Snow White and the Huntsman Essay Example for Free

Snow White and the Huntsman Essay Snow white and the huntsman is the battle between beauty and innocence for fairest blood. This is a four star dark twist to the traditional fairy tale of the orphaned princess, Snow White (Kristen Stewart), and her escape from her step mother and evil Queen Ravenna (Charlize Theron). From the producers of Alice and the Wonderland, An Evil Queen, Ravenna, tricks, seduces, and kills the king; she takes the kingdom and rules with intimidation and magic. She draws her life force and youth from magic which is fuelled by the draining of other beautiful young hearts and souls. Her life is to be the fairest in all of the land yet another has come of age to surpass even the strongest magic. â€Å"She is life itself† Snow White, the late king’s daughter, was kept alive for many years in a tower in the castle since she was a little girl. Now she is what stands between Ravenna and immortality. â€Å"Be warned, her innocence and purity is all that can destroy you but she is also your salvation†. In a flurry of lust and luck, as well as her connection with Mother Nature, she escapes into the dark forest. The adventure begins as the Queen hires the Huntsman who knows the dangerous dark forest, to bring the princess back to her. The pursuit of Snow White, on an evil Queen’s quest for immortality – the princesses snow white heart. The pursuit of the princesses’ heart starts†¦ and ends with the flawless acting of Oscar winner Charlize Theron. The South African born Theron, known for her blonde hair and revengeful roles in Monster (Alieen Wuornos), and The Italian Job (Stella Bridger), graces the screen in a five star performance. She shows her versatility as a lead actress in her not revengeful but narcissistic character of Ravenna. This is portrayed in the second Mirror scene. Ravenna asks the Mirror â€Å"Mirror Mirror on the wall, who is fairest of them all?† The mirror tells her† My queen, you have defied nature and robbed it of its fairest root. But on this day there is one more beautiful than you.† She becomes angry as she longs to be the most beautiful in all the land. Ravenna’s last words to the king before she murdered him were â€Å"Men use women. They ruin us and when they are finished with us they toss us to the dogs like scraps†. Her conviction as an actress is authentic but what triumphs over that are her powerful actions that can convey an entire conversation in a simple movement. This is best seen where she is dragging herself out of the black goop after killing Snow White. She uses one hand and reaches, in vain, out to the Mirror as if to beg it to tell her she is most beautiful now the princess is dead. Even during her own near death moment her narcissistic personality shows though a very basic need for power and prestige. Allot of power and prestige of Ravenna comes to this movie through the main soundtrack ‘Breath of life’ by Florence and the Machine. After a drum beat beginning that sets the medieval mood, a choir and rhythmic beats adds a flare to the unique voice of Florence. Jon Dolan of the Rolling Stone reviews comments that it was â€Å"All doom-drum rush and endless-midnight orchestral sweep† Ravenna looking for her breath of life (I was looking for a breath of life, A little touch of heavenly light), but the world that had once turned on itself now turned on her and cried no (But all the choirs in my head sang, No oh oh). You can hear in the beat that she is fighting life itself. The casting of this movie was a mix of brilliance and flawed choices. Where Theron’s casting was no doubt the brilliance, Kristen Stewart as Snow White was the major flaw. Stuart, known to her fans as new girl Bella, from the Twilight saga, showed her incapability of holding a lead actress role. Unlike the role she played in twilight, she has no other main characters to hold her up. She drains the personality from Snow White in addition to the lack of importance felt in her character. This is predominantly seen in the â€Å"fight to the death† scene with Snow White and Ravenna. While Theron oozes fire and elegance, Stuart can’t seem to capture a believable character. Snow White is supposed to be innocence and humility in contrast to the Queens magic and pride. Her sharp angled face, greasy voice, and empty facial expressions she was a flawed choice by the directors. Drunk, bitter and half dead. The gorgeous Chris Hemsworth plays the in between of life and death as the Huntsman. Once being a small point in the original brothers Grimm fairy tale, Hemsworth’s huntsman has created a new take on the contrast between the two main roles. This is greatly shown when he is pulled out of a dirty tub of water with a hangover and a debt and he is brought to the queen’s throne. When the queen’s guards draw spears against him he says â€Å"Do me the favour, I beg of you.† He can’t stand to be alive because the Queens magic killed his wife for her youth. Finn tells the Huntsman â€Å"She screamed your name but you werent there. Now you can beg her forgiveness in the other world.† Now as Snow White lay dead the Huntsman begs for forgiveness from her â€Å"Im so sorry I failed you. Im so sorry. But youll be a queen in Heaven now and sit among the angels.