David Fincher’s Fight Club is often referred to as a disturbing and controversial film. Maslin seems to agree with such an assumption (n.p.). The review in question focuses on Fincher’s style and performance of the three actors, Norton, Pitt, and Carter. However, the author mentions the original story by Palahniuk only once. This is a drawback of the review as films based on books should be reviewed in quite a specific way as the original source should also be considered. However, it is necessary to note that this is the only shortcoming of the review.
The author provides a brief analysis of this work by Fincher. She states that the movie is quite disturbing, but it should not be perceived as propaganda of anti-social ideas. The author notes that the story is only a specific presentation of ideas and trends that exist in contemporary society. I agree with the author, as I also think that the movie is a set of ideas and opinions that are still in the air.
I also agree with the author’s ideas concerning the actors’ performance, which is one of the factors that contribute to the film’s popularity. The characters created by Norton, Pitt, and Carter are eccentric, lively, and appealing. It is possible to state that the created characters embody the ideas and trends, and even certain groups of people at the same time. Thus, it is possible to note that the review in question provides a proper analysis of the movie.
Great adaptation of the book
David Fincher managed to make a really great adaptation of one of the most disturbing books of the 1990s. Fincher revealed the atmosphere of the book and managed to properly articulate the ideas mentioned in the original source. Of course, the movie contains quite disturbing scenes (violence, nudity, etc.). However, these scenes are integral parts of the movie. Without these scenes, the movie would be incomplete. The story is all about life and the specific perception of a particular individual. Therefore, the film should contain specific visual sequences that the protagonist might experience.
As for me, the film wins due to these disturbing scenes. Of course, this does not mean that viewers under 18 should watch the film. Importantly, it is not because of the scenes that the film may be inappropriate for the young viewers; it is all about ideas articulated. Thus, the disturbing scenes cannot be regarded as a drawback of the movie as these scenes are important parts of the story.
I would also like to mention the movie’s ending. Fincher changed it quite considerably. This ending can be regarded as a more definite ending of the book and the beginning of the news story. The book ends in the scene with the Narrator, who understands that the organization still exists and his people are ready to act. Fincher could think that the Narrator could not but lead the group (he or Tyler or any other of his selves) someday.
Some may say that Fincher did not have the right to change the ending, which is very important. As for me, the ending provided by Fincher does not contradict the major idea of the book. Moreover, the director also has the right to articulate his own vision. After all, this is his film. Thus, I think the movie is a very precise and evoking adaptation of one of the most disturbing books of the 1990s.
Works Cited
Maslin, Janet. “Fight Club (1999) Film Review; Such a Very Long Way from Duvets to Danger.” The New York Times. Web.
The painting “Kindred Spirits” is one of Asher Brown Durand’s most attractive pieces of art. The 1849 painting was made with “oil on canvas”. It belongs to the era of modernity (Frank 21). It depicts Thomas Cole and William Cullen Bryant (renowned poets). It is an appreciation of the two American poets, the American nature and the Cole’s discovery of the valley some twenty years prior to his death in 1848 (Ferber and Durand 62).
Step 2: analysis
Durand’s use of color provides the painting with the actual sense of nature. For example, green color has been used to depict plants and white color indicates the clean water flowing on the stream. Grey and dark colors have been used to display the rocks and the ground. In addition, motion is depicted by the flowing stream, which seems to be moving at a moderate speed. The two men are motionless, but seemingly talking softly to each other. Dark and grey are used to show the softness of the rocks.
Color and texture have also been used to describe variety, balance and contrast. For instance, the dark green color of plants and the brown color of rocks are contrasting. In this way, they allow the viewer to recognize the two individuals on the rocks. In addition, the size of the two men seems to be small compared to the rocks and trees, which make the painting realistic and proportional.
Step 3 interpretation
The area around the two individuals is immensely attractive, with large trees growing below the rocks. Tree branches rise above the rocks, providing a harmonious environment (Ferber and Durand 27).
. Right below the cliff, a small but strikingly stream flows towards the lowlands at the background. Durand’s main theme was to symbolize the appreciable nature of New York. It also pays tribute to the two friends.
Step 4 judgment
Durand seems to be a highly creative person due to his ability to present the figure in a manner than looks real. In addition, it shows his appreciation for nature, his friends, and important people in American society and the freedom to use colors, lines and other aspects of painting in presenting natural scenarios.
Works Cited
Ferber, Linda, S and Asher Durand. Kindred spirits: Asher B. Durand and the American landscape. New York, NY: Brooklyn Museum, 2007. Print.
The purpose of the project is to study the aspects of the facility audit and the details of the feasibility or design analysis of Melbourne Cricket Ground. Thus, I focused on the elements of the management system of Melbourne Cricket Ground and its marketing strategies in order to conclude about the effectiveness of this stadium and perspectives of its progress.
It was found that the details of the management can be observed in detail with references to the event days. Moreover, much attention was paid to examining such aspects as sponsorship and marketing strategies to contribute to the stadium’s economic effectiveness. This assignment is important to draw the attention to the combination of management and marketing strategies in order to promote the stadium’s progress.
International Olympic Committee
The research on the activities of the International Olympic Committee (IOC) is significant to be discussed because the paper examines the work of the IOC not only from the point of its practical use but also in the context of important social theories such as the Functionalist theory, the Conflict theory, and the Figurational theory.
I received the opportunity to analyse the work of the IOC with references to the organisation’s history and culture from the perspectives of the social theories and concentrated on the role of the IOC for the progress of the sport community and global society. Thus, I used the critical thinking skills to state the connections and draw conclusions on the topic.
AFL Board Meeting
The work of the Australian Football League (AFL) board meeting is the important experience to examine the details of the official governing body’s work while participating actively in the meeting.
While focusing on the activities of the AFL board meeting, I realised the importance of the corporate sport management for the development such league levels as professional and international ones. Moreover, I received the opportunity to discuss the perspectives for the further progress and likely approaches to improve the current situation.
Application of Sports Science Principles in Melbourne Football Club
The discussed project is the interesting and efficient exercise to develop the effective strategy in order to cope with the problems experienced by the Melbourne Football Club. This assignment provides a person with the opportunity to use the theoretical knowledge with the focus on the practical use of the proposed interventions.
Thus, such main issues were determined as the ineffective on-field performance of the team, inappropriate coaching, the lack of motivation, and poor fitness in relation to the team’s athletes.
The specific three-pronged approach was chosen for intervention, including the focus on the athletes’ training, hiring a new coach, and on improving performance management. The skills developed during completing the assignment are necessary for the further career.
