Abram Room’s 1927 film, Bed and Sofa, focuses on the story of a Russian woman named Liuda who struggles to win the attention and respect of her two husbands, but while watching the film one cannot help but to notice the many homoerotic scenes between the two husbands, Kolia and Volodia. These men are not homosexuals, but as discussed in Doty’s essay on the Wizard of Oz there are definitely a few moments that make you raise an eyebrow or chuckle a little bit because these “straight” men often seem more like the couple in the movie than with Liuda, the woman. Bed and Sofa is a film about a woman searching for her identity and fighting for some much-needed attention, but underneath this main story there are many other elements, and one of the …show more content…
Not only does the narrative work at forming this homoerotic conclusion, but so does the cinematic style—especially when it comes to the mise-en-scène of Kolia (who was played by one of the only experienced actors.) Kolia’s expressions are often very intense and almost unrealistic, but they do a wonderful job of showcasing his emotions, which works perfectly because of this being a silent film. His facial expressions with Liuda differ throughout the film. His facial expressions with Volodia on the other hand are almost always the same. Whenever he is talking to Volodia (except a couple of scenes where they are fighting, and even then, there is still kind of an old married couple vibe) his facial expressions are very bright and happy. His eyes always seem to widen, and he gets this very unique smile. Throughout the film he always seems happier to be with …show more content…
When Kolia puts his hands on Volodia’s eyes, Volodia does not pull away instead embraces them. He “thinks” that they are Liuda’s hands but even that is hard to believe considering Kolia is working man, who surely has very hairy course hands. After a while Kolia and Volodia kiss each other, which in itself was not uncommon for the time and place. The homoerotic vibes come from what kind of kiss it was and the reaction of Kolia afterwards. The kiss seems more of a personal one because Volodia does think that it is Liuda. After this personal kiss Kolia is not dismayed or disgusted instead he smiles and has a grin on his face, which certainly sends out homoerotic vibes to the
Jonathan Kozol revealed the early period’s situation of education in American schools in his article Savage Inequalities. It seems like during that period, the inequality existed everywhere and no one had the ability to change it; however, Kozol tried his best to turn around this situation and keep track of all he saw. In the article, he used rhetorical strategies effectively to describe what he saw in that situation, such as pathos, logos and ethos.
Strangers on a Train is one of Hitchcock’s most well-known films. It is typically analyzed in terms of the ways that the two main male characters interact. According to many film critics, homosexual attraction between Bruno and Guy is one of the premises of the film. This may be the case, however, many of these film critics fail to consider the minor characters of the film: the women. Specifically, they fail to analyze the influence of these women on the development of the male characters and to interpret the message Hitchcock is trying to portray about women, especially those with qualities typically not associated with women.
In 102 Minutes, Chapter 7, authors Dwyer and Flynn use ethos, logos, and pathos to appeal to the readers’ consciences, minds and hearts regarding what happened to the people inside the Twin Towers on 9/11. Of particular interest are the following uses of the three appeals.
Anticipation is prevalent throughout The Road, which is set by the narrative pace, creating a tense and suspenseful feeling and tone.
In the book Into the Wild, Jon Krakauer wrote about Christopher McCandless, a nature lover in search for independence, in a mysterious and hopeful experience. Even though Krakauer tells us McCandless was going to die from the beginning, he still gave him a chance for survival. As a reader I wanted McCandless to survive. In Into the Wild, Krakauer gave McCandless a unique perspective. He was a smart and unique person that wanted to be completely free from society. Krakauer included comments from people that said McCandless was crazy, and his death was his own mistake. However, Krakauer is able to make him seem like a brave person. The connections between other hikers and himself helped in the explanation of McCandless’s rational actions. Krakauer is able to make McCandless look like a normal person, but unique from this generation. In order for Krakauer to make Christopher McCandless not look like a crazy person, but a special person, I will analyze the persuading style that Krakauer used in Into the Wild that made us believe McCandless was a regular young adult.
But he does not simply dispel the myths of early 20th century gay life, he also details such myths to...