† It’s his kiss and sorrow which awakens her from death itself. Colleen Atwood is a name that is very familiar in the movie designer world and with a BAFTA and OSCAR nomination is certainly one of the very important people in the makings of this movie. Some of the best designing seen this decade has come from Atwood who is known for her dark works in Dark Shadows (2012), Alice in the Wonderland (2010), Edward Scissorhands (1990) and The Silence of the Lambs (1991). Her epic fantasy costumes bring the film to a whole new gene of evil allure. From the Huntsman ancient clothes to the modern flare of Snow Whites traditional dress, Atwood’s best work has to be Ravenna’s wardrobe. A beautiful wedding dress fit for a Queen to an evil black cape fit for a Witch empress, the skilful dress of this movie would be the floor length silver dress. Worn in the scene in which she is stabbed with a dagger, this piece of art is exquisite, with the flared sleeves, fitted body, and square neck brings the vintage era setting to life. This dress would not be complete without being coupled with a fabulous collection of accessories including a black and silver choker with matching earrings, a purple pendant encrusted with silver on a beaded chain and a crown that mimics the one on the statue of liberty. The most powerful accessory would have to be the claws on her right hand. This simple yet vicious prop is used in small roles throughout the movie but the best example is when she uses her index claw to eat a raven heart. This will in no doubt send a delicate shiver of disgust down your spine. This dark, evil and beautiful movie is worth all its four stars. Even though Kristen Stewart’s performances as Snow White was not nearly up to par, if looked upon as the story of Ravenna’s demise, Theron more than makes up for what Stuart lacks. A story of Beauty, lust, pride and a quest for fairest blood, this is the must see the movie of 2012. â€Å"Lips red as blood, Hair dark as night, bring me your heart, my dear, dear Snow White.†

Kid Nobody Could Handle Essay -- essays research papers

In the short story, The Kid Nobody Could Handle, by Kurt Vonnegut, the main character of the story is George Helmholtz. He lives in a small town with his wife, is the head of the music department at the local high school and the director of the band. He is the most important person in the story because he is the only one, not psychiatrists, and foster parents, to make a difference in Jim’s life. Throughout the story, George is determined and hopeful, lonely, and fixated with the beauty of music. George Helmholtz, as the head of the music department at Lincoln High School, is very determined with his regular students and the gifted musicians of the band. Each semester and year at school he dreams of â€Å"leading as fine a band as there was on the face of the earth. And each year it came true†. His certainty that it was true was because he believed there was no greater dream than his. His students were just as confident and in response, they played their hearts out for them. Even the students with â€Å"no talent played on guts alone† for Helmholtz. After George catches Jim Donnini trashing the laboratory, he tells him that if all the schools were destroyed there would be no hope left, â€Å"The hope that everybody will be glad he’s alive†. His determination does not just touch his music students, all through the story he tries many ways to get through to Jim, finally at the end he succeeds. â€Å"George glanced at Jim Donnini, who sat at the last seat of the worst trumpet section of the wors...

Comparitive Study Between Euripides’ Alcestis and Hippolytus

Euripides, youngest of the three great Greek tragedians, was born c. 485 BC though he was scarcely a generation younger than Sophocles, his world view better reflects the political, social, and intellectual crises of late 5th-century Athens. Euripides' enormous range spans contradictory tendencies:   He was both a rationalist and a romanticist;  he both criticized the traditional gods and celebrated religious phenomena He incorporated the new intellectual and scientific movements into his works but also conveyed the irresistible power of the irrational. Original and experimental, he parodied the conventions of tragedy and also used new theories about the illusionist and deceptive powers of language. He created tragicomic plots. His Alcestis and Hippolytus are his two great plays. We will notice many similarities in Euripidean plays. There are many similarities in Alcestis and Hippolytus and also have some dissimilarities. Comparative studies between these plays are discussed below. In ancient Greek tragedy there has several parts—Prologue, Parados, Episode. the first Stasimon the second Episode, the second Stasimon, the third Episode, the third Stasimon, the fourth Episode, the fifth Stasimon and Exodos. The plot structures of both plays are same. In both play we find Prologue, Parados, Episode, the first Stasimon the second Episode, the second Stasimon, the third Episode, the third Stasimon, the fourth Episode, the fifth Stasimon and Exodos and also choral ode with strophe and antistrophe. In both play the unity of time, pla ce and action have been maintained. Both plays are written in Iambic Pentameter. Both