Victorian Rugby League
In order to develop the skills and abilities in analysing the work of management departments in different sport organisations and in proposing the most effective strategies to improve the work of the leagues or committees, it is necessary to focus on different examples and existed corporate structures.
Thus, the Australian rugby league functions with the help of the partnership committee, and the examination of this experience and associated examples is also important to develop the successful strategies in the future which are the part of sport manager’s career.
According to modern surveys, fewer and fewer people belonging to ethnic minority groups are visiting museums. This is why it is a museum manager’s task to make museums more attractive not only to the wide public. Rising to this challenge requires a museum leader to perform a number of tasks, whereof we will give examples in this paper.
Main body
Firstly, the cultural heritage of ethnic minorities must not be underrepresented in a museum. Museums should position themselves as advocates of diversity. The goal of a leader is to change the overall perception of a museum by adapting it to non-traditional audiences. To attract such visitors, a museum must not be solely an exhibition of “white” and European artifacts, since any individual will be more inclined to visit a museum to learn about his or her own heritage and culture.
One may also note that minority art is not very well researched, that is why a museum manager needs to seek aid from historians, interested in community history or immigration, in order to make a comprehensive review of minority artworks, exhibited in the museum or a compilation of course materials about minority art to supply local universities. A great amount of time should be dedicated to cooperation with local minority establishments and councils in order to seek funding or individuals willing to cooperate in organizing events dedicated to minority art.
Various factors can prevent an individual from visiting a museum. One of them is the lack of knowledge and cultivated taste. There are also cases when an individual has no established tradition of visiting a museum. Both are influenced by cultural background and education level. The solution lies in an extensive interaction between museum managers and school managers. Studying museum artifacts of all ethnic groups should be integrated into classroom curricula as historic examples, thus making it of relevance for any racial group. Some children claim that museums are boring, that is why entertaining activities for children in the museum are crucial for altering children’s negative perception.
Conclusion
One of the reasons that prevent an individual or a group of people from visiting a museum is financial hardship. This problem can be partly dealt with by raising awareness about free visiting hours, available discounts, pass giveaways, etc.
This review is not comprehensive, since museums are enterprises, which bear a substantial, yet unresolved potential.
For most foreigners, Australia seems a weird world that exists within its own realm of unique reality, a specific Wonderland, per se. While the given assumption does sound very poetic and inspiring, it does not come any close to what Australia actually is. A country with a unique history and a distinct tendency in its cultural evolution, Australia still faces a number of issues in the XXI century.
Despite the fact that the general direction of Australia development, i.e., multiculturalism, coincides with the demands of the globalization process, which Australia has recently become a part of, the conflicts between the urban and rural parts of the state (Kristoff 2012, para. 1), as well as the indigenous population and the descendants of immigrants, have clearly created a number of obstacles for the state development.
Although such movies as Love the beast and Unfinished sky deal with personal stories and have their unique plot lines, they also render a number of issues related to the current culture related problems of Australia, therefore, providing a very original interpretation of the Australian identity.
Although Unfinished sky, the first movie in question is less of a documentary and more of a fictional story, the problems that it analyzes do rub elbows with some of the topical issues of the present-day Australian social issues. The film tells a story of a farmer living on the outskirts of the city, in the Outback, and meets a woman escaping from a brothel. Naturally, they have a chemistry, which eventually leads to them developing a very strong bond and starting relationships.
While the drama between the lead characters does take a great chunk of the movie, it becomes clear from the very opening of the movie that its focus is not going to have as much staying power as the social issues that are going to be discussed in between the main plot evolution. Indeed, tricking the viewers into paying attention by disclosing the shocking truth about human trafficking, the movie director cannot expect that a simple romantic drama will suffice for the rest of the movie to be engaging enough.
While it is clear that, by choosing the back story for the female lead, the screenwriter tried to draw the audience’s attention to the topical issues of the XXI century, such as human trafficking, one may also argue that the key conflict of the movie serves a purpose of defining the specifics of the Australian identity.
Apart from the social issues, which the movie handles impressively well, the movie also does a very good job of defining the very essence of Australian identity solely with the help of the background. The key strength of the movie is that its director knows the advantages of a visual medium and uses them efficiently.
For example, the choice of the location for the drama to evolve in, which was obviously a deliberate move, shapes the audience’s concept of the Australian national identity in a very peculiar way. By setting the film in the Australian Outback, Peter Duncan conveys the key details of the conflict between the need to maintain an agricultural Outback lifestyle and an evident lenience towards the urban one among most of the Australians.
Thus, the gap between the Outback and the urban Australia, as well as such features of Australian identity as the combination of the indigenous cultures of local tribes and the openness towards innovations brought by numerous migrants, numerous ancestries of Australian residents, etc. are clearly identified in the movie. Unfinished sky provides a plethora of shots of the Australian Outback.
(Unfinished sky – Peter Duncan, William McInnes, Monic Hendrickx n. d.).
Such shots set a very high contrast with the claustrophobic pictures of the house interior, thus, conveying the key concept of the Australian identity as free-spirited, close-to-nature and unpretentious. While Duncan is clearly unwilling to portray the identity of his characters as simplistic one, he obviously contrasts it to the one of the urban residents, therefore, making the story of his characters all the more realistic by tying in the elements of fiction with the social issues of the present-day Australia.
(Photos of Monic Hendrickx n. d.).
The movie, therefore, allows to explore the peculiarities of the “islander peoples” (Recognising aboriginal and Torres Strait islander peoples in the Constitution: report of the expert panel 2012, para. 1). On the one hand, the specifics of living on an island include belonging to a very close community of people and therefore, the tendency to appreciating the significance of close relationships with the members of the community.
Indeed, according to the existing evidence, the Australian people tend to be quite dependent on their communication within the community; moreover, Australians clearly have a tendency to creating a rapport with each other within a surprisingly short amount of time, which the characters in the movie are a prime example of.
Seeing how the issue of national identity is the focus of the given paper, it is most reasonable to start with the movie that does not disperse between fiction and reality; in other words, a documentary is the most appropriate genre for analyzing the cultural specifics of a particular state with the help a such medium as movies. Love the beast, a 2009 Australian documentary sheds some light on the peculiarities of the Australian culture and national identity.
Written and starring Eric Bana, the movie tells a rather personal story of a car racer and his friends. Despite the fact that the story is told from the perspective of a real-life person, it is paced like a drama, it is positioned as a drama, and the leading character is played as if he was a part of a drama. Thus, the movie director manages to blur the line between reality and fiction, affording both disclosing a very personal story and at the same time capturing the air of the era in a bottle.
Love the beast headed to the States!