... homosexual being felt in the world around the 1970’s and 1980’s. The time period in which this play was written was one of great dissonance to the LGBT movement. For Harvey Fierstein to be so bold and public with his own lifestyle was truly admirable and brave. Fierstein shows us that ignorance can destroy a life because of what is unknown.
Pollan’s article provides a solid base to the conversation, defining what to do in order to eat healthy. Holding this concept of eating healthy, Joe Pinsker in “Why So Many Rich Kids Come to Enjoy the Taste of Healthier Foods” enters into the conversation and questions the connection of difference in families’ income and how healthy children eat (129-132). He argues that how much families earn largely affect how healthy children eat — income is one of the most important factors preventing people from eating healthy (129-132). In his article, Pinsker utilizes a study done by Caitlin Daniel to illustrate that level of income does affect children’s diet (130). In Daniel’s research, among 75 Boston-area parents, those rich families value children’s healthy diet more than food wasted when children refused to accept those healthier but
During my first semester at the University of Alabama I wrote several essay including a response essay, a rhetorical essay, and annotated bibliography and a research essay. Although these assignments each had different objectives, they were all written to work towards reaching the Student Learning Objectives for English 103 that were provided at the beginning of the semester. This semester I worked to further my skills regarding my ability to employ writing strategies appropriate to each assignment’s purpose, locate assignment-appropriate sources from multiple places, and ethically use source material in academic arguments.
The movie trailer “Rio 2”, shows a great deal of pathos, ethos, and logos. These rhetorical appeals are hidden throughout the movie trailer; however, they can be recognized if paying attention to the details and montage of the video. I am attracted to this type of movies due to the positive life messages and the innocent, but funny personifications from the characters; therefore, the following rhetorical analysis will give a brief explanation of the scenes, point out the characteristics of persuasive appeals and how people can be easily persuaded by using this technique, and my own interpretation of the message presented in the trailer.
The Letter from Birmingham Jail was written by Dr. Martin Luther King Jr. in April of 1963. Dr. Martin Luther King Jr. was one of several civil rights activists who were arrested in Birmingham Alabama, after protesting against racial injustices in Alabama. Dr. King wrote this letter in response to a statement titled A Call for Unity, which was published on Good Friday by eight of his fellow clergymen from Alabama. Dr. King uses his letter to eloquently refute the article. In the letter dr. king uses many vivid logos, ethos, and pathos to get his point across. Dr. King writes things in his letter that if any other person even dared to write the people would consider them crazy.
In the French film 8 Femmes, François Ozon, the director, guides a play from the 1950’s that focuses on a lively family that have deep secrets that all intertwine. In this musical mystery, comedy film, a murder has happened and each woman has their own motives for wanting to kill the man in the home. Yet, Ozon’s storyline is not the main focus of the film. The film follows each of the women which show the themes of betrayal, secrets, and most importantly sexuality. Sexuality is a main theme in many of François Ozon films that he directs. Sexuality in the cinema can be seen in many of his films because it affects Ozon personally.
To this day Rope, Alfred Hitchcock’s first color film, remains one of the most original motion picture dramas. With the exception of the opening credits, Rope was shot on one individual set located within a soundstage, similar to as if a play was being performed on stage. Despite the confined space the film occupied, the atmospheric anxiety carried on up until the very end. Furthermore, Hitchcock successfully created a deception, of the same repetitive shot. Nonetheless, during the one hundred and eight minute film, it’s hard not to notice the closeness Phillip and Brandon shared sexually together, making them homosexuals.
A “The Perfect Lover”, Rudolph Valentino was a motion picture star of the 1920s. His ethnic masculinity in The Sheik (1921) explicitly appealed to the female audience. He challenged gender politics of what women wanted in a male lover and also American values and ideals. Which lead to him posing as a threat to the traditional American man, “the physically passive mollycoddle or effeminate sissy boy.”
Boa, Elizabeth. "Wedekind and the 'Woman Question'." Boa, Elizabeth. The Sexual Circus: Wedekind's Theatre of Subversion. New York : Basil Blackwell Inc. , 1987. 167-202. Print.