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Effect of media and films on society
Effect of media and films on society
Effect of media and films on society
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Hope in Despair: The Greatness of Miyazaki Hayao
“Animation time!”
When I was in elementary school, my dad would often begin the perfect Sunday experience this way, and I would dash out of my room, hop onto the sofa, and curl myself around my father’s round belly. On one of these days in particular, we watched Miyazaki’s My Neighbor Totoro (1988). The few things I still remember about the movie are the huge, puffy, and eccentrically adorable forest spirit Totoro – with his eyes staring nowhere – and my dad’s warm and soft stomach covered by a wool sweater of exactly the same shade of gray as Totoro’s fur.
My Neighbor Totoro was my first Miyazaki film. I had heard several times that Miyazaki was one of the greatest animators of all time, but
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It is never the stereotypical one between greedy exploiters and innocent wildlife, or between post-apocalyptic society and ominous nature. In Princess Mononoke, people have to wipe out forests to claim iron sand and produce iron for a living, while the Wolf God and Boar God have brutally killed guiltless laborers to defend their home. In Valley of the Wind, the military Princess Kushana ruthlessly invades Nausicca’s hometown because she is determined to mature the Giant Warrior embryo kept by the valley people. The Giant Warrior is said to be able to massacre the threatening Ohms – huge, aggressive bugs that dwell in toxic jungles. Although Princess Kushana kills Nausicca’s father and imprisons Nausicca and all other valley people to take over the valley, eventually she repents after realizing that the only way for the human race to survive is not to eradicate Ohms, but to learn to coexist with them. The disgusting bugs turn out to be protectors of the toxic jungles, and the jungle plants become toxic because they have been purifying polluted water and soil. Miyazaki is not a mere entertainer; he turns the fantastical into the
Jacob Portman, an ordinary teenager with an ordinary family, works an ordinary job. The only peculiarity in Jacob’s life is his grandfather’s stories. The stories are set at a children’s home; its residents are unusual people. Jacob’s grandfather, Abe, also, talks about monsters with tentacles for tongues. As a child, Jacob believes the stories; however, as he grows older, he thinks they are fairy tales.
...hy, disgusting insects. If the villagers knew what the small, disaster-riddled pests were capable of doing, then they would fear the swarm’s return instead of praising and rejoicing it.
The poem “Woodchucks” by Maxine Kumin is about a person who considers himself a peaceful farmer and how he becomes the opposite of who he was. He is desensitized to the point where he can justify to himself a mass extermination of an entire population of woodchucks, but the writer seems to imply that this is a flaw of humans. The flaw among humans is that you can get so accustomed to violence that it starts to desensitize them to violence. It shows the effect hatred and evil can have on a human’s soul and how that can change their behavior. The poem begins with the man having a general prejudice against one population, the woodchucks, which finally evolves into a personal vendetta to kill the entire species. Kumin uses various literary devices throughout her poem to prove this point. The main literary devices used to help prove the poem’s point are allusion, symbolism, point of view, characterization and alliteration.
“Grass” has a very important message, it is humans treat nature horribly and get away with it while nature never did anything to them but be beautiful . In these battles, hundreds of thousands of human b...
The three titles of Maurice Sendak’s famous picture book trilogy, Where the Wild Things Are, In the Night Kitchen, and Outside Over There, name what Judith Butler calls “zones of uninhabitability,” places of abjection that form the borders of the self as both its constitutive outside and its intimate interior. These are dangerous places in the geography of childhood, places where the child’s very life and sense of self is threatened. More frightening still, they are present places, places that exist in the same time that the child inhabits, rather than the once upon a mythical time of fairy tales and legends. Hence they are places that beckon the child to trespass the boundaries of their current lived social and material landscapes and explore. What does happen where the wild things are? What goes on in the night kitchen? What fascinations lurk outside over there?
The older boys notice the younger children spreading the word and take a look at to prevent the idea of a monster before it spreads and causes everybody to become frightened of it. "But there isn't a beasty." (LOTF) Jack announces to the pack various times. However sure enough even the older children within the pack begin to question if the beast is even real or not. Concern of the unknown within the darkened woods begins to cause disorder and open a door to fear of the unknown.
Trees provide shelter from the weather and the image of a protective tree makes the reader feel that peace will be secure. Jonathan creates fear by symbolizing bugs and insects as people that are being held over fire, “The God that holds you over the pit of hell, much as one holds a spider, or some loathsome insect over the fire, abhors you, and is dreadfully provoked:” (Edwards 49). The image and comparison that God see’s people as insignificant as bugs helps the reader understand the author’s
When I look back at my childhood, I see it as a highly colored, exaggerated version of what it must have been. Everything seems brighter, and bigger than reality allows. It’s the ideal “child’s world,” full of Barbies, dress-up, and playgrounds. But, if I try hard enough, I can remember the feeling of being there. The feeling of being small, and nearly innocent. Most of the time when I think of my childhood, I look back on two specific years, kindergarten and first grade, and the summers before and after the two. Both of these took place in Schaumburg, Illinois, in a two-bedroom town-home that I still call “my old house” even though it’s not that anymore. I’m not sure if these are the years I simply remember the best, or if that was actually the time I felt most like a child. I had many friends, and we had plenty of time to play games and use our imaginations. Nevertheless, I don’t usually reminisce about the shows and movies that I used to watch, and certainly not how these things affected me growing up. When prompted, however, I can remember specifics. I even begin to see how visual texts, like The Little Mermaid and Full House, have influenced me throughout my life and especially in my childhood. I have felt the impact of these things in my life as recently as this year, and I can see not only how the shows I watched influenced my behavior, but also that I chose to watch shows and movies that I thought were representative of me.
Children have become a strong symbol in society that unites us into an unconditional love for their innocence, stubbornness, and ability to bluntly view life from ignorant eyes that may know too much for their own good. In the story of “The Night of the Hunter,” John takes up the role of the protagonist, illustrating the fierceness of a child’s wit and the tenderness of their hearts. Through the musical score and lighting, we are able to see how good fruit comes from those who posses good roots.
War creates a devastating time for people, but in some cases, develop into even worse problems for the environment. A future without war, or even without humans promises benefits to animals and plants alike. When lacking in humans, resources stay unused and nature receives what naturally belongs to it. Sara Teasdale also thought this when she wrote the poem “There Will Come Soft Rains.” Teasdale’s poetry displays the theme of nature prospering without war or humans disturbing their peace by using personifications to show nature’s emotions, imagery of sound to paint a picture of beauty, and repeating the phrase “not one” to prove that all creatures would thrive.
Where would humans be without nature? Scientifically, no creature could have ever existed without nature; earth could not have even existed without it. Despite this, people treat the environment in varying ways – some abuse it, while others respect and cherish it. William Golding’s The Lord of the Flies points out these assorted reactions to wildlife. Through the British boys’ characterization, Golding illustrates that humans instinctively react to nature in one of three ways: avoiding nature, harmoniously living with nature, or tyrannically trying to control nature.
It is human's using bombs a man made technology and tearing up nature in war with their weapons. Technology Versus Nature is exactly what it says it is, Technology is versing Nature, so technology would have been in those days is tanks, guns, planes with bombs anything not natural to nature. The war caused countless destruction of forests and trees and just everything so this is a great example of technology versus nature(Fies, 2015). The weapons of war destroyed nature all over Europe. Weapons even destroyed Nature in Hawaii when Japan bombed Pearl Harbor. This is not brought up enough how technology destroys nature especially during war. Destroying some of Hawaii and people in the process(Fies,
For anyone who doesn't know who Tim Burton is you must be living under a rock because he is one of the greatest directors and creators. He directs so many amazing movies that are classics. He puts in so much work to make such amazing creations. Some of my favorite movies by him is Nightmare before Christmas, Beetle juice, Mars Attacks, Dark shadows, James and the giant peach, Sleepy hollow and Edward scissors hands.
It's the most popular toy at school!” I protested. “I’ve always got good marks and behaved. What have I done wrong?” The green-eyed monster now gained control of my voice, intoxicating it with an excess of desperation -- far more than deemed healthy for me. I had never before acted this way with my dad, especially not in such a compulsive manner.
No better illustration exists of an international childhood than my bedside table at age five. Atop the smudged ink fingerprints and dried craft glue residue from my early artistic endeavors, pressed against the wall exhibiting my latest abstract expressionist marker mural, sat a stack of books. A number of which were quintessential bedtime stories - starring a particularly famished caterpillar, a cat with surprising command over rhyme scheme and other english conventions, a boy who would lose himself in the wilderness of his mind, or another boy who often wandered with a crayon. Layered intermittently in this stack were tales of every Caribbean youth’s favorite arachnid - Anansi the Spider. My parents understood that representation in addition