In contrast to the film described previously, the given movie is set in an urban environment, which allows for creating a three-dimensional image of an Australian person. As the plot of the movie unwinds, the audience finds out that the concept of the Australian identity is a bit more complicated than an attempt to maintain balance between the urbanism tendencies of the state capital and the country spirit of the Outback.
While little is said about the bond that most Australians have with nature, the movie explores the cultural diversity that the continent is so famous for rather successfully. To start with, the subject matter, i.e., car races, sees rather alien to the traditional Australian attractions, yet Bana manages to integrate the concept of races into the urban background so well that it becomes an integral part of the setting immediately.
One might argue that the plot of the movie, which revolves around car races, has very little to do with the concept of diversity and that the appearance of a dilemma between defining the national identity and the acceptance of foreign trends in a movie is merely a coincidence (Attwood 2005, p. 11).
Indeed, Bana seems to focus on the story of him, his friends and the car races. However, the very fact that the topic of multiculturalism was brought up so easily and practically by accident, shows that multiculturalism is an inescapable element of the Australian identity.
Love the beast damage.
In many ways, the given movie renders the issue regarding the means of retaining the culture of the Australian people in the era of urbanism and the influx of immigrants, who add their own unique elements of culture and tradition to the ones of the Australian people.
According to the recent opinion poll held among the representatives of the Australian indigenous population, their key demands to their children regarding the cultural identity of the latter concerned “knowing about their cultural heritage, background and their country, being proud of their Indigenous culture” (Colquhoun & Dockery 2012, p. 8). As the given piece of information shows, the issue of cultural heritage and national identity is suspiciously topical in Australia at present.
It is remarkable how two completely different movies obviously belonging to absolutely different genres managed to define the Australian identity so well.
It could even be argued that each of the movies goes as far as identifying the problem regarding the rights of indigenous people of Australia, which has been brewing for quite a while and has finally resulted in the delivery of national apology by Kevin Rudd, seeing how the Prime Minister’s “antagonism towards any recognition or protection of Aboriginal rights was almost visceral” (Behrendt 2010, para. 1).
There is no secret that the Australian society can be defined as mixed and that the traditions valued by the people whose ancestors explored the depth of the Australian bush are weirdly compatible with the influences of the West, which Australia is currently experiencing, partially because of the increased pace of globalization and the need to establish stronger links with the native residents and make sure that the immigrants from other states will be able to coexist with the natives peacefully (Archer 2009, p. 235).
In addition, the legal issues that have been raised by the representatives of the indigenous population and have not yet been solved also deserve a mentioning: “We cannot have traditions unless we know and respect ngarra rom and mawul rom, Ngarra rom is our law. Mawul rom is the law of peace-making. We hold ngarra rom in our identity” (Recognising aboriginal and Torres Strait islander peoples in the Constitution: report of the expert panel 2012, p. xx).
Another peculiar feature of the Australian identity, which the Love the beast touches upon, and which has clearly slipped off Peter Duncan’s radar, being completely underrepresented in the Unfinished sky, the fact that the Australian culture is very young also deserves mentioning. Indeed, according to the historical records of the state, Australia as people know it nowadays, with a “melting pot” of native and foreign cultures, has emerged comparatively recently.
Although European migration to Australia dates back to the XVI century, the effects that the given process has had on the state becomes obvious only in the mid-XVIII century. More to the point, the creation of New South Wales, which would later on define the state’s economic, political and cultural progress, began late in 1788. The fact that Australia had long been used as the place to send convicts to as a means of punishment and a complete social isolation, is also worth bringing up.
Finally, the economic complexities that appeared as a result of the Great Depression, have also contributed to the creation of hitches in the process of the Australian society evolution (Rutland 1985, p. 30). Consequently, it was only in the mid-XX century that the latter was finally established (Roberts 2006, p. 15). Hence, the Australian society is surprisingly young; the given feature of the Australian people defines their identity to a considerable degree, while both movies seem to omit the given detail, whether deliberately or unintentionally.
Nevertheless, much to the directors’ credit, they managed to display the key elements of the Australian culture in a rather precise manner. What seems hardly attainable in the moviemaking industry of any other state is weirdly possible in the Australian cinema (Langton 2008, p. 148).
Though the fact that the concept of Australian national identity aligns with the plot lines of both movies might seem a coincidence, after a short research, one will be able to find out that the potential of the industry in question has been discovered by Australian directors long before.
According to Bennett and Carter, “Policy makers saw the Australian cinema as more than just a national industry servicing a self-defining national culture” (Bennett & Carter 2001, p. 19). Raising a number of social issues, the two movies not only nail down the essence of Australian identity, but also provide the answers regarding its further development.
Reference List
Archer, Robin (2010), ‘Race’ and ‘Conclusion’ in Robin Archer (ed), Why is there no Labor Party in the United States?, Princeton University Press, Princeton, NJ, pp. 49-72, 233-243.
Attwood, Bain, (2005), ‘Nation’ in Bain Attwood, Telling the truth about aboriginal history, Allen and Unwin, Sydney, pp. 11-19.
Behrendt, L. 2010, ‘Closing the evidence gap,’ Ideas Australia Needs Now. Web.
Bennett, T. & Carter, D. 2001, Culture in Australia: policies, publics and programs, CUP, Cambridge, UK.
Colquhoun, S. & Dockery, A. M. 2012, The link between Indigenous culture and wellbeing: qualitative evidence for Australian Aboriginal peoples, The Centre for labour market research, Australia, WA.
Langton, M. (2008) ‘Trapped in the aboriginal reality show’, Griffith Review, 19. Web.
Love the beast damage. Web.
Love the beast headed to the States! Web.
Photos of Monic Hendrickx. Web.
Recognising aboriginal and Torres Strait islander peoples in the Constitution: report of the expert panel 2012. Web.
Roberts, David A. (2006), ‘’They would speedily abandon the country to the new comers’: the denial of Aboriginal rights’, in Roberts, DA & Crotty, M (eds) The great mistakes of Australian history, University of New South Wales Press, Sydney, pp. 14-31.
Rutland, Suzanne D. (1985) ‘Australian responses to Jewish refugee migration before and after World War II’, Australian Journal of Politics and History, vol. 31, no. 1, pp. 29–48.
Unfinished sky – Peter Duncan, William McInnes, Monic Hendrickx. Web.
The image I chose is entitled as Hauling Freight captures the everyday life of people in Afghanistan. In particular, the picture depicts two Hazara men carrying a heavy load through a Kabul bazaar. The cart they are maneuvering is called Karachi, which is equipped with recycled tires and a trick axle. The men wear national clothes and headwear. Despite the incredible load they endure, their faces seem to be happy and calm as if they carry a cart regularly. The main idea of the photo is to demonstrate the image of peaceful life in the country and imprint the routine and culture of Afghan people during the 70s of the past century. In addition, the image illustrates the aspiration of Afghan people to reconstruct their country and contribute to its further successful development.
