Character development keeps an audience interested. Being able to pull emotion out of the main character allows the audience to feel the pain or excitement that is being portrayed. In director Atom Egoyan's "The Sweet Hereafter," Dolores Driscoll brings out the sadness that her character is feeling. You can sense the pain and distress that she bears. Yet, in the novel, The Sweet Hereafter, by Russell Banks', Dolores does not grow as a character. The audience never deciphers if Dolores understands the tragic events. The film explores Dolores' character, which adds depth, while the book illustrates Dolores on the surface and denies her any sort of personal growth.
In Russell Banks' novel, The Sweet Hereafter, a small town suffers a great tragedy when fourteen school kids drown after a bus accident on the way to school. The bus driver, Dolores Driscoll, considers the kids to be her own. Yet, when discussing the accident, she acts nonchalant. It seems as if she is relaying a story without displaying remorse for the accident. Dolores' priority is to describe the town, "my first stop that morning was at the top of Bartlett Hill Road, were it branches into Avalanche Road and McNeil,"(Banks 7) and the people in it, "Doreen was a Pomeroy from Lake Placid..."(11). She also strives to avoid the blame, "A dog-it was a dog I saw for certain. Or thought I saw"(1). But she even doubts her visions, denouncing the excuses that she keeps arguing. " Maybe because I felt so cut off from my own children; maybe out of some pure perversity. Who knows now? Fixing motives is life fixing blame-the further away from the act you get, the harder it is to single out one thing as having caused it"(10) She never iterates her sadness. The onl...
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...out and grab the viewers and keep them interested in the movie. However, as a character in the book, she solely acts as a narrator. The reader feels no sympathy for her and a lack of personal connection with her. Russell Banks and Atom Egoyan develop Dolores Driscoll's character very differently which lead to a great variance in the two stories. The use of visual stimulation and an ability to hear other perspectives of the character creates an intriguing story that captures the attention of the viewer. This visual element is what a story of this nature needs to be successful. In addition, character development is a necessity when conveying a story of this nature as to allow the viewer to empathize with each person. Atom Egoyan captures this need and develops Dolores into a character that touches the viewer whereas Banks allows Dolores' character to deflate.
Even though their children had gone through such harassment, both Rex and Rose Mary completely disregarded the situations they experienced. At times, both parents even enforced such acts in order to avoid trouble and to avoid being moved out into another place. After Rose Mary was aware of the incident with Uncle Stanley sexually assaulting Jeannette, Jeannette states, “[Mom] said that sexual assault was a crime of perception” (184). Posterior to the incident of Erma sexually assaulting Brian, Jeannette’s father also states, “I don’t care what happened!” (147). These two quotations clearly shows the harassment Brian and Jeannette suffered; moreover, it evidently shows the parents’ negligence towards the children. They both completely disregarded what had happened to both Brian and Jeannette solely for their defective idealism and to avoid confrontation with the individuals involved; therefor, Rex and Rose Mary were inadequate to raise their
In chapter five, the author wants to convince his mom to allow him to return home from Valley Forge. However, his mom boldly denies the author’s request and talks about the sacrifices she made to send him there. As the author recalls his conversation with his mom, he remarks, “With no intervention - or the wrong intervention - [young boys] can be lost forever. My mother made the decision to intervene - and decided that overdoing it was better than doing nothing at all” (95). The author expresses that his mother deliberately “made the decision” to change her son’s life for the better. To avoid making her son “be lost forever” because of bad choices, Joy decides to intervene and step into the author’s life to block the bad choices. In this scene, Joy tries her best to prevent the author from making bad
She thought about her family, and the neighbors, and the town, and the dogs next door, and everyone and everything she has ever met or seen. As she began to cry harder, she looked out the window at the stores and buildings drifting past, becoming intoxicated suddenly with the view before her. She noticed a young woman at the bus stop, juggling her children on one side of her, shielding them from the bus fumes.
In the book Storming Heaven by Denise Giardina, education, and the lack there of, plays one of the largest roles in the character's lives. At this time in West Virginia, where the book is set, many children had to leave school and actually go into the coalmines, as Rondal Lloyd did, or work on the family farm. Racial ignorance is also a key element Giardina confronts in the novel. The characters, chief and secondary, equally cultural and racially bland, pass on their beliefs and therefore help to maintain the continuous circle of inequality that carries on even today. Political knowledge, at least on the national and state level, is also lacking within the little town of Annadel. With this knowledge coupled with her own experiences from growing up as an immigrants daughter in the same coalfields as her novels characters, Denise Giardina tries to explain the function of education and ignorance in not only the coalfields of West Virginia, but throughout the entire world.
throughout the novel allows the audience to gain a better understanding and personal compassion for both the character and the author. 	The novel is written in a short, choppy sentence structure using simple word choice, or diction, in a stream of consciousness to enable the reader to perceive the novel in the rationale of an eleven-year-old girl. One short, simple sentence is followed by another, relating each in an easy flow of thoughts. Gibbons allows this stream of thoughts to again emphasize the childish perception of life’s greatest tragedies. For example, Gibbons uses the simple diction and stream of consciousness as Ellen searches herself for the true person she is.
