Othello Essay Essay Example

Othello Essay Paper In act 5 scene 2 of the drama ‘Othello’ . we witness Othello killing his married woman Desdemona because Iago tricked him into believing that she was perpetrating criminal conversation. Throughout the drama Iago fooled Othello into believing that his married woman was rip offing on him. this narrative line flood tides in this concluding scene when Othello kills Desdemona so takes his ain life in compunction. After reading William Shakespeare’s authoritative. wrote in the nineteenth century. I watched Oliver Parkers movie version ( 1995 ) . The lighting. costumes. camera shootings. music. scenery and histrions were all used to great consequence to portray the play that ensued in the ilm. We will write a custom essay sample on Othello Essay specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Othello Essay specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Othello Essay specifically for you FOR ONLY $16.38 $13.9/page Hire Writer As in all movie versions there are many differences to the narrative line. chiefly because the book depicting what is traveling on in the background is non needed in a movie as we can see what is traveling on. This is illustrated in lines 20-22 as they are omitted because they are unneeded due to the stopping point up shootings. which clearly show Othello crying. Appearance and world is a subject which reoccurs throughout Othello. and plays a important function. This subject has its most powerful and dramatic realisation in the character of Iago. Iago fools everyone in the drama into believing he’s honest. for although he is alled ‘honest’ by about everyone in the drama. he is unreliable. deceitful. and manipulative. No one even suspects him of perfidy. until the concluding act when Roderigo foremost realizes how severely he’s been fooled. In short. Iago proves that evil purposes can be masked behind a frontage of honestness. The subject emerges in other characters: Brabantio is deceived by Desdemona’s reaction to Othello. presuming she fears him when she genuinely loves the Moor. Othello suspects that Desdemona is fallacious and impure. although she is truly inculpable and guiltless. Othello besides feels he’s being deceived by Cassio. whom he trusts and ho appears loyal. Emilia’s exterior suggests salty indifference. but she turns against her hubby and dies in rebelliousness of Desdemona. It is the military values. such as honestness. trust and friendly relationship. which are supposed to be between soldiers allow Iago to full pull strings the characters. ( Othello. 1995 ) On the issues of theme visual aspect versus world. Othello and fellow characters place great dependance on their eyes and in making so they jump to decisions. There rather a few illustrations where there is some sort of confusion in that characters believe n merely their eyes indicate to them. hence. Looks can so be really lead oning. One examples where the subject visual aspect versus world comes into consequence. is when Othello spots Cassio walking off after speaking to Desdemona. This formed the footing of enviousness and gave rise to intuition for which Laga was responsible as he made Othello cognizant that an matter was taking topographic point between Cassio and Desdemona. In truth Laga was the 1 who was covetous. In Othello the usage of imagination and linguistic communication by Parker is sighifant it shows the significance because it helps us to see the chief subjects. The chief subjects are nature. visible radiation. snake pit and immorality. Othello. 1995 ) Iago says ‘I’ll pour this plague into his ear’ in the monologue I think the author used the metaphor because it is effectual because Iago says prevarications and prevarications are like a disease or toxicant which shows how his prevarications are to destroy Othello. The plague means disease so this means Iago stating atrocious prevarications. In the address Iago makes many mentions to hell. Devils will the blackest sins’ I think the writer put it a batch of mentions to hell because it reflects Iago’s personality and shows how dark the narrative is. The audience may believe besides that Iago is the Satan. So the subject here is one of darkness and immorality. In Iago’s monologue Iago uses the word ‘Moor’ a batch. This shows Othello is ever on Iago’s head and it shows he hates Othello. In the monologue the contacts between black and white is besides used as a metaphor ‘virtue into pitch’ between Othello and Desdemona In the movie Othello directed by Oliver Parker Iago’s