A Hitchcock Reader where is compares their similarities “[Charlie’s] uncle ‘heard’ her, that there is a kind of telepathy between them.
Shakespeare’s diction throughout the play, plays a key role in the tragedy as it sets a tone and is used to foreshadow. In Act 3 scene 1, Shakespeare uses many words that signify the incentive to fight, by deciding to open the dramatic scene by saying “for now, these hot days, is the mad blood stirring” (3.1.4) the words “hot”, and “mad blood” can be interpreted as a foreshadowing, this relates to the irrationality of the violence in the play because it foreshadows the deaths in the scene and the fights that will be started by Mercutio’s unsound anger. Another example is in Act 1 scene 1, the Prince after stopping the fighting between the two families, then scolds them for fighting and tells them to “quench the fire of [their] pernicious rage” (1.1.86) and to “Throw [their] mistempered weapons to the ground” (1.1.89), through the use of the words “pernicious rage”, and “mistempered weapons”, it helps Shakespeare convey that the violence only does more harm to the two families and that they’re fighting for no
This is best done by comparing two of his films, namely, Romeo and Juliette and The Great Gatsby. Although both these films have a large variety of common factors, such as the spectacular parties, the use of music and symbolism, it is how these techniques are executed that show us how he has evolved as a director. One technique that Baz Luhrmann has mastered is his ability to show the importance of a specific idea. This is clearly seen in his films like Romeo and Juliette, where he emphasized on the importance of violence by using guns rather than swords, he went even further in The Great Gatsby where he made Gatsby’s parties wild and crazy, not something that actually happened in the time when Gatsby is
This convention is drawn from the classical Hollywood melodrama or romance genre and it is not only used as a combined set of intertextual elements but it also shows the production elements on the set of the film. These combined elements drawn from other texts creates the new meaning of a more vicious modern day Bonnie and Clyde meant to mirror societies desire for violence. The scene in general blames society for numbing people to violence and encouraging the ‘endless circulation of commodities’ but through doing this it produces that commodity and has now been caught up in the commodification of
Walter Neff is an ambiguous character. As smart and independent he is, he still falls into the trap of his masculine desires and becomes controlled by his feelings to Mrs Dietrichson. Indeed, Neff shows his somewhat heroic qualities, by being eager to help the ‘damsel in distress’ and by opening his caring father-like side when being with Lola. He is successful at work, confident and intelligent, which is to a certain extent proved by his ingenious plan to murder Phyllis’ husband. However he is portrayed to have questionable morals.
When reading the story “Where Are You Going, Where Have You Been?” Arnold Friend shows an obvious masquerade to readers. His act of deception to Connie shows that he has done this before, and has succeeded. He tricks Connie by changing his appearance to make himself look younger than he actually is, playing the same music she listens to, and tells her he knows who her friends and family are. Connie is an easy target for Arnold because she is very boy crazy. While talking to Arnold Friend, Connie realizes strange things about him and his car.
This incident makes him a worthy target of satire in the play, when due to lack of restraint he ends up on his way to prison. Volpone has three weaknesses in his character which are excessive trust of his unreliable servant Mosca, his uncontrollable desire for Corvino 's virtuous wife Celia, and his over confidence in his ability to deceive
Interpret at least two genre conventions exhibited in your chosen feature-length film that help classify it in the selected genre. Be sure to provide a specific example of each convention (e.g., a scene or plot component). Bad behavior and Criminal Films are made around the malevolent exercises of evildoers or culprits, particularly bank hoodlums, bootleg market figures, or coldhearted criminals who work outside the law, taking and violently executing their way through life. In the 1940s, another sort of bad behavior spine chiller grew, more diminish and negative - see the territory on film-noir for propel instances of bad behavior films. Criminal and gangster films are regularly arranged as post-war film noir or examiner enigma films - considering central comparable qualities between these practical structures.
After the first session John says to his skeptic partner Charles that she was won over, which rings a bell and enables the connection to another play by Mamet, House of Games, where a similar situation takes place at the end when Mike confesses Margaret that she ever played and conned. Both plays show a group of men scamming women. John summarizes the main principle of the scam by saying it is about giving the victim a mechanism that allows them to trust the scammer. These men logic and trail of thought is supported by what Bourdieu calls the Paradox of Doxa. The plays confront women and women , when the woman is in the weakest position which expresses the popular notion of a patriarchal society that a woman is more gullible than a man and can be easily manipulated.