The photo is represented in sepia undertones to emphasize the spiritual and cultural background of the revival period. It seems that even if the colors were presented, no specific contrast would be highlighted. In addition, the picture is also full of their details, such as people standing in front of counters and salesmen serving behind it. Attention to detail, therefore, makes the entire picture quite strong and culturally important.
Overall, though the image detects one specific scene from everyday life, it still manages to capture the entire culture of Afghanistan. Therefore, I consider this picture to be my favorite one. While contemplating it, it is possible to understand what it means to live in a free and peaceful place for Afghan people. I can also feel that they are happy and optimistic despite the fact that they need to work hard to earn for living.
Background Information about Joseph Hoyt
Joseph Hoyt is an American photographer who traveled across Afghanistan in the 70s of the twentieth century. He was only 23 when he took photos of a peaceful country to capture their routine life (PARSA, 2012). Being a young traveler, Hoyt visited the country to make a valuable record of life in Afghanistan in a pre-war period. The photos, therefore, provide a contrasting view of the stereotypical interpretation of the spiritual environment in the country.
The photography was fresh out of college when he started his journey across various countries. As an amateur photographer, he still managed to discover the spirit of Afghanistan and render the most striking elements of this culture. Although he traveled to more than 20 countries, Hoyt was fascinated by Afghanistan as he had never been to any other countries he had visited (PARSA, 2012).
In particular, the photographer was captivated by the peacefulness and splendor of the country because it was also unusual to see Afghan people unarmed and happy. Spending five years in Afghanistan, Joseph Hoyt has reproduced and immortalized the genuine spirit and culture of the Eastern world. He recalled the beauty and power of the people and provided a new perspective on the social background of the country.
While using only white-and-black images, it is possible to conceive the main themes, concerns, and ideas of the peaceful era in Afghanistan. The photographer does not only provide a new image of the country but also introduces new prospects and possibilities of the development in the country. By depicting happy and carefree people, Hoyt proves that the pictures will help people realize the consequences that war can have for a peaceful existence.
Reference
PARSA. (2012). Afghanistan 1970-1975: Images from an Era of Peace. Photographs by Joseph Hoyt. Web.
Over decades art historians discussed the question about the first anthropomorphic images of Buddha and its Greco-Roman influence. Modern case studies have shown that this particular type of Buddha statue is made in Gandhara style which has its peculiarities and history. Taking into account all the aspects of a given period combined with the stylistic patterns of an analyzed object, it is considered to show the historical and artistic significance of the statue.
Main text
The statue under analysis with the title “Buddha, Gandhara” is dated back to the 1st or 2nd century CE is made in pure Hellenistic style and technique (Figure 1). The author is unknown. The statue is made in marble to increase the realistic effect. While analyzing stylistic characteristics it should be stated that the statue is made in “lively, narrative mode”. The Gandharan artists tried to make “emphasis on the laity, on devotionals, and the need for a savior” while at the same timelines and shapes of the statue reflects religious preferences of the Greeks “who were accustomed to an anthropomorphic religion” (Blair 4).
The significance of an analyzed artwork is huge due to a couple of reasons. Firstly, the Gandhara School of art represents the mixture of two cultures – Greek and Indian. On the one hand, is situated in the Middle East (Gandhara region is modern Afghanistan and Pakistan) the school was influenced mainly by Greek culture which was historically grounded – “from the time of Alexander the Great’s invasion in the fourth century BCE to the rise of the Sassanids in the third century CE” (Marshall 34). On the other hand, Gandhara was the origin of many of the monks who brought Buddhism to East Asia. Thus, due to its mixed nature, Gandharan Buddhism in some way had deformed the traditional Buddhist sculpture.
Secondly, it is also should be stated that Hellenistic culture played an important role in creating such statues as “Buddha, Gandhara”. The Milindapanha, which presumably reflects the northwestern Indian attitude towards the Greeks, notes that in Menander’s capital “streets, squares, crossroads, and market places were well laid out. Well displayed are the innumerable sorts of costly merchandise with which its shops are filled. It is richly adorned with hundreds of alms-halls” (Kuhrt and Sherwin-White 202). In other words, Buddhist monks considered the Indo-Greeks to be prosperous and civilized people. This should come as no surprise, for evidence suggests that some of them became monks, and “brought their culture with them when they entered monasteries” (Pollit 35).
Secondly, the statue “Buddha, Gandhara” should be outlined by its religious effect. For many years, statues of Buddha were represented in sitting positions with “meditation and preaching gestures” (Brancaccio and Behrendt 172). These types of statues reflected the ultimately divine nature of Buddha. The standing version of the Buddha and its Greek-style anthropological nature makes him closer to the people and signifies his presence in everyday life. Such a vision of Buddhism provided ground for modern reflections in this religion.
Conclusion
To conclude, the stylistic analysis of the standing statue “Buddha, Gandhara” underlines peculiarities of the Gandhara school of arts, provides historical facts about the origin of the given statue, reflects its cultural and artistic significance. The artistic work under analysis is considered to be the most outstanding and one of the most ancient representations of the Buddha made in Hellenistic style.
Works Cited
Blair, Scott. “Answers for Milinda: Hellenistic Influence on the Development of Gandharan Buddhism.” TCNJ Journal of Student Scholarship Vol.XI (2009): 1-11. Print.
Brancaccio, Pia and Kurt Behrendt. Gandharam Buddhism, Archeology, Art, Texts. Vancouver: UBC Press, 2006. Print.
“Gandhara Buddha” n.d. JPEG file. 2015. Web.
Kuhrt, Amelie and Susan Sherwin-White. Hellenism in the East: Interaction of Greek and non-Greek civilizations after Alexander’s Conquest. Berkeley: University of California Press, 1987. Print.
Marshall, John. The Buddhist art of Gandhara: The story of the early school. Cambridge: Cambridge University Press, 1960. Print.
Pollit, Jerome. Art in the Helenistic Age. New York: Cambridge University Press, 1986. Print.
Casablanca is a 1942 romantic drama movie revealing a story of an American expatriate Rick Blaine meeting his ex-lover in unoccupied Africa. The main hero had to decide what is more important to him – to stay with his beloved or perform his duty.
He must help either his lover’s husband, Czech Resistance leader to escape, or fight for his love for Ilsa. At the end of the movie, Rick is forced to put his veritable feelings aside and commit himself to the moral obligations.