monologue represents a batch about his character. In the beginning Iago’s face is in a batch of shadow. This shows Iago is two faced because the shadow shows two sides of his face. When Iago says ‘I play the villian’he touches his ear. This is a mark proposing he is lying and experiencing nervous so the stance alterations to a more of a edgy subject. Iago is placed in the dark. bluish dark at the beginning to stand for he is a dark. evil character. He talks as though the audience is his friends at the beginning. Iago stares out into the out when he is speaking about Desmonda. This shows he is believing about how to pin down her. When Iago is speaking about Othello. Iago nods in the way of the palace. By making this he is demoing that he is ever cognizant of Othello and worried that he may acquire found out. Iago alterations rapidly when he say’ Divinity degree Fahrenheit snake pit! ’ He voice becomes lower and more serious. This is because he is uncovering more and more of his program to pin down them all. Iago keeps oculus contact with the audience at this point. This shows he wants to affect the audience in his program and besides to demo that he earnestly wants to do Othello experience hurting. The music at starts off quiet so grows louder. The music starts on the line ‘Divinity of snake pit! ’ This is because he cursed and he going more and more darker in what he says. Violin strings do the music ; this creates a creepy music. which is merely right to demo how evil and creepy Iago is. Towards the terminal of the address Iago moves towards the fire. The ruddy fires of the fire represent Iago’s evil side because ruddy is usual associated with snake pit Iago holds the smouldering terminal of a fire log and snuffs it with the thenar of his fist stating. ‘So will I turn her virtuousness into pitch’ . and out of her ain goodness make the cyberspace that shall ensnarl them all. This shows Iago wants to utilize Desdemona in his immorality program and by utilizing her he will turn her from being white and pure ( ‘virtue’ ) into non so pure ( ‘pitch’ ) . When Iago closes his custodies in the address. This represents him pin downing them all. If I were directing this scene foremost I would hold had sounds of air current to demo the presence of immorality. I would hold Iago have oning wear dark colored apparels. to demo the audience that he is dark. When Iago references Othello he says ‘Moor’ so when he says ‘Moor’ I would hold him draw an angry face to demo his hatred towards Othello. When Iago says’ She’s framed as fruitful’ He should state that truly reasonably and smile but in a sarcastic manner to demo that Othello thinks the universe of her. Then he should alter from a reasonably voice to a serious voice when he says ‘then for her. to win the Moor again’ . By making this he is demoing his program because he’s utilizing Desdemona beauty and inasuns to acquire O thello. When Iago asks rhetorical inquiry such as ‘How am I so a villain’ he should look straight at them camera to the audience and wink a spot to demo that he knows he is non guiltless but he still tries to do everybody believe that he is. Towards the terminal of the address when Iago says ‘So will I turn her into virtuousness into pitch. And out of her goodness make the cyberspace. that shall ensnarl them all. ’ He should be sitting on the autumn playing about in the irt. so as he is stating the line he should catch the soil put it over his manus and so do a fist with the remainder of the soil to demo that he is pin downing them all. The music should be still creepy but a bit darker like more fiddles should be added to do the music darker. This would be good because it would demo Iago is even darker. The music should get down off quieter but so turn louder at the line ‘Divinity of snake pit! I feel the music needs to be on throughout the monologue to demo how dark Iago is. Iago’s aim ‘make the net. That shall ensnarl them all’ ; is really successful because Iago foremost traps Roderigo by stating that he will et Desdemona for him. Iago following traps Cassio by acquiring him rummy and so Cassio loss his occupation. Following Iago traps Desdemona by doing her ask Othello to give Cassio his occupation back so Othello thinks she is holding an matter. Iago successfully traps Othello into believing that his ain married woman is holding affair without any concrete cogent evidence. Many deceases go on. Desdemona dies. Rodergio dies. Iago married woman dies and Othello dies. Iago has trapped them all because they all dice and he