Making Catch-22 the remarkable as well as groundbreaking masterpiece it is today. Catch-22 is one of Heller’s greatest works because the book consisted of satirical humor which eased the thought of war. Heller changed the way America looked at war by showing the readers another side of war that could only be seen if one had participated in a war themselves, such as WW II. He had turned the realism of war into a surrealistic masterpiece “Mr. Heller’s novel changed the formula, and in the process lifted realism to new surrealistic level” (Solomita).
Contrary to his unwavering independence in technique and style Spike Lee has taken on the challenge of film remake. Remaking a movie is always tricky, particularly when the original has an already strong following. The 2013 remake of the Past Chan-wook’s classic, Old Boy had Lee’s critics wondering why he engaged in such a dark film. When Chan-wook’s Old Boy hit theatres in 2003, it was praised for its unique structure, it’s magnificent and action packed fight scenes, and it’s visual flair, making Spike Lee a very bold choice to adapt the film for an American audience. It’s not a shot for shot remake of the original or the 2003 version, but like Chan-wook’s version, it’s graphic so don’t watch this on a fall stomach.
Laura Chen 401110597 Composition and Conversation II─ Dr. Murphy RR4 23 June 2014 Is Pearl Harbor a Fiction or a Real War? Entertaining Purpose Makes Pearl Harbor Lose Historical Accuracy There are many documentaries about the historical event, Pearl Harbor attack; however, none of them is more famous and well-known than the film Pearl Harbor (2001). When watching the film Pearl Harbor, audience can be entertained with compelling story and cool visual effects which are absent in documentaries. Conversely, Pearl Harbor would be too entertaining to be historically accurate, and it brings audience the wrong concept about Pearl Harbor attack. The film production of Pearl Harbor should be responsible for this negative result, because “most
Duality in Macbeth Light and dark are often thought about as great symbols for good verses evil. In television and movies, one will often notice that when the bad guy is pursuing some sort of evil crime or succeeding in beating the good guy, the scene will be dark to add some more intensity to the plot. While on the other hand when the good guy is doing something good and winning the action scenes, light may be reflected on them. Light verse dark is also one of the oldest known dualities, dating back to the time that God created the world. The bible states “And God said, ‘Let there be light,’ and there was light.
Is Lord Of The Flies A Terrifying Novel? Lord of the flies has been called many things since it was released: a child’s tale of adventure, an ex navy officer’s insight into human nature, but can it be called terrifying? Golding’s message is indeed frightening; it tells us that without society’s harsh conditioning we will succumb to savagery and become savages like Roger and Jack. This challenges the idea that some people are born good and it makes us realise that without the constant threat of prison and other forms of conditioning, we would be no better than the so called scum of death row and this idea should terrify the readers down to their very bones The theme of death in Lord of the flies in Lord of the flies is wasn’t written as violent and graphic as it could have been but instead Golding portrayed death in much more childish way that makes it all the more terrifying. For example during the death of Simon the inhabitants of the Island Chanted: “kill the beast!
An undercover job is a very dangerous task. The story of Jay Dobyns could be used as a tool for success. In this essay, I will talk about the success of the Black Biscuit Operation as well as the difference and similarities between Hell Angels and La Cosa Nostra. Perhaps, how valuable was the information presented by the author and if the author included all the important factors and variable about the story. Part of the critical analysis is the personal reaction of the book and whether or not I supported any of the preconceived notions regarding working as an undercover.
However Rogers does offer solutions to the communication problems we tend to have. When talking about Dr. Hayakawa, Rogers says that if we “see the way life appears to him, without any attempt to make evaluative judgments, you run the risk of being changes yourself” (421). To actually understand a person on this level we must put aside the differences and listen. “Risk of being changed is one of the most frightening prospects most of us can face”. (Rogers, 421).
Despite the “old fashioned escapism” in Star Wars’ Hans Solo or Indiana Jones, society has transformed it’s depictions of heroes. Jeff Jensen expands upon this in his article, Heroes and Villains. When in trouble, “we should logically be drawn to tales of strong, valiant souls who can control their destinies and bring an easily definable fiend to justice.” A superman who beats up the bad guys and send them to the police can be compared to James Bond’s investigations of corrupt and powerful criminals, who reap the benefits of their schemes no matter the harm it brings. However, though seemingly cynical, today’s heroes aren’t as brave or fantastic as they seem. A hero cannot just randomly be born into the world.
* The Thesis statement of this essay is “Beyond its stereotypic dispatching of the villians, however, Die Hard functions on two additional levels. First, its hero attacks villains who personify major cultural problems and, second, he confronts problems in his own nature.” * Yes, I think Peter Parshall has tons of analysis and evidence that supports it that ties into the thesis of his essay. He first explains how he is a stereotypical hero, and than goes on to how the villains personify major cultural problems, and than he explains how John confronts his problems in his own nature. * After watching the movie Die Hard myself, I had a completely different interpretation of the movie than the author. However, after reading the essay “Die Hard: The American Mythos”, by Peter Parshall, I agree with every interpretation of the author.
Jose A. Mendoza-Huijon Dr. J. Kanin Film 2 17 December 2014 Film Analysis Report #3: Elia Kazan’s On the Waterfront (1954) Created as a response for director Elia Kazan’s decision to identify communists to the House Un-American Activities Committee (HUAC), On the Waterfront is an award-winning, crime-drama classic. Almost universally agreed as a masterpiece of method acting as well as a parallel of complications central to its time, critics criticized the film during its initial release. Although many critics did recognize how powerful the film was, many were uncertain and leery of the unique acting style and doubtful about the effectiveness of Brando’s hunched inarticulateness. Despite its criticism, the film remains an amazing demonstration of visual literacy and a chief illustration of what can be produced from artistic passion and political zeal. The film is an exhilarating adventure with a great deal of action and diverse emotional and philosophical conflict.