The story, therefore, is emotional, emphatic, and full of dramatic moments due to the use of efficient cinematographic effects, including sound and music, lighting, appropriate camera angles, and set design.
All these techniques allow the audience to understand experience, feelings, and emotional they endure. Specific attention should be given to the Railway Station Sequence analysis where the salient techniques are used to evoke empathy and emotion from the audience.
Sounding is an important element in movie because it serves to amplify the emotional state of the protagonists. Used both as a background music score at the beginning, the scene depicts Rick waiting for Sam at the railway station. The second scene introducing Sam looking for Rick is almost similar to the first one.
By using such an approach, the director creates two different scenes in one sequence. The music piece provided in these two scenes still has various degrees of stress. In particular, the tension grows as Sam and Rick are searching for each other and music becomes softer as soon as both characters meet each other.
The subsequent scenes are accompanied by more impulsive music. Specifically, non-diegetic sound is not heard by the heroes, but it manages to render the overall atmosphere of the moment.
Although the music is dramatized during the scene when Rick the letter, the focus is made on the letter but not on the hero’s emotional expression.
Such an approach is used to link the scenes in which a protagonist progresses through various scenes toward to a specific goal. Apart from the background music-score, there are also sound effects that signify the denouement of the episode.
Employing various camera shots, close-ups, and angles also contributes to emphatic filling of the movie. In particular, the director applies to various techniques to make the scene more dramatic and compelling. In the Railway Station Sequence, it is possible to trace several shifts in camera movements.
The first is made when Rick and Sam are engaged in dialogue. At this point, the director chooses two powerful approaches, medium close-ups, and reverse over-the-shoulder shots. The hero’s close-up allows the audience to see the expression on his face while he reads the letter.
As soon as this moment is captured, the camera angle immediately changes and it is possible to see the letter content. During this shot, there is no camera movement, which permits the viewers to read the letter and understand the experiences faced by Rick.
The next stage frames the scene, as the camera once again returns to reverse shot-over-the-shoulder shot and medium close-up. The next moment introduces vivid camera movement up to the scene in which the train departs.
During all the sequences of scenes at the station are accompanied by heavy rain, which also contributes to the expressive interpretation.
Lighting also plays important role in delivering the main message of the episode in the movie. The scene starts with top and frontal lighting to capture the view on the railway station and show the crowd rushing here and there in the search of their platforms.
A lot of black umbrellas contribute to sense of the inevitability of things to come. Use of artificial lightning is necessary for the viewers to be able to grasp the entire atmosphere at the station. The scene in which Sam is looking for Rick is accompanied with low contrast light.
The director employs this technique to emphasize a fixed medium shot of the camera. Although the play of light and shadow is not intense, the audience could predict that the next scene will be culminated.
Similar is used in the scene where Rick is waiting for Sam, which creates intrigue and focuses on Rick’s instant splash of emotions. The shifts in lightning occur to the letter-reading episode.
The letter itself is represented by means of high contrast lightning, which creates the culmination in the scene. Combined drips falling down the letter with contrasted light enhances the overall effect on the viewers.
The framing and editing of the movie scene is also skillfully introduced. The director successfully selects costumes, setting, and sound, and background music to produce the atmosphere of suspense. Everything – from props, shapes, and colors – reflects the historic period, location, and the prevalent mood in the movie.
The rain effect is probably the most remarkable in the episode because it gives a sense of time passing by incredibly fast. The hero’s costumes also complement the main purpose of the scene. Rick wears a raincoat and a black hat, which suits best the railway sequence.
The strictness of Rick’s image corresponds to his intense and emotionally amplified mood. The balance of the entire composition, therefore, is maintained due to the equal distribution of objects, color, light, and sound.
The black and white movie stock is another important feature which allows the audience to feel the circumstances under which the heroes act.
Although the railway station scene is only 1 minute long, the director manages to incorporate a variety of techniques from camera abrupt movement to single-shot representations. Therefore, the entire scene seems to be attention grabbing to the above presented techniques.
In conclusion, the light, editing, stage progressing, and sound emphasize the emotionally intense atmosphere of the scene. Both the heroes and the background are skillfully represented by the director, including play of light and shadow, close-ups and middle shots, and camera movements.
Specific attention should be given to the music, particularly to its great contribution to the development of the plot, the culmination, and denouement.
The angles and shots also play essential role because they introduce a fixed structure of the scene, with camera movement at the beginning and at the end and close-ups and fixed middle shots in middle of the sequence.
Emotional filing of the episode is ensured by impressive set design and composition of objects and background. The crowd movements and rain at the very beginning establish the mood of the episode and keep the audience in suspense.
Finally, the sequence of scenes is also organized in a framing structure by means of music and additional sound effects represented on the background. Specific attention requires the letter-reading episode where the music sound points to the increased importance of the hero’s emotional state.
Up until comparatively recent times, it used to account for a common assumption among critics that, in order for cinematographic adaptations of a particular literary piece to be considered successful, they must be thoroughly consistent with the original literary work’s discursive aspects. This point of view, however, can no longer be considered as such that represents an undeniable truth-value.
The reason for this is quite apparent – the highly dynamic realities of a post-industrial living bring a new qualitative dimension to even those literary works that were produced as recently, as a few decades ago. What it means is that, as of today, the classical indications of adaptational fidelity have been effectively deprived of their former theoretical legitimacy (Zhang 86).
Nowadays, in order for a particular cinematographic adaptation to be considered successful, it must be thoroughly attuned to the original novel’s spirit, rather than being merely consistent with the novel’s discursively relevant themes and motifs. The validity of this statement can be well illustrated in regards to the 2006 adaptation of Phillip Dick’s novel A Scanner Darkly, by Richard Linklater.
This is because Linklater’s adaptation does not only explore the theme of an identity-loss (which defines the original novel’s discursive significance) in a clearly defined expressionist manner, consistent with the author’s writing style, but it also prompts viewers to assess this theme as such that fully correlates with the discursive realities of a post-industrial living.
In my paper, I will aim to substantiate the legitimacy of this suggestion at length.
When it comes to discussing what can be considered the discursively legitimate indications of the cinematographic adaptation’s fidelity, it represents the matter of a crucial importance to proceed with doing it within the conceptual framework of a circumstantially appropriate theory of adaptation.
Before we do it, however, we would have to gain an in-depth insight into Linklater’s personal view of what account for the indications of an adaptational fidelity and into what prompted him to proceed with ensuring his adaptation’s faithfulness in a manner that has very little to do with Hollywood’s classical cinematographic conventions.