got his retaliation on Othello. There are many utilizations of illuming in a movie. Oliver Parker uses illuming to great consequence at he get downing of Act 5 Scene 2. He sets the scene by utilizing really hushed lighting ; this technique reflects the at hand day of reckoning and Othello’s. dark dull frame of head. Desdemona’s chamber bit by bit becomes darker as Othello extinguishes the tapers as he walks down the hallway towards Desdemona. This signifies that Othello is so traveling to kill Desdemona who was the ‘light of his life’ before the whole adventure. His attack towards his married woman is slow and deliberate. assisting to construct up the tenseness which we the audience feel in relation to our hopes. frights and outlooks sing the destiny of Desdemona. Parker adds further to the dramatic consequence by the powerful intermission prior to Othello speech production. He uses this chance to demo his first shut up of Othello’s tear-stained face. ( Othello. 1995 ) Equally good as excluding lines from Shakespeare’s text Parker inserts lines from old scenes because they seem to do more sense as respects to reading of events. For illustration after line 73 Oliver Parker inserts line 128-129 from Act 5 Scene 1. ( Shakespeare. 2004 ) In the movie Othello approximately throws Desdemona back onto the bed. ( line 78 in the text ) . Again the eerie. stalking music begins signalling impending day of reckoning. Shakspere does non depict Desdemona contending back. Parker. nevertheless. seems to propose that she merely wasn’t a inactive victim. The first flood tide in Act 5 Scene 2 is Othello surrounding his hapless bride. It is a most powerful heart-wrenching scene to watch. Here Parker strikingly uses the close-up technique to its fullest advantage as we see the Whites of Othello’s eyes whilst smothering his married woman. clearly exposing his hurt and angst. Another powerful image is one of Desdemona white manus fondly covering the caput of her liquidator. followed by a hunting close up of Othello’s tear stained face. Othello. 1995 ) In line 140. haunting music returns as Emilia realises that Iago has lied about Desdemona’s behavior to Othello. ensuing in her ill-timed decease. In lines 156-158. in Parker’s version. Emilia shouts â€Å"murder. Again we see a powerful close up of Othello’s heartache at the inexorable realization that he has wrongly killed his darling married woman. ( Shakespeare. 2004 ) The 2nd flood tide to this scene is when Othello stabs Iago who collapses to his articulatio genuss. Othello besides drops to his articulatio genuss. Here we see an image of both histrions gazing each other out. This image is doubtless one of good facing immorality. Then Othello delivers a traveling address to his audience summing up his life. Out of the corner of our eyes we see the flicker of a sticker hidden in the thenar of Othello’s manus. this increases the tenseness in the audience. We so see shootings of Cassio’s and Iago’s reactions. We see a little bead of compunction in Iago’s eyes. We so see Othello utilizing his necklace as a noose before he fatally stabs himself. He is so filmed creeping onto the bed. fighting to make Desdemona whereupon he kisses her foregrounding their love for each other. Parker has created his ain stoping to the unsolved original text. Othello. 1995 ) We watch Iago whose character I will concentrate on shortly join Desdemona Emilia and Othello on the bed ; this possibly shows his regreat. He stares at the camera as if oppugning the audience. Hope is symbolised by Cassio opening the shutters whereupon light enters the room. bathing the characters. Parker has besides added a scene demoing Othello and Desdemona being berried at sea against a glorious deep ruddy sundown. This is symbolic of the passion that existed through the two characters. This cartridge holder is peculiarly powerful as it can be associated with an earlier seen demoing Iago hrowing excessively chess pawns. one black and the other white into a well. A pawn is the least valuable cheat pieces in a chess game. This symbolises how Othello and Desdemona where both pawns in Iago’s game. Parker besides uses the consequence of costumes to add to the movie. Desdemona is have oning a white nightgown. which is symbolic of her pureness. Othello is have oning a white hooded cloak. which besides shows his artlessness in Iago’s game. He is besides have oning a batch of jewelry symbolizing his wealth. Iago is have oning a dark brown outfit throughout the movie unlike his personality. which changes invariably.