Alcestis and Hippolytus open with prologue or monologue which is a common characteristic of Greek plays . In both plays the audience have lost their interest from the very beginning because everything has been told before in the prologue. The play Alcestis begins with the prologue of the god Apollo. Here Apollo stops death from taking the life of Admetus and predicts that Alcestis will die instead of Admetus. He also predicts that Alcestis’ life will be saved by Heracles, the demi god. Similarly the play Hippolytus also begins with the monologue of the goddess Aphrodite. In the play Aphrodite the goddess of love, is angry with Hippolytus because of his devotion to Artemis, the goddess of chastity and hunting. So she makes a plan to ruin the life of Hippolytus, phadra and Theseus as well. Chorus plays a very significant role in Greek plays. The appearance of chorus is mandatory in Greek plays. In the plays of Sophocles the chorus continually present on the stage. In Euripides the picture is quite different. His plays are relatively complex. He experienced difficulties in retaining chorus. In Alcestis The entry of the chorus, or the â€Å"parodos† sequence, follows: a chorus of fifteen men of Pherae, led by a â€Å"coryphaeus† (chorus-leader), enter the orchestra of the theatre. The chorus-leader complains that they are in a state of suspense, ignorant of whether they ought to be performing mourning rituals for their queen. The chorus' lyrical ode, to which they dance as they sing, consists of two paired stanzas of strophe and antistrophe. They sing of the silence that greets their search for signs of mourning, the evidence of Alcestis' death. When goodness dies,† they lament, â€Å"all good men suffer, too. † The chorus-leader concludes by dismissing the chorus' search for hope in the situation: â€Å"The King has exhausted every ritual. † The Chorus is significant here and active. They informed the audience about what is happening inside the palace. Unlike Seneca’s chorus, the chorus is very active and plays a very important r ole. In Hippolytus the chorus is composed of fifteen women of Troy. In this play the chorus is mostly passive. For in a Sophoclean play the chorus announces new comers. In Hippolytus the chorus is not as active as Sophoclean tragedy. They inform the audience of the death of his wife. But under no circumstances could they speak of the criminal passion of Phaedra for Hippolytus. That would have been the height of impropriety. That is why Phaedra has to lay bare her heart to the Nurse. It is Artemis who informed Theseus of what actually happened. What mortals fail to do, Dues ex machine can. The choruses in Hippolytus therefore do not serve any important purpose as they do in the tragedies of Aeschylus and Sophocles. Euripides always highlights the role of servant or nurse throughout his plays. He always highlights the salve character. In Alcestis it is the servant who reveals the secret to Heracles that their queen is dead. Heracles gets drunk and begins irritating the servants, who loved their queen and are bitter at not being allowed to mourn her properly. Finally, one of the servants snaps at the guest and tells him what has happened. Heracles is terribly embarrassed at his blunder and his bad behavior, and he decides to ambush and confront Death and save Alcestis from the clutches of Death. Similarly in Hippolytus it is nurse who reveals the secret of her queen to Hippolytus which hastens the death of Phaedra. Phaedra took her Nurse into her confidence. But the nurse foolishly exposed the truth to Hippolytus. So we can say in both plays. Euripides reveals the truth by a slave character. Aeschylus and Sophocles had implicit faith in the Olympian gods and goddesses. Euripides had refined sensibility and looks at the divinities a little critically disciple of Xenophanes and Anaxagoras, he had a rational outlook on men and things. He was not a skeptic, far less an atheist. He profusely used the traditional myth and legends. In Alcestis, Admetus  forgot to sacrifice to Artemis, and consequently found his marriage chamber full of coiled serpents. Apollo bade King Admetus  appease the goddess, and meanwhile he obtained (because Admetus  1 was such a kind master towards him) a special favour of the MOERAE: that when Admetus  1 should be about to die, he might be released from death, if someone should choose voluntarily to die for him. â€Å"In Admetus I found a godly man. And so I rescued him from death by tricking the MOERAE. These goddesses promised me that Admetus could escape an immediate death by giving in exchange another corpse to the powers below. † (Apollo. Euripides, Alcestis 10). Alcestis dies in vicarious death Admetus could not find someone who would die for him. Only because of the role of Apollo, Admetus’ life saves and Alcestis dies instead of him. Euripides makes gods and goddesses questionable. In Alcestis, Alcestis dies because Admetus could not find someone who would die for him. Only because of the role of Apollo, Admetus’ life saves and Alcestis dies instead of him. Here the justice of Apollo is definitely questionable. In Hippolytus, the Olympian gods and goddesses plays a very important role although they are presented in the play in an unpleasant way. Hippolytus