From the available interviews with Linklater, it appears that the foremost reason why he wanted to adapt Dick’s novel, is that he believed that by doing it, he would be able to contribute to the process of more and more Americans becoming aware of the counterproductive essence of contemporary dynamics in the society, “Linklater: It seemed very relevant in the post-9/11 mindset that the ‘war on drugs’ would kind of meld in with the ‘war on terror’ and your personal liberties would kind of go away.
Suspicion would increase – the idea of turning in everybody” (Esther 65). In other words, it is specifically his adaptation’s potential ability to emphasize the acuteness of the original novel’s motifs, in regards to the modern aspects of American living, which Linklater believed would account for the true measure of its contextual faithfulness.
Therefore, it will only be logical, on our part, to go on with advocating the validity of the earlier proposed thesis, within the context of the so-called ‘biological’ theory of adaptation, proposed by Linda Hutcheon – as such, that opposes the rigidness of classic adaptation-related conventions (109).
According to this theory, in full accordance with the Darwinian laws of evolution, the adaptation of literary texts to the newly emerged informational mediums has a strongly defined functional purpose.
This purpose, however, is not being concerned with the assurance of the texts’ survivability per se, but rather with the establishment of objective preconditions for the initially explored ideas/themes to continue appealing to the representatives of next generations. In its turn, this can only be accomplished by the mean of adapting the original themes and motifs to the realities of a currently predominant socio-cultural discourse.
That is, just as the living organisms’ environmental adaptability serves the purpose of preserving the ‘selfish gene’, which defines the quality of their visually observable phenotypes, the literary works’ medium-related adaptability serves the purpose of preserving the actual semiotics, these works convey.
According to Bortolotti and Hutcheon, “Organisms act as vehicles for genes; the literary texts or the stage (cinematographic) performances we call adaptations are the vehicles of narrative ideas – that is, their physical embodiment in some medium” (447).
What it means is that, in order for the film-adaptation of a particular novel to be considered successful, it has to be capable of ensuring a long-term survivability of the contained meme (a literary equivalent of the biological term ‘gene’), regardless of whether the author is being aware of it or not (Dawkins 206).
Yet, just as it is being the case with the replication of genes, the reproduction of memes implies that their phenotypical manifestations must be necessarily adjusted to the surrounding social environment. In other words, it is specifically the discursively relevant cinematographic adaptations of literary texts, which can be defined truly successful.
The watching of Linklater’s film leaves very few doubts, as to the fact that the director did succeed in ensuring the fidelity of the original novel’s memetic aspects.
One of the reasons why it appears to be the case is that, even though that the director had made a deliberate point in altering some dialogues between the featured characters and in adjusting the deployed settings to be more reminiscent of the realities of the 21st century’s living, the main memetic ideas that are being promoted, throughout the film’s entirety, perfectly correlate with that of the original novel.
These ideas can be conceptualized as follows:
American drug-subculture is embedded in many individuals on a genetic level, which is why there can be no victory in the morality/religion-fueled ‘war on drugs’, by definition.
The governmental officials that most enthusiastically support an ongoing ‘war on drugs’, are in cahoots with drug-traffickers.
It is a commonplace practice among police officers to use illegal narcotics on a regular basis.
The perception of a surrounding reality, on the part of committed drug-addicts, never ceases being thoroughly distorted, which is why these people should not be subjected to any moral judgments.
It is needless to mention, of course, that the majority of psychologically adequate persons would refer to these ideas as being self-evident.
However, in order for the cinematographic representation of the earlier mentioned memetic ideas to be capable of generating a commercial income (this is why movies are being produced, in the first place), it needed to be contextually relevant, so that viewers would be able to relate to the conveyed semiotics emotionally.
This is exactly the reason why Linklater’s adaptation features a number of formal deviations from the original novel, which nevertheless do not undermine the extent of this film’s adaptational fidelity.
For example, there is a memorable scene in the novel, in which the character of Barris reveals the price of his newly purchased sport-bike, “I saw it (bike) in the neighbor’s yard and asked about it and they had four of them so I made an offer of twenty dollars cash and they sold it to me” (Dick 63).
Initially, this scene was meant to promote the idea that drug-addicts are being quite incapable of realizing the moral/legal implications of buying stolen goods. After all, the fact that he was only asked for twenty dollars, in exchange for a brand-new bike, did not alarm Barris even slightly. In Linklater’s adaptation, however, Barris brags about having bought this bike for fifty dollars (00.19.51).
Nevertheless, this formal inconsistency between Linklater’s film and Dick’s novel can be well explained, once we recall the fact that the purchasing power of twenty dollars in 1977 was much higher, as compared to what it is being the case nowadays. Therefore, while striving to protect the fidelity of his cinematographic adaptation, Linklater did not have any other choice but to ‘increase’ the price for the stolen bike by thirty dollars.
In its turn, this allowed him to ensure that the members of contemporary viewing audiences would regard this particular element of the plot’s unraveling thoroughly plausible. Hence, a certain paradox – even though that, in respect of how he went about incorporating the earlier mentioned scene in his movie, Linklater did deviate from the original text, this did not undermine the overall extent of his adaptation’s fidelity.
Quite on the opposite – by ‘increasing’ the price of Barris’s bike, the director was able to increase the extent of film’s discursive soundness – hence, making it more cognitively ‘digestible’.
Nevertheless, the memetic integrity of Linklater’s adaptation is not only being merely maintained by the fact that the director had rightly decided in favor of adjusting the characters’ monologues to be reflective of the realities of a contemporary living in America, but also by his decision to utilize the rotoscoping animation-technique, as a tool for ensuring the film’s expressionist appeal (Ward 60).
There seem to have been a number of rational reasons, which prompted Linklater to proceed with taking advantage of this specific technique.
First, rotoscoping makes possible for the director (which has a limited production-budget) to significantly enhance the background settings and to incorporate the elements of ‘super-naturalness’ into the otherwise conventional plot.
Given the essence of Dick novel’s themes and motifs, Linklater’s decision to use this technique appears thoroughly justified. One of the reasons for this is that, while addressing life’s challenges, many of the novel’s characters never cease being affected by hallucinations:
(Jerry Fabine is trying to wash off (Bob Arctor is perceiving Barris asimaginary bugs in the shower) an insect)
Yet, in order for the on-screen hallucinogenic images to be considered emotionally powerful, they must radiate the spirit of Freudian ‘uncanny’, when viewers are being prompted to explore their own image-related unconscious fears and anxieties. This is where the utilization of rotoscoping comes in particularly handy. As Bouldin pointed out, “The rotoscoped image draws its power from its contagious contact with an original.