Free Essays on Zeitgeist

The expression â€Å"zeitgeist,† with credit to Merriam Webster Dictionary, refers to the general intellectual, moral, and cultural climate of an era; the spirit of the time. When we reference this notion of zeitgeist against a particular time or era, we do so with respect to the taste and outlook characteristic of that period or generation. Also, in regards to the zeitgeist of a particular time, one must look at the effect it has on people. In order to narrow our research, we shall focus our efforts of briefly identifying the zeitgeist at the turn of the twentieth century. Turn-of-the-century periods are curious times; liminal spaces between the eras being left behind and the ones that have yet to unfold. Such was the turn of the twentieth century. The â€Å"turn,† as it was once referred to, featured a time in which a sense of faith poured into science and technology. The general public of the time were captivated by the technology of flight that came onto the scene at the turn of the century. The growth of expertise in scientific knowledge spearheaded an â€Å"ism† that has a much attractive connotative ring than many of the â€Å"isms† of early and modern days: professionalism. Professionalism more or less initiated a movement into what we today consider respectable professions. Professionalizing such areas as the medical field and engineering added a much-needed degree of competency to each respective field, barring the incompetent. However, the professional status in these areas was reached by only a select few: white Anglo-Saxon males coined the â€Å"majority.† The turn of the twentieth century fostered this type of intellectual and cultural climate. It restricted the access of the professional ranks to those not in the majority making it difficult for women, blacks, and working class immigrants to reach these ranks. Also, during this time, social workers sought professional status. Those in this area sought out t... Free Essays on Zeitgeist Free Essays on Zeitgeist The expression â€Å"zeitgeist,† with credit to Merriam Webster Dictionary, refers to the general intellectual, moral, and cultural climate of an era; the spirit of the time. When we reference this notion of zeitgeist against a particular time or era, we do so with respect to the taste and outlook characteristic of that period or generation. Also, in regards to the zeitgeist of a particular time, one must look at the effect it has on people. In order to narrow our research, we shall focus our efforts of briefly identifying the zeitgeist at the turn of the twentieth century. Turn-of-the-century periods are curious times; liminal spaces between the eras being left behind and the ones that have yet to unfold. Such was the turn of the twentieth century. The â€Å"turn,† as it was once referred to, featured a time in which a sense of faith poured into science and technology. The general public of the time were captivated by the technology of flight that came onto the scene at the turn of the century. The growth of expertise in scientific knowledge spearheaded an â€Å"ism† that has a much attractive connotative ring than many of the â€Å"isms† of early and modern days: professionalism. Professionalism more or less initiated a movement into what we today consider respectable professions. Professionalizing such areas as the medical field and engineering added a much-needed degree of competency to each respective field, barring the incompetent. However, the professional status in these areas was reached by only a select few: white Anglo-Saxon males coined the â€Å"majority.† The turn of the twentieth century fostered this type of intellectual and cultural climate. It restricted the access of the professional ranks to those not in the majority making it difficult for women, blacks, and working class immigrants to reach these ranks. Also, during this time, social workers sought professional status. Those in this area sought out t...

What is the evidence on Parents or Family role in Childhood Obesity in Literature review

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'Can managers influence the culture of their organizations Discuss Essay

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Horror Women Clover

Horror Women Clover How has the role of women in horror films changed? Using Carol Clover, ‘Theory of Final Girl to analyse 1 scene from ‘The Hitcher, the changing roles of women in horror films will be explored. Traditionally horror films have seen women take on the role of the victim. More recently this has changed whereby the  women has taken on a more powerful and dominant position. ‘Carol Clover a professor of film wrote a book called ‘Men, Women and Chainsaw: gender and the modern horror film which focused on women. She developed a theory, which changed the way gender is looked upon in horror films. In a lot of ‘slasher films the women are represented as victims although what interested me is how the womens role has changed in recent years to what ‘Carol Clover claimed to be the ‘final girl. Women have been subject to different representations throughout time, within the horror genre; of which female audience consider being a sexist image. I will be exploring how women are represented in the films mentioned, analysing the scenes and comparing this to Carol Clover, and how the roles of women have changed through time. To do this I will look at ‘The Hitcher a 2007 remake (Michael Bay