The historical inaccuracies in the movie “Braveheart” have several basic areas which include adding or deleting characters and inaccuracy regarding the lives and actions of historical figures. In addition to this, there also happens to be military inaccuracies as well as periods of time which the movie does not account and instead inserts fictional events to make the movie more entertaining
It could also be a chivalrous gesture against an evil tyrant, even if it is not sincere like in “A & P” by John Updike. “Quote here.” (Updike). Any point in a story where two or more characters have opposite goals that they are trying to accomplish, and it creates a problem for the characters involved. Every character has a Voice in which they speak, and a Point of View in which they see the events of the story and think about them. There is no way to have a story without keeping each character's voice and opinion unique.
Author O’Brian also confuses the reader by writing his novel as if everything that was told took place in the real world. For example, just by saying “this is true” (64) doesn’t always make it true. O’Brian leaves it up to the reader to distinct what they see the story as: reality or fiction. It is said that “a true war story… makes the stomach believe” (74). Author and character O’Brian tell the story in such a way to make it believable that the two different people are really the same person.
Andrés Martinez AP Lang Michels October 30th, 2014 Genre of In Cold Blood In cold blood is said to be a nonfiction novel in the standards of most library's, but many people out there disagree with this decision and say it is more of a fiction novel. The arguement is solely based on the stylistic choices Capote used in order to engage reaaders into this novel. Many people believe that Capote may have altered the original events that actually happened in order to just right a better novel. There is evidence in both sides, but nonfiction or fiction, is veru hard to tell. Capote's extensive knowkedge of Dick and Perry seem to be fictional because there are so many detail about their past that no one would know about.
Since “The Things They Carried” is a collection of short stories, it automatically has multiple meanings. For some the meaning may simply be viewed as a novel of one’s life during the Vietnam War, but it is in fact much more than that. This novel explores such topics as: love, war, relationships, and the reality of the things that not only the characters but we too carry. These meanings are not direct but after reading can be discovered. The next thing that qualifies this book as a classic is the fact that it uses effective, unique style appropriate to the purpose and content.
A true war story is hard imposed challenge by the one who tells it, the reason for this is because many factors come into action that could affect the stories credibility. In the book “The Things They Carried” the author, Tim O’Brien, writes in ones of the chapters how a true war story should be done and all the things that could affect how it goes. In example how emotions could get in the way of changing the path that a story takes. Imagination, invention, wartime conditions, and emotions affect a war story and in could turn one from true to a made up one. When someone is in war or comeback from war some of their stories about it are probably going to be exaggerated or partially made up.
Though Capote’s method of data gathering is questionable at best (authorial assertion comprises the sole proof of Capote’s fantastic memory that captures everything in an interview without a tape recorder), and the fact that a lot of his research was passed from witnesses to Harper Lee to the her notes and finally to Capote and his interpretation of these notes, it would still be inappropriate and unfounded to label his book a pure fiction; instead, we should modify his statement to say that everything in the book is factual to him. If anyone else had written the book, even using the same research and evidence that Capote used, the novel would read quite differently; the book as Perry’s personal memoir would also change it drastically; a first-person account of the effects of the murder on Holcomb by a member of the community would also have a different message. Yet all of these books, if executed properly, would be truthful: they all would just contain different truths, or different interpretations of the truth. Whether or not In Cold Blood is as factual as it contends to be, then, is an issue muddled by varying definitions of truth. The problem lies in a definition of
"Human beings often see coherence and planned design when neither exists. This is so in movies, literature, history, economics, and psychoanalysis—and constitutional law. Contrary to the repeated claims of George Lucas, its principal author, the Star Wars series was hardly planned in advance; it involved a great deal of improvisation and surprise, even to Lucas himself. Serendipity and happenstance, sometimes in the forms of eruptions of new thinking, play a pervasive and overlooked role in the creative imagination, certainly in single-authored works, and even more in multi-authored ones extending over time. Serendipity imposes serious demands on the search for coherence in art, literature, history, and law.
According to the dictionary, the word "reality" means actual existence based off someone's knowledge or ideology. Everybody knows different things, and everybody's beliefs are also different. Therefore, there are many different perceptions of reality. In fact, nobody's reality will be the same as another person’s. In Richard Kelly's film Donnie Darko, the main protagonist believes he can create his reality through a dream.
Because myths are linked historically not just to literature, but also to the experience of the sacred, their use has the effect turning an experience sacrosanct (Clasby xi). The two texts, Wild Thorns and Waltz with Bashir: A Lebanon War Story are imbued with various myths, of heroism and martyrdom, nation and national identity, and the motherland and revolution. Though the myths in the story are born out of a historical and political necessity to create a unified community, the same myths are also far removed from the lived experience, often alienating characters instead, and limiting the exploration of different possibilities and interpretations of history and nation. Myths, as the chosen form of communication of “prophets, poets and rebels” (Clasby xv), offer a symbolic language for articulating experience that can be used as a narrative of the experience of a people. In the light of the fact that many scholars see “modern consciousness” as a fall grace (Clasby 1), myths elevate the ordinary experience to the sacred (Clasby xi).