is very much devoted to the goddess Artemis and do not worship Aphrodite which makes the goddess angry and she made a plan which ruins the life of Hippolytus, Phaedra and Theseus as well. The main theme of this play is the conflict between love and chastity, infact it is the conflict between Aphrodite and Artemis. Artemis is not also totally blameless. She could have save her favorite but didn’t do so. Although the god Poseidon does not appear physically but he plays a very significant role in this play. He too is responsible for the death of Hippolytus. Euripides portrayal of women in his plays has been somewhat bizarre. His female characters kill out of revenge, kill out of jealousy and kill because a god possessed them too. Women occasionally assert dominance in the household; although, even within the home they posses limited influence over their husbands. An interesting theme runs through Euripides theatrical tragedies Alcestis and Hippolytus. In each play the lead female character forgoes her life for the sake of love. In Alcestis, Alcestis willingly gives her life to prevent her husband Admentus' death. In Hippolytus, Phaedra chooses to commits suicide as a result of falling in love with her husband’s son and refusing to be deceitful to her husband. Although Alcestis’ love should be considered as moral and virtuous where as Phaedra’s passion for her son was immoral, incestuous and illegal. In these two plays, a major female character challenges the predominately masculine centre pf power and authority and in some way questions the limits of that power. Alcestis forces her husband to confront the gap between the value that he attaches to family ties and affections and the honorific exchange of guest relationship that belong to the outward-facing world of male prerogatives. Phaedra’s erotic passion invades the garden world of idealized purity that Hippolytus would create with his virginal huntress-goddess, Artemis and shatters its defense by opening it up to the power of Aphrodite that he has rejected (both for himself and others) so absolutely. In the process, Phaedra also releases the suppressed violence and hatred that fuel Hippolytus’ total rejection of Aphrodite. .Although Phaedra has passionate desires for her stepson she is thoroughly ashamed of these feelings and as a result of her shame she decides to die by starving herself. She also condemns women who are unfaithful to their husbands as she says ‘And I despise them, women who preach faithfulness to husbands but dare the worst behind their backs. ’ Euripides, therefore, presents Phaedra as a moral woman who is just an unlucky victim of Aphrodite In these two cases the women are impelled to their actions by their intense emotional commitment to house and family. Alcestis and Phaedra both try to ensure their children’s future; and each is prepared to sacrifice her life in the process, although in diametrically opposite ways. In the play Hippolytus we notice the growth and development in Phaedra’s character. She is a dynamic or round character. But Alcestis does not have any growth and development throughout the play. She is a static character. Unlike Phaedra she plays a trivial role in the play. There is a question whether Euripides is misogynist or not. Euripides' innovation in his Hippolytus is to cast the woman as a sympathetic character, Aphrodite's helpless victim caught in a divine plan to destroy Hippolytus. His audience expects to see the wicked woman vilified and the virtuous youth exalted; that is the tradition. Instead, Euripides portrays his Phaedra as a highly moral woman struggling against the shame of her passion, while Hippolytus is an intolerant prig. Alcestis’ love is virtual, a sacred love for a husband. But Phaedra’s love for his step son has been considered in the play as sickness. She became love sick. Since her love is not pure like Alcestis so her love defined as sickness throughout the play. Euripides’ sympathetic tone is toward woman is also expressed in the play Alcestis. Alcestis' fate can be viewed as a reflection of the male- dominated world of fifth- century Athens- her death is decided by her husband, in that he allows her to take his pre-ordained place in Hades; her rescue from Death comes only through Heracles' intervention. Being led silently from the tomb perhaps symbolizes the woman's role in the Athenian household as a subordinate figure, from whom it was preferred to hear little. In all, the play shows that the rules of the male world, guest- friendship and hospitality in particular, are more important that the whims of a female, even her dying wish are disregarded. So he can’t be considered as misogynist. Heroes are undistinguished in Euripidean plays. They do not have much heroic qualities. They are very common and simple rather heroines are more focused in Euripidean play. For example in Alcestis, Admetus’ role is not heroic rather he is coward and self centered. He has not any growth and development. Alcestis sacrifices her own life for her husband, Admetus just laments on her wife’s death. He does not try anything to save her beloved wife’s life. Rather it was Heracles who save the Alcestis life and rescued her. In Hippolytus, we notice the growth and development of Phaedra’s character. Phaedra’s