production) (Director Dave Meyer) which presents a clear representation of the ‘final girl. Grace Andrews (Sophia Bush) and Jim Halsey (Zachary Knighton) decide to hit the road for spring break. However the film turns from a chick flick to the two of them fighting for their lives and trying to save others. The 1986 original is some what different from the remake where there is no final girl and the boyfriend is the only survivor. Dave Meyers wanted to create ‘female empowerment which is an added twist to the remake. Female empowerment is also demonstrated in a film series called ‘Saw. Directed by James Wan, the plot revolves around ‘Jigsaw Killer who kidnaps his victims, put them in traps and gives them a chance to repent from their previous lifestyle in which they took for granted. One victim from Saw named ‘Amanda Young (Shawnee Smith) survives the trap and becomes ‘Jigsaw Killer partner. ‘Amanda is a heroin addict which she started while in prison. She is ‘Jigsaws only known survivor and believes it has made her a better person. This film clearly displays the female role changing from victim to survivor although this film goes against the theory of Carol Clover, in terms that ‘Amanda becomes a murderer. Women throughout horror film history have been stereotyped to victimisation and the focus of brutal murder. History has seen change from women not being able to vote to having basic human rights and a high status in society. Feminists have come along way to changing this stereotype, this being, able to direct films and having the chance to control a piece of media which affects the way people (women) are perceived by an audience. (Bridget (1999) â€Å"Without feminism there would have been no final girl or avenging women†. This quote shows that even though films such as ‘The Hitcher or ‘Scream were not writen, directed or produced by women, feminism has come a long way where women have more power in soceity and is being portrayed in films just as Dave Meyers wanted to create. This is to do with social change. According to film maker magazine blog, women are now attending the cinema to watch horror films more and are exceeding male figures. Carol Clover questioned who the audience identifies them with. It is assumed that the male identifies with murderer who is usually male. Many argue that men in the audience are sexually aroused by the victimisation of the female. This is caused by the camera angles and lighting. Murder of the female if shot from the mens point of view ‘Gaze Shot (masculine voyeur vs feminine victim). Carol Clover argues that the audience identifies with ‘final girl, and that the viewer (male or female) identifies with the fright of being attacked rather than the satisfaction of the murderer as he attacks. The final girl remains ‘virginal and ‘pure while her friends do the opposite. She escapes because she does not partake in adult hood such as drugs, and sexual intercourse. The final girl fights back and is the damsel in distress. The unempowered woman makes a movement to power over men. In order to compare Carol Clovers theory to ‘The Hitcher I shall look at 2 scenes from The Hitcher. The first scene opens and the viewer sees Grace (Sophie Bush) and Jim (Zachary Knighton) walk to a motel. There, they take a shower together and Jim steps out of the room to make a phone call, telling her that he will be gone for 15 minutes. Hes gone for several hours and Grace falls asleep watching a Hitchcock film. She is then awakened by someone in the bed who is feeling her up. She assumes it is Jim but then sees that it is Ryder (Sean Bean) trying to rape her. She tries to push him away, but Ryder gets on top of her. We see his hand over her mouth trying to stop her screaming. The camera shot is high angle which is used to make her look vulnerable and powerless. We see her bite Ryder hand and he hits her. The shot is then focused from Grace Eyes also known as point of view shot. When the low angle shot is used it emphasises the power and strength that Ryder has being on top of her. Throughout the scene a master shot is applied whereby the director cut from Ryder to Grace and back to Ryder throughout most of the scene. This showed the reaction of the two characters and established a clear spatial (space) and temporal (time) relationship. The audience then sees Grace grab the phone on the side table, of which she then hits him over the head and tries to get off the bed. Grace hits him over the head with the lamp she picks up from the floor and runs to the bathroom. Grace is trying to shut the door and the camera is focused mainly on her. Here a Close up is used. This is to draw the viewer/audience closer and involve them in what is happening. The close up shot also enables the audience to observe the reactions of Ryder and the emotions of Grace. There are two sorts of lighting being displayed in the scene; these are artificial and key light. The artificial lighting is low key to create a slight shadow on Ryder to make him seem dark and mysterious just as his character is portrayed throughout the film. The key lighting was needed as the scene was shot in the bathroom where there is no natural light available. Grace manages to close the door as she reaches for a gun and Ryder walks out of the room. She then makes her way to find Jim who she sees tied up between two trucks of which is stretching Jim every time Ryder accelerates. Throughout the whole of the last scene you see her fight for