Likewise, Denver indicates that she cannot grasp why her mother would pour the blood out of someone, especially her own daughter. The young girl contends that “All the time, I’m afraid the thing that happened that made it all right for my mother to kill my sister could happen again. I don’t know what it is, I don’t know who it is, but maybe there is something else terrible enough to make her do it again.” (242-243) Though Denver tells of her fears of the memories, she also speaks of her desire to know what the memories truly do hold. Morrison’s use of the nebulous word “thing” points to the reason behind Sethe’s motive of committing infanticide, which Denver can’t name. Chiefly, the “thing” is what causes Denver to be in a state of distraught. Denver believes this “thing” may motivate her mother to act the same way once again. Furthermore, Morrison’s use of repetition “I don’t know” twice—emphasizes Denver’s need to know what that “thing” might be and wants to know not only the objective facts of the past, but to understand the underlying motives that can cause her mother to perform such an act again without a clear understanding of why. Denver does not wish to be confined within boundaries where her “freedom” to live is taken away. One can see the internal struggle in Denver, which raises questions about Sethe’s inexplicable
...d his character to become more dynamic, as opposed to be viewed by the reader as just another minor character in the novel.
Throughout the narrative, the text utilizes the conflict over the crisis of cognition, or the very mystery regarding the Marquise’s lack of knowledge surrounding her mysterious pregnancy, as a catalyst for the presentation of the plurality of opinions associated with the Marquise’s current status in society and presumptions to the father’s identity. In itself, this state of cognitive dissonance prevents the Marquise from making any attempts at atoning for her supposed sin, as she herself is unaware of any possible transgressions responsible for her current predicament. In turn, this separation from the truth pushes the marquise to fall into the conviction that the “incomprehensible change[s] in her figure” and “inner sensations” (85) she felt were due to the god of Fantasy or Morpheus or even “one of his attendant dreams,” (74) thereby relinquishing her subconscious from any guilt. However, despite her self-assurance of innocence and desperate pleas at expressing her clear conscience, the marquise becomes subject to external pressures from both her family and society, who come to perc...
In conclusion, details involving the characters and symbolic meanings to objects are the factors that make the novel better than the movie. Leaving out aspects of the novel limits the viewer’s appreciation for the story. One may favor the film over the novel or vice versa, but that person will not overlook the intense work that went into the making of both. The film and novel have their similarities and differences, but both effectively communicate their meaning to the public.
Authors use character development to show how a person can change. Through a descriptive portrayal of a charter and their development they become real to the reader. A well-developed character stirs up emotions in the reader making for a powerful story. A person can change for better or worse and Nathaniel Hawthorne shows this thru the character development of Hester, Chillingworth, and Dimmesdale in The Scarlet Letter.
Suffering from the death of a close friend, the boy tries to ignore his feelings and jokes on his sister. His friend was a mental patient who threw himself off a building. Being really young and unable to cope with this tragedy, the boy jokes to his sister about the bridge collapsing. "The mention of the suicide and of the bridge collapsing set a depressing tone for the rest of the story" (Baker 170). Arguments about Raisinettes force the father to settle it by saying, "you will both spoil your lunch." As their day continues, their arguments become more serious and present concern for the father who is trying to understand his children better. In complete agreement with Justin Oeltzes’ paper, "A Sad Story," I also feel that this dark foreshadowing of time to come is an indication of the author’s direct intention to write a sad story.
This is done so the character development is clearly shown, the duration of the film can be limited and so the film can be kept interesting and engaging for the audience. The plot in the film is changed slightly from the novel it is based on to show the development of characters. Some settings are excluded or changed to limit the time of the movie. The character’s characteristics are slightly altered so the movie is kept interesting and engaging for the audience. By modifying these aspects of the film the producer is able to keep the audience engaged whilst showing character
...r the reader to notice the parallels between them and the differences from everyone else. He also does this so that we can see the contribution it has on the characters. The madness of each individual is not itself realistic, but the idea that death, grievance, and revenge can drive someone to do things that seem to be mad or make them do things out of their nature.
What is going to happen to us when we will die? Some people never considered what it could happen to them after life. For many people, death is a redoubtable event because they do not know what to expect after their death. However, other persons, such as religious people are conscious of what to expect after their death because of their beliefs. Each religion has different ideas and different ways of looking life. Death, therefore, is viewed by different religions in many ways. Although, different religions have a distinct conception of death, they all have something in common: they all give hope to people. Among all different religions in the world, four of the most common ones - Catholic, Jewish, Islamic, and Hindu- view death in different ways.
Heaven and Hell, two contradictory destinations of the afterlife, where the first is filled with everlasting rewards and joy, while the latter encompasses eternal doom and torment. A person’s actions and behavior on Earth determine the fate of their soul’s destination after death, meaning that one must live a just and righteous life in order to enter Heaven. On the contrary, living a worthless life full of sin and wrongdoing will result in going to Hell as punishment. However, different worldly religions have differing views and interpretations of life after death, and no one can be sure of what to expect. These religious notions of the afterlife have become so engrained into the society and culture of the world, with expressions like “I feel like I have died and gone to Heaven” included in everyday dialogue. One recent popular television series provides insight of a particular analysis of what the afterlife is like, and that is The Good Place, starring Kristen Bell. This