Have you ever thought of how movies create mood and emotions?In Tim Burton’s successful movies, Edward Scissorhands and Charlie & the Chocolate Factory, Burton tries to evoke an emotional response from you. The film Edward Scissorhands is about an invention that have scissor as hands created by an artistic and adventurous inventor. This story revolves around Edward who is taken from the castle on top of the hill where he considered home to a suburban life. In Charlie & the Chocolate factory, a boy named Charlie is able to obtain one of the five Golden Tickets to tour the Chocolate Factory full of surprises. Charlie Bucket is from a poor family and lives in a rickety house in London.
In the movies Charlie and the Chocolate Factory and Edward Scissorhands Tim Burton uses the two stylistic techniques, mysterious tone, and a twisted mood to help convey mysterious aspects of the characters. Tim Burton creates a twisted and daunting tone in both movies by using the technique non-diegetic sound. In Charlie and the Chocolate Factory, Burton uses eerie and majestic music as the contestants are walking into the room of candy. The music grows
- The theme in this book “Like Water for Chocolate” is magical realism. This is one of the major themes because the books story
The fact that the reader is able to get a strong sense of what the Duke is like, is testament to Browning’s skilful use of the dramatic monologue form, coupled with effective word choice and imagery. I found the use of the dramatic monologue particularly effective in creating a convincing portrayal of the character of the duke as it allowed me to feel that I could judge a character with no interference from the writer. Of course, the fact that I felt this way is indicative of Browning’s successful use of the form as nonetheless, the character of the Duke is his creation. Furthermore, while Browning uses the highly regular form of iambic pentameter with lines arranged into rhyming couplets, he successfully employs the technique of enjambment to allow the poem to adopt a speech like rhythm. This is effective as it makes the conversation seem more realistic, portraying the character in a more convincing and acceptable way.
Although this musical rarely breaks the fourth wall we will incorporate this into our version to add more non naturalistic features and make our performance unique. The other elements of kneehigh such as song, dance and the asides do engage the audience in a sense that they will be clinging onto the characters dialogue and song. Another feature of kneehigh used would be multi rolling as all of the members of the group will be taking on more than one role e.g. the person playing the tin man is also playing Aunt Em and the person playing the Wicked Witch is playing the Great and Powerful
But Allende is a psychological realist, and she recognizes realism and the need for the oxygen of romance in the routine of human existence. Allende clearly shows that emotions don’t always follow rules and the most unlikely characters find themselves being enrolled by unexpected passion in the institution of intimacy, as in the light-hearted
Madonna Kolbenschlag considers the magic in Cinderella as a symbol of faith and trust that heroine needs, “the belief that something good can be gained from whatever one does.” Jane Yolen suggests that the true magic refer to “the ability to change our own lives, the ability to control our own lives.” However, in my opinion, magic in Cinderella is first of all an outcome of real lives, and then a kind of reflection of people’s old religious beliefs. To begin with, Cinderella stories belong to fairytales, and fairytales are stories with supernatural imaginations. However, those imaginations are never merely fantasies, that is to say, authors of fairytales must base their imaginations upon the reality, or their fairytales will never be accepted by people. This is why Cinderella stories in different regions appear to be different versions although they almost share a same motif. Take The Chinese “Cinderella” and Charles Perrault’s Cinderella as an example.
The symbolism of the holocaust is engaging as fairy-tales are always considered to have a happy ending but using such a dark topical matter which seems to have no happy outcomes is able to surprise the audience and to keep them reading as the audience is waiting to see the “Happily ever after” (pg. 239). Yolen has used topical/subject matter and intertextuality to great effect to produce a novel which is engaging and intriguing to the
Fairytales during the turn of the 19th century offer collections of stories that are rich in virtue, allowing the reader to learn an appreciable lesson. Moreover, fairytales derive their appeal through the creation of enigmas which are embodied by the characters of their tales. The combination of innocence and bewilderment is strengthened by the clever use of apologues—a fable with animals as characters (“Apologues”). These elements in children’s literature are illustrated in “Little Red Cap”, “Iron Hans”, and “Beauty and the Beast,” whereby the motif of a beast is depicted as a rite of passage. The significance of the beast in all three fairytales is that upon the characters’ interaction with the beast, within a forest, the characters are able to surpass the threshold of childhood and reap the rewards.
Scott Fitzgerald does a wonderful job showing the fine line between illusion and reality, and how hard it can be to fall into the illusion, through all of the characters and the novel The Great Gatsby