her life and she survives but she becomes extremely weak in this next scene when Jims life is on the line. Ryder keeps hitting the gas, brutally hurting Jim and tells Grace to get in and close the door. Grace begs and pleas with Ryder to stop and begins to cry but asks him questions such as what do you want and calls him sick. Her character changes from being strong to being very weak. Ryder says he cant stop and he wants to die. Here the theory of Carol Clover audience identification takes place. The close up shot enables the audience to identify with him or her and clearly the director wanted the scene to be focused on the audience identifying with the female. When focusing on editing of the scene there is a lot of cuts from Grace to Ryder and a two shot in between, this is often used when two people are in conversation. When counting the cut shots, when focused on Ryder they add up to less than 30 while the shots focused on Grace are over 30. The cops show up and see Grace with Ryder at gunpoint. They tell her to drop the gun, but Ryder tells Grace not to listen to them. Ryder then tells her to point the gun between his eyes. Grace cant do it so Ryder does it for her. Ryder then tells her to shoot him, but she cant, puts the gun down and says for Ryder not to hurt Jim. Grace shows a sign of femininity whereby she becomes very emotional and shows how much she cares for Jim Throughout the scene the audience can hear Jim moaning and groaning in agony. Ryder then gets impatient and snatches the gun out of her hands. He then mutters under his breath, Useless waste. There is a FX sound effect where the audience can hear a ‘splat where the blood explodes outwards to make the audience feel as thought they are the experiencing what has just happened to the victim (Jim). Although there is more to this than blood and emotion that makes the scene work, if she shoots him the foot will come off the brake and he will die and if she doesnt he puts his foot on the accelerator and Jim will die. Its a no win situation making you wonder what will be her decision. At the end of the film Grace does shoot and kill Ryder. Before hand Ryder smiles and asks Grace if it feels good. Grace tells him she doesnt feel a thing shoots him and walks away. The analysis has made the theory of Carol Clover more clear in terms of audience identification. Who does the audience identify with and why, are questions Clover asked when watching the slasher films. According to her theory, Carol said that audience identification was down to gender fluidity whereby the male killer was sexually repressed and therefore the male viewer could not identify themselves with them. For example: films such as Halloween, Psycho and Nightmare on Elmstreet, all the killers are sexually repressed and having something wrong mentally. Freddy Kruger (Nightmare on Elmstreet) was the result of him being brutally raped, and ‘Halloween was in response to his sister indulging in adulthood. However Ryder is not sexually repressed. Here her theory does not work. I believe that the camera shots and cuts affect who the audience is ‘forced to identify with. The audience (male) was being made to identify themselves with the female (Grace). Whereby there were more cuts of her, the audience had no choice but to see her emotion and hear her plea. At times Grace was isolated and alone making the audience only identify with the character they are being shown. I also feel as though the male audience identifies with Grace rather than Ryder because he lacks masculinity and deep down is weak as I will explain. Many times Ryder says he wants to die and for them to kill him as he cant do it himself. He makes Grace strong enough to kill him by killing others. However its always a no win situation. It is as if he doesnt want to die alone and is scared. The analysis above demonstrates a no win situation. Eric Red (director is ‘Hitcher 1986) talks about the film in 1986 and states that, â€Å"Because of the hell living inside his skin, John Ryder wants to die. But he wants to make Jim Halsey strong enough to kill him and he does.† (Eric Red Interview) In the 2007 remake, Grace is made strong enough to do this. There is a connection between her and the killer just like there was a connection between Jim and Ryder in the original Eric Red says, â€Å"I really think that this strange psychological connection between The Hitcher and the Kid, the irony that something of value is passed from this horrific guy Ryder to Halsey, strength to persevere in a nightmarish world† (Eric Red Interview) Looking closely at the film, it has made me has made me think about the narrative structure and that although the target victim in cab scene was not a girl; Ryder used Jim to get to Grace. Ryder was making Grace even more vulnerable and weak by taking away the man (protector) of her. She proved her weakness by not shooting Ryder and letting her boyfriend (Jim) die. This causes the narrative to move on and have Grace as Ryders last victim and for her to be the avenging women/ final girl. The audience does not need to know the killer past, but here the killer is trying to pass what he does and what he feels onto someone else so they can kill as well. This also happens in Saw. Amanda takes on the role of Jigsaw. Ryder many times says he wants to die and for them to kill him, but its always a no win situation. It is as if he doesnt want to die alone. For example the analysis shown above demonstrates