The films Bas Arto Leary and Caoineadh Airt Ui Laoire were based on the lament written by Eibhlin(Eileen in the movie) Dubh Ni Chonaill about the murder of her husband in the 1700. Caoineadh Airt Ui Laoire shows the viewer how a brave hero like Airt Ui Laoire could lose his life for resisting British imperialism in Ireland. Moreover, in Bas Arto Leary, Ui Laoire (Oleary) was killed for refusing to sell his horse and having an affair with his wife’s friend (Brid). Although there are some similarities in how both films tell the story of the lament, each film has a unique way of interpreting the story. There are similarities and differences in between the two films. In both movies the main character, Ui Laoire was murdered by the British (Morris’s men). Moreover, both films use a horse as to convey the message of Oleary’s death to Eileen. However, in Bas Arto Leary, Eileen try to take revenge, while in Caoineadh Airt Ui Laoire she did not. Moreover, in Bas Arto Leary, Ui Laoire was found alive before he suddenly drops dead, while in Caoineadh Airt Ui Laoire, Eileen found him dead when Although Bas Arto Leary was not the true source compared to Caoineadh Airt Ui Laoire, it portrays the lament successfully in modern way, but it fails to capture the spirit of the lament. Bas Arto Leary was made more modern by the use of cell phone. Yet we know from the reading of “Ar son an Náisiúin”: The National Film Institute of Ireland’s All-Ireland Films the Gaelic Athletic Association(GAA), “had authorized the filming” in 1948, and the lament was written in the 1700, so the use of cell phones in Bas Arto Leary has not basis in the lament. Furthermore, we learn from discussion #5 that Ireland did not have electricity until the 17th century, and cell phones were invented in the 18th century, so Bas Arto Leary could not have been based on the true
Included within the anthology The Penguin Book of Irish Fiction,1[1] are the works of great Irish authors written from around three hundred years ago, until as recently as the last decade. Since one might expect to find in an anthology such as this only expressions and interpretations of Irish or European places, events or peoples, some included material could be quite surprising in its contrasting content. One such inclusion comes from the novel Black Robe,2[2] by Irish-born author Brian Moore. Leaving Ireland as a young man afforded Moore a chance to see a great deal of the world and in reflection afforded him a great diversity of setting and theme in his writings. And while his Black Robe may express little of Ireland itself, it expresses much of Moore in his exploration into evolving concepts of morality, faith, righteousness and the ever-changing human heart.
poster typically has the white cowboy large, presented front and center, with the antagonists and co-stars all behind him. An iconic western, The Good, The Bad, and the Ugly, has a poster picturing the white cowboy alone. Clint Eastwood stands there tall, stoic, and singular. Typical of most other westerns, the white cowboy is the center of attention. Here, however, there are two non-white figures presented: Bart, the Black cowboy, and a large Native American chief. This movie poster has the same style as other westerns with the color and layout, but is unique in the fact that a black man is presented where a white man would normally be dominating. Once again, this makes a statement about racial improvements. Previously having a black man at
Another critical issue that is undertaken throughout the body of work is the equal representation of all races and preservation of heritage and customs. This crisis is a focal point of Lemonade because it poses a significant threat to the minorities in today’s society.
Many live attempting to decipher the riddle of life. What is life? What is the purpose? What makes? Even though we only seek happiness why can’t we ever seem to achieve it? When we do reach happiness why can’t we seem to grasp it and hold it for more than the few short hours that pass like seconds? The question we must answer first is “What makes happiness, true?”
The Three Here’s for Cooking The romantic comedy, Today’s Special, expressed the worries of Indian parents becoming at ease. Also, expressed the struggles a parent faces in search of a better life, the passion and dedication going unnoticed in the work field, and the connection between friends, a lover, and family. However, the film centered its attention more on the development of Samir’s “cold” cooking within the Indian food, with the help of Akbar. In addition, the main actors in the film looked the part and associated with the main idea of the culture of an Indian family. For instance, Samir’s appearance showed he had drifted away from his family’s culture and developed a professional understanding and love for the cooking industry.
There is particular consideration given to the political climate in this story. It is incorporated with social and ethnic concerns that are prevalent. The story also addresses prejudice and the theme of ethnic stereotyping through his character development. O'Connor does not present a work that is riddled with Irish slurs or ethnic approximations. Instead, he attempts to provide an account that is both informative and accurate.
The ancient mythology of Ireland is one of its’ greatest assets. The glorious, poetic tales of battles, super humans, demigods and heroes ranks among the best of ancient literature. The book of the Dun Cow, (Lebor na huidre), was written around 1100 and contains stories from the eighth and ninth centuries. The Book of Invasions, (Lebor Gabala), tells how the mythical ancestors of the Irish, the God-like Tuatha Dé Danann, wrestled Ireland (or Erin) from misshapen Fir Bolg in fantastic battles. The Fir Bolg were traditionally linked to Gaul and Britain so the analogy between them and the invading English was complete.
Postmodern works often incorporate an aspect of randomness; this randomness is sometimes purposeful while other times it comes across as completely haphazard. Randomness is a part of what defines postmodernity, but how big of a factor is it when trying to classify something as a postmodern work? It’s possible that works including randomness are automatically defined as postmodern or that the postmodern genre was in part created in order to classify these random works in a type of miscellaneous category.
Throughout the novel, Tim O’Brien illustrates the extreme changes that the soldiers went through. Tim O’Brien makes it apparent that although Vietnam stole the life of millions through the death, but also through the part of the person that died in the war. For Tim O’Brien, Rat Kiley, Mary Anne and Norman Bowker, Vietnam altered their being and changed what the world knew them as, into what the world could not understand.
Paddy’s Lament was written by Thomas Gallagher. The date of publication is May 28, 1987 and the book was published by Houghton Milton Harcourt, and the place of publication is New York, New York. There are 372 pages in the book.
La Haine is set in contemporary Paris and highlighting the cultural volatility specifically the lower income districts. The film shows the casual and normal occurrence of violence that the younger generation has in that culture during this specific time of revolt. The three young men, who are of three different ethnicities; Jew, Arab and African, identify with revolt. Though all of these men deal with their oppression differently, it is wise to say that all three of these young men are quite angry in their various identities. They identify with the hate for their culture. The way they act, dress, talk and think stem from the idea hating the environment and all that surrounds them. They're not the only ones that have this sort of mentality in the film though. Actually, there's an entire subculture that the film frames where there is distinct trends and qualities that have stemmed completely off of the idea of hate. The film isolates hate in its most aggressive and deviant form. It highlights the twisted double edge sword of a country in revolt and the products of that country. More importantly, La Haine shows people how to inform about injustice without the act of irrational violence and methods that don’t prove to work.
Born Samuel Wilder on June 22 1906 in Austria. Wilder started working as a sports reporter in Austria before moving to Berlin. His love of detail in his writings is shown in his films. In 1929, Wilder was hired as a scriptwriter for the film Menschen Am Sonntag and was still writing in Germany until Hitler’s rise to power. In 1933, Wilder then moved to Paris. While living there he wrote and co-directed Mauvaise Graine. After the sale of another script, Wilder was able to move to Hollywood, and begin working at Paramount pictures. Wilder then began writing with Charles
Behan, Brendan. The Quare Fellow. Modern Irish Drama. Ed. John P. Harrington. New York: W.W. Norton & Co, Inc, 1991. 255-310.
Ronsley, Joseph, ed., Myth and Reality in Irish Literature, Wilfrid Laurier University Press, Canada, 1977
McCann et al. Belfast: Institute of Irish Studies, 1994, 95-109).