Through this ‘material connection’ the rotoscoped animated body is able to conjure the uncanny, supplemental presence of an absent body (13).
There is even more to it – without the deployment of this technique, the director would hardly be able to explore the motif of a ‘scramble-suit’, which does not only reemerge throughout the novel’s entirety, but defines the overall philosophical significance of Dick’s literary masterpiece (Hurwitz 27).
Apparently, by having applied rotoscoping to the live-images, captured with the digital camera, Linklater was able to advance the novel’s original idea that, contrary to the assumption that secret agents’ anonymousness increases their chances to apprehend evildoers, it in fact causes them to adopt the existential mode of those they formally oppose.
The second major motivation behind the deployment of rotoscoping, on Linklater’s part, appears to have been concerned with both: the director’s strive to remain faithful to the original novel and his proper assessment of Dick novel’s clearly expressionist nature. After all, one of this novel’s major characteristics is the lack of a logical/spatial interconnectedness between the featured events.
This could not be otherwise, because Dick had made a deliberate point in narrating his story from the point of view of a person with the history of a long-term drug abuse.
There is, however, even more to it – Dick’s novel does not only reflect the author’s personal disillusionment with the lifestyle of a drug-addict, but also his disillusionment with how the representatives of a ‘moral majority’ in America propose the society’s ‘unproductive elements’ should be dealt with.
Apparently, the absence of a spatial continuity in the original novel signifies Dick’s frustration with the euro-centric idea of a linear progress; as such, that defines the actual meaning of the surrounding reality’s emanations.
What it means is that, in order for the cinematographic adaptation of Dick’s novel to end up thoroughly faithful to the novel’s original spirit, it also had to be shot in the expressionist manner, concerned with the affiliated directors’ strive to help viewers to experience the depicted reality’s subjective aspects (Gianetti 4).
Unfortunately, this could only be accomplished at the expense of undermining the adaptation’s appeal to broader audiences. Yet, being an intellectually honest person, Linklater nevertheless decided in favor of constructing the adapted plot in a manner thoroughly adjusted to the original novel’s clearly defined expressionist spirit of a spatially undermined connectedness between the consequential scenes.
As the director noted, “So much of Hollywood screenwriting and storytelling is all about keeping a highly toned or a sharply structured story. You’re supposed to chip along, one thing into the next, everything important, you know – all that by-the-book storytelling. But I’ve always been allergic to that; especially in a piece like this that’s so fundamentally a character piece” (Johnson 340).
Apparently, it was specifically Linklater’s acute understanding of the discursive significance of the original novel’s expressionist aesthetics, which prompted him to go about ensuring his adaptation’s faithfulness by the mean of exposing viewers to the perceptually subjectualized developments of the plot.
Therefore, there is nothing utterly surprising about the fact that there are a number of unmistakably expressionist editing-related overtones in Linklater’s adaptation.
For example, the actual meaning of conversations that take place between the characters can rarely be grasped outside of what accounts for the film’s overall motif of existential frustration and social alienation. The same can be said about the significance of contextually disconnected images from hidden survey-cameras, to which viewers are being periodically exposed.
These images are supposed to strengthen the sensation of a spatial disorientation, on the part of viewers, so that their psychological state, while at the theater (or in front of a TV-screen), would be more attuned to the theme of identity-loss, explored in the original novel.
A clearly dissonant musical score, used in Linklater’s adaptation, also contributes to the establishment of a proper perceptual mood in viewers rather substantially.
Nevertheless, it is specifically the director’s deployment of the earlier mentioned rotoscoping technique, which contributes to the strengthening of this adaptation’s expressionist overtones more than anything else does – hence, increasing the extent of the concerned cinematographic piece’s fidelity to the original novel.
The reason for this is quite apparent – there is a dreamlike quality to the motioned images on the screen, because they are being continually altered in a barely noticeable, yet persistent manner (Freedman 41).
Finally, Linklater’s utilization of rotoscoping helped to create prerequisites for his adaptation to be fully consistent with the process of Americans growing progressively secularized.
As of late, the pace of this process has gained a particularly powerful momentum, due to the recent discoveries in the field of neurology that remove last remaining doubts, as to the fact that there is no such a thing as ‘soul’, which can exist outside of one’s body.
After all, it nowadays does not represent much of a secret to just about every intellectually advanced individual that the workings of one’s psyche are defined by the essence of chemo-electric reactions inside of his or her brain. For as long as there are no obstacles on the way of chemo-electric reactions’ normal flow, the functioning of people’s consciousness allows them to experience the three-dimensional sensation of ‘self’ (when awake).
However, even a slight mechanical damage to the cortex area of one’s brain can produce a dramatic impact on the sense of his or her self-identity – often without affecting the integrity of the concerned individual’s ability to address cognitive tasks.
Hence, the actual significance of the scene in Linlater’s adaptation, where Bruce (Arctor) realizes that there are tiny blue flowers (the source of substance D) growing amidst corn-plants at the New Path’s agricultural plantation – despite the fact that the institution’s other inmates do not seem to acknowledge these flowers’ presence.
Because it has been mentioned earlier by the film’s secondary characters that, in order to be admitted to the New Path, former drug-addicts are being usually required to undergo a lobotomy (which could have explained their inability to see blue flowers), viewers are left with no choice but to wonder whether, despite Bruce’s newly acquired identity of a ‘human vegetable’, he is in fact continues to act as a police informer.
Simultaneously, this prompts viewers to disregard the metaphysical/religious ideas as to what can be considered the actual roots of one’s consciousness, which in turn makes them more adapted to the highly secularized realities of post-modernity.
The earlier provided line of argumentation, in regards to the discussed subject matter, leaves few doubts as to the fact that Linklater’s adaptation is not being only faithful to the original novel, but also to the currently ongoing process of Westerners getting rid of progress-impending prejudices, in regards to what the representatives of the Homo Sapiens species really are.
Therefore, it will not be much of an exaggeration to suggest that the earlier outlined memetic ideas, contained in Dick’s novel, will indeed be able to survive into the future – hence, guaranteeing a ‘literary immortality’ to the author.
This is because, in full accordance with the provisions of Hutcheon’s theory, Linklater did a perfectly good job, while ensuring the fidelity of his cinematographic adaptation of the original A Scanner Darkly.
Works Cited
A Scanner Darkly. Ex. Prod. Richard Linklater. Burbank, CA.: Warner Independent Films. 2006. DVD.
Bouldin, Joanna. “Cadaver of the Real: Animation: Rotoscoping, and the Politics of the Body.” Animation Journal 12 (2004): 7–31. Print.
Dawkins, Richard. The Selfish Gene, Oxford: Oxford University Press, 1976. Print.