love, her passion, her struggle and her death makes her a round character. But Hippolytus’ remains quite inactive throughout the play. He has no contribution to the action of the play. Phaedra and Aphrodite play the main role in this play. They are more focused than Theseus or Hippolytus. According to Aristotle a hero should not be too good or too bad. Hippolytus is too good. He is a debatable hero. He has no growth and development. Unlike Phaedra he is a static character. Deus ex machine is a technique where a god or artificial or improbable device introduced into a play to resolve the entanglements of the plot. This technique is frequently used by Euripides. In the play Alcestis, Heracles acted as Dues ex machine. In the play Hippolytus it is the goddess Artemis who is presented as Dues ex machine. Alcestis is considered as a satyr play. Alcestis is a domestic tragicomedy with a mixture of fairy tale atmosphere and intense personal suffering that in the extant plays reappears again. Although the play begins with a gloomy and tragic mood but the ending of this play is joyous. It has a happy ending though artificial. So this play is considered as a tragicomedy. His play Hippolytus explores the nature of passion, the problem of communication and language and the emotional and the moral pitfalls of intense aspiration and one-sided devotion to the ideal. This play is totally a tragedy. In this play Phaedra commit suicide and the play ends with death Hippolytus. Obviously this play does not end with a happy tone. So it has been considered as a pure example of tragedy. Euripides has come to be increasingly appreciated in modern times for his intellectual subtlety, bold and original dramatic power, brilliant psychological insight, and ability to elicit unexpected symbolic meaning from ancient myth and cult. Critics find the Alcestis a richly rewarding play in many areas. D. J. Conacher explores how Euripides expanded the myth of Admetus and Alcestis, adding comic and folk tale elements to suit the needs of his tragedy. In Hippolytus, he also adapts the myth of Pasiphae the mother of Phaedra and Ariadne, the sister of her. But he relates it to the play by his own way. Throughout his works Euripides struggled to show the human side of his characters and tried to elevate their actions to a status of importance and not just as a consequence of the intervention of the gods. For this reason Euripides stands apart as does his works.

The Transition from Childhood to Adulthood in Joyce Carol...

The Transition from Childhood to Adulthood in Joyce Carol Oates Where Are You Going, Where Have You Been? All people experience changes in their life. Some of these changes are small such as the passing from one grade to another in school. Other changes are more intense, such as the transition from childhood to adulthood. In Joyce Carol Oates? ?Where Are You Going, Where Have You Been Oates goes into depth regarding the transition from being a carefree, innocent child to adulthood. In the short story ?Where Are You Going, Where Have You Been two separate worlds are drawn to the reader?s attention. The first is the normal daily life of Connie, a fifteen year old girl living in a home with her parents. Connie?s daily life is simple†¦show more content†¦Physical appearance was one thing that Connie was obsessed with her own. Connie lives a life where she daydreams about boys. Her mother tries to keep her head out of the clouds, telling her ?her mind was all filled with trashy daydreams.?( ) Connie?s world is invaded the day that Arnold Friend pulls up in her driveway. Even before Friend shows up, Connie has an experience where she wakes from a dream ?and hardly knew where she was?. ( ) This was just the beginning of the experience. Arnold Friend asks her to go for a ride; the location is unknown to either of the characters when the subject is brought up. This is where the title comes into perspective ?where are you going?.( ) The location is left unknown in order to emphasize the uncertainty of the future one faces when one comes of age. As Arnold Friend tries to seduce Connie into the car she went deeper and deeper into the house searching for her youth. Yet, it was not there. She uses the home as a place to hide from her fears yet not realizing that she lives there. ?The kitchen looked like a place she had never seen before, some room she had run inside...? ( ). There is a sense that she has changed from her childhood ways and the house is no longer her youth and she is now an adult. When she reaches the decision to leave the house to go with Friend, it is almost as though she has no choice. This directly relates toShow MoreRelatedConnie ´s Coming of Age1257 Words   |  6 PagesAge In her famous short story, â€Å"Where Are You Going, Where Have You Been,† Joyce Carol Oates shows the transition from childhood to adulthood through her character Connie. Each person experiences this transition in their own way and time. For some it is leaving home for the first time to go to college, for others it might be having to step up to a leadership position. No matter what, this transition affects everyone; it just happens to everyone differently. 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Introduction Joyce Carol Oatