says Lady Macbeth, trying to change her husbands mind. She shows Macbeth that if they follow her plan exactly and show remorse for the kings' death. They would not fail, "Who dares receive it other, As we shall make our greifs and clamor roar upon his death?" Towards the end of the play, Lady Macbeth shows weakness and guilt for her evil plans, and begins to go crazy. "Out damned spot!
Morgan Robertson Thea 336: History of Theatre II Essay #1: Film Comparison: Singin’ in the Rain, dir Stanley Donen with Sunset Boulevard, dir Billy Wilder In the years of 1952 and 1950, Hollywood released two incredible films; both films incorporate many of the same elements, just shown to different sides. Both films surround the shift in film technology from silent films to talkies. The first, Singin’ in the Rain, surrounds a film studio thrown into the midst of talking films. Stanley Donen created a lighthearted musical which showed how the transition was not as easy as it seemed. The film industry was not only about looks and actions anymore, it became about voice and its usage on-screen.
/ I am your spaniel; and, Demetrius, / The more you beat me, I will fawn on you. / Use me but as your spaniel: spurn me, strike me, / Neglect me, lose me; only give me leave, / Unworthy as I am, to follow you.” (Shakespeare II.ii.209-214). Helena is obsessed with Demetrius to put it lightly. All she wants is for him to care for her as much as he does for Hermia. Helena “fawns on” Demetrius and begs him to think of her as he used to.
Not all films which adhere to the classical Hollywood paradigm eschew issues. The film Singin’ in the Rain follows Don Lockwood, a popular silent film actor, as he attempts to maintain his star status during the advent of “talkies”. Lockwood’s journey manifests fame’s capricious temperament, the studio’s commercial interest, and the influence of outside variables on a film. Singin’ in the Rain uses Lockwood’s struggle with celebrity to expose the importance of public image and self esteem. A set of practices concerning the narrative structure compose the classical Hollywood Paradigm.
The arrangement is that Birdie will administer a final “good-bye” kiss on Kim MacAfee (Ann-Margret), a randomly chosen Conrad Birdie Fan Club member. This kiss, which will also be a symbolic fair-well to all his crazed fans across the nation, will be accompanied by Birdie singing Albert’s latest song, “One Last Kiss.” However, Birdie's arrival in Kim's hometown of Sweet Apple, Ohio, for the TV broadcast on the “Ed Sullivan Show,” creates havoc for all, including Kim's father (Paul Lynde) and her boyfriend Hugo (Bobby Rydell). Inevitably, a heated feud is created between the genders, but all ends up fair in this musical tale of love and war. A main theme in this small town’s culture is the issue of gender and the division of roles between the two. Not uncommon for the 1950’s, many women were taught from a young age to find a good man, who could provide for them and a family, settle down and have children – the ideal “happy family.” As Harry states after singing the showstopper “Kids,” “I have the All-American family: A great wife, 2 wonderful kids and a good job.” It is also obvious within the very first scene, that Rosie and Kim have been brainwashed with this domesticated conception.
(Rotha 85) There were many rumors about this production; many thought it would be a talking picture; which w... ... middle of paper ... ...s experience as it has another release in 1950. City Lights received good reviews even though silent films were getting obsolete with the rise of the talkies. Charlie Chaplin hod no attention nor enthusiasm to convert his pantomime art into talking pictures, and that is the beauty of City Lights. Works Cited Rotha, Paul. Celluloid; the Film To-day.
The Opera is entertaining for the masses, complex enough to engage the critic, and it was (in its own way) peculiarly patriotic during an age of immense English pride for native culture. Bibliography Grove, George. Dictionary of Music and Musicians, 5th ed. New York: St. Martin=s, 1954. Irving, William Henry.
In her first soliloquy Lady Macbeth reveals her desire t... ... middle of paper ... ...art to the pensive audience. Lady Macbeth’s soliloquies portrayed her as a vile woman tormented by a guilty conscience, and her soliloquies also communicated important information about her to the audience; had all the characters been privy to this information they would have regarded Lady Macbeth very differently. The mind births the contract between corruption and the soul. In reality, we never get to hear anyone’s soliloquies. The imagination hides the deceptive woes and moral bankruptcy of every individual.
However, the princess is oblivious to Medea’s plot; she will accept the gift for its beauty then meet an unexpected, agonized death. The image of pain and agony elicits our sympathy as well. Medea presents her most perverse speech when she explains how she will kill her own children then flee Corinth. Alone, these acts provoke pure disgust, but Euripides has developed Medea’s character as a coercive force; we still sympathize with her for her plight, yet we also hate her for her decisions. The women of Corinth try to persuade her away from this morbid choice, but their arguments are ineffective.