Dick, Philip 1977, A Scanner Darkly. Web.
Esther, John. “The Transparency of Things: An Interview with Richard Linklater.” Cineaste 31.4 (2006): 64-65. Print.
Freedman, Yacov. “Is It Real… or Is It Motion Capture?: The Battle to Redefine Animation in the Age of Digital Performance.” The Velvet Light Trap 69 (2012): 38-49. Print.
Hurwitz, Matt. “Nothing is Real – Richard Linklater’s A Scanner Darkly.” Videography 31.7 (2006): 22-30. Print.
Hutcheon, Linda & Gary Bortolotti. “On the Origin of Adaptations: Rethinking Fidelity Discourse and ‘Success’ – Biologically.” New Literary History 38.3 (2007): 443-458. Print.
Hutcheon, Linda. “On the Art of Adaptation.” Daedalus 133.2 (2004): 108-111. Print.
Johnson, David. “Directors on Adaptation: A Conversation with Richard Linklater.” Literature Film Quarterly 35.1 (2007): 338-341. Print.
Ward, Paul. “Independent Animation, Rotoshop and Communities of Practice: As Seen Through A Scanner Darkly.” Animation 7.1 (2012): 59-72. Print.
Zhang, Yingjin. “From Shakespeare’s Drama to Early Chinese Cinema: Authority and Authorship in Literary Translation and Film Adaptation.” Yearbook of Comparative and General Literature 54 (2008): 83-102. Print.
Ford’s film “The Quiet Man” is believed to be one of the most famous Irish films. Until today, this film rests under the most prestigious and leading Irish film of all time. Despite its popularity, it has had a great deal of criticism mainly because of its stereotypical characters. The film’s character depiction gives rise to a wide range of issues in the film industry. Characterized by social commentary, The Quiet Man is centered on the human relationship story, shaded by Ford’s ubiquitous homesickness.
The film is inhabited by a group of actors with individual chemistry that contributes vitality present in their relationships. A closer look at the film’s content, one can conclude that its characters originate from something intense than the film’s script.
For this reason, the message delivered to the audience by the film has not been considered to be either Ireland’s past or present. Also, this film has offered its audience primarily an American pastoral perception of paradise lost. In line with James Mackillop’s essay “The Quiet One Speaks”, this paper will explore three ways in which the film is more American than Irish. Also, it will discuss how the story relies on Irish stereotypes despite it being a romantic comedy.
Analysis
Although, in a typical way the film appears to be Irish, there are several aspects of the film that make it more American than Irish. To begin with, although the film’s setting is from post-war Ireland, it focuses on (Sean Thornton), the central character, returning to Ireland, the land of his birth. On arriving, he buys a thatch-roofed house that has his family’s ancestral roots. The American element of the central character establishes the assumption that the story is more of an American character than an Irish.
Having lived in America for a greater part of his life, the main character graces the film with American ideologies throughout the play. Thirdly, the appearance of Mary Kate Danaher is also another aspect that makes the film more American than Irish. Although she was a native Irish, Mary was a sensation in Hollywood. Being a sensation in Hollywood, she can portray more of an American character than Irish.
Reliance on stereotypes in the film
Across the US, a remark on the quiet man sends a scarring effect on a person’s composure. This fact is evident among the Irish Americans of the ‘baby-boom’ era. In simple terms, this film has in recent years become an embodiment of an overemotional, scheming as well as a humiliating aspect of America and Ireland. From the first glance of this film, there is sufficient indication of the quiet man to strengthen this view.
Just like other Ford’s films, The Quiet Man is used to depict hope of a culture that finds pride in the role it played in defeating the powerful alliances in the Second World War. Also, it is still free of uncertainty that might have restricted the arrogance of undisputed confidence in US norms. Primarily, the film appears to move along the naive images of both the Irish life as well as American characters that involve chauvinistic Yankee protectionists and maudlin exiles. These characters had in turn despised and renowned, on stage, in print, as well as the e-media from the beginning of the 19th century to date. Despite its comic relief, the film entirely relies on stereotypes.
There are many instances that are used to explain that, despite the fact that The Quiet Man is a romantic comedy, it relies on stereotypes. Before condemning the romantic comedy as a planned insult of the Irish culture, there has been significant debate demeaning the film. As a result, stereotypical renditions of both the Irish and American cultures have generalized not only the routine but also the rhythm of Irish life.
The greater part of the film rests on Ireland, which is still clean and unspoiled with industrialism of the 20th century. However, this kind of depiction cannot undermine its parochialism and backwardness. The Irish people consecutively appear as antiquated within their customs, charismatic in their hostility, and individuals who cannot be in their alcoholic apathy. By employing related stereotypes element, viewers of this film consider it more of an emotional as well as a scheming film created along Hollywood’s foreseeable line of stocks.
When one employs a closer examination of the actions and the film’s characters, it can be concluded that the contents of the film are unsatisfactory and reductive. The movie has a stereotypical coating in which almost every character confirms complications and inconsistencies in the nature of how the central character interrupts the flow of the film. Also, it challenges the direct reproaches that propose a focused view that can identify its type. Similarly, the synopsis of the film may lead to the conclusion that the stereotypical scenes are scripted in a casual style that makes it significantly visible.
Almost every incident in the movie is a depiction of stereotypical roles with an obligation to drive home the theme of the comedy to the audience in an ordinary way without stereotypes is limited. Stereotypical characters in the film deliver the message to the audience. Even though most audiences see the movie as an inoffensive bit of pleasure-seeking art, it portrays a reflection of stereotypical characters that are an unforgiving and relentless investigation of the complexity of the Irish customs and myths.
Conclusion
The inconspicuous inconsistency that exists between the film’s deceptive validations of the romantic Irish allegory alongside the relentless demonstration of Innisfree’s unforgiving actuality is among the most irregular aspects of the film. Without a sharp look, Innisfree appears to be a village characterized by innocent stereotypes that interrupt any funny view of the Irish past. For example, men from all walkways of life are portrayed as aggressive thugs who are quick to manage crime and motivated to struggle. Also in the film, women are permissive mums who pamper the ruined and immoral human beings around them.
Alcohol acts as a catalyst of social association that promotes the theme of the film, yet binge drinking facilitates infrequent fights with no harm and increased cheerfulness. In particular, Ireland seems to function as shielded, respectable tranquility that is effective in the renovation of the psyche of the main character influenced by the liveliness of the outdoor universe. So as to offer comic relief, the film uses stereotypical characters to deliver its objective. Through the use of stereotypical characters, most events in this film portray the outside world too harsh that the central character has escaped finding refuge back home.