a no win situation. Moving on, Clover argued that the final girl fights back just as Grace is doing. Grace is the one who sees everyone die. â€Å"Final Girl is chased cornered, wounded; whom we see scream, stager, and fall, rise, and scream again. She alone looks death in the face, but she alone also finds the strength either to stay with the killer long enough to be rescued (ending A) or to kill him herself (ending B)†. (Screams Of Terror) The two different endings are due to the evolution of feminist movement in film. If we look back at one of the first Final Girl films such as in Psycho, Lila figures out the unknown and when Bates attacks her, she is not given the chance to fight back as she is almost immediately rescued. This is ending A. Halloween, Laurie, was the first final girl to fight back (Ending B). Hitcher has ending B whereby the female (Grace) has empowerment to kill Ryder and to be just as strong as a male. This is where gender fluidity of the final girl plays its part. This enables the final girl to be identified by the male audience. She is not too feminine but has masculine traits such as being brave, intellectual and strong. The Final Girl is the one to make it to the end of the film. However I feel as though that her theory has left out an important thought that females can be crazy and psychotic as men. ‘Urban Legend, ‘Friday the 13th and ‘May show that females can be serial killers too. I feel as though her theory is one sided. ‘Urban legend is the result of her boyfriend dying due to few girls carrying out an urban myth. The killer in ‘Friday the 13th is revealed as a middle-aged woman whose son, Jason, drowned years earlier as a consequence of negligence on the part of the camp counselors. The women in these films commit each murder as an act of revenge. However ‘May just like the male according to Clover theory is also sexually dysfunctional. ‘May doesnt understand how to react around others and this frightens people, so the only way she can keep them in her life is by killing them and keeping parts of them to make a ‘big doll. The big doll wont even leave her as a doll isnt real. Bibliography Carol Clover (1992) Men, Women and Chainsaws: Gender and the modern horror film, BFI Publishing Bridget, Cherry (1999) Refusing to look: female viewers of the horror film, Publisher The Hitcher Saw 1, 2, 3 www.best-horror-movies.com/female-serial-killer.html comm2.fsu.edu/faculty/comm./sapoisky/research/bookch/slasher.html Mass Media and Society edited by A. Wells and EA Hakanen. 1997. Greenwich, CT; Ablex Publishing www.filmmakermagazine.com/blog/2007/02/female-trouble.php Hitch with Red, Jan. 16, 2007 http://www.joblo.com/arrow/index.php?id=6449 Eric Red Interview http://everything2.com/index.pl?node_id=1775841 Feminist Horror Film Theory Mon Jan 09 2006 http://www.screams-of-terror.com/teenie.asp screams of terror 14/2/08

East vs West :: Comparative, Rukmani and Kenny

In Nectar in a Sieve, Rukmani and Kenny highlight the differences in the two cultures, showing how the two cultures have different standards for relationships and how Westerners try to change suffering and poverty while Easterners accept it. As Rukmani points out to Kenny, â€Å"Have I not so much sense to see that you are not one of us? You live and work here†¦ but this is not your country† (Markandaya 106). Kenny and Rukmani are friends, but their different values on subservience in relationships and suffering cause them to butt heads during most of their conversations. Rukmani and Kenny’s conversations show how Easterners value respect and reverence, while Westerners put and emphasis on equality. After Kenny helps her conceive, Rukmani bends down to kiss Kenny’s feet, thinking she is showing respect. Kenny doesn’t like it: â€Å"He withdrew [his feet] quickly and told me to get up. ‘I am not your benefactor’† (Markandaya 32). Similarly, Rukmani is hesitant to ask about Kenny’s family because it is personal: â€Å"Of himself he did not speak†¦ I held my tongue, for I felt to ask would be to offend him† (Markandaya 33). Both of these events show how the two cultures misunderstand each other. Kenny doesn’t like when Rukmani kisses his shoes because he doesn’t feel above her, but she is just trying to be nice. And Rukmani doesn’t understand what will and won’t offend Kenny because her culture doesn’t encourage asking personal questions. Their conversations show more deeply how each culture views marital relationships. Rukmani only sees Kenny for her fertility problems when her husband won’t find out; she believes he will be angry (Markandaya 21). She also only takes Ira to Kenny when her husband leaves town: â€Å"I (Rukmani) waited all day [to see you]. My husband will be back soon and the I cannot come† (Markandaya 59). Though she subverts it, Rukmani is limited by her belief she cannot disobey her husband. Instead, since she doesn’t ask his permission, she can’t break his rules. Kenny scorns this, saying, â€Å"You people will never learn. It is pitiful to see your foolishness† (Markandaya 59). In Kenny’s country, women have rights. They can even divorce their husbands, as Kenny’s wife does. Rukmani fails to understand how this woman can leave her husband and wonders if it’s Kenny’s long absences. They discuss women’s role, Rukmani says, â₠¬Å"A woman’s place is with her husband† Kenny replies, â€Å"You simplify everything†¦ Your views are so limited it is impossible to explain to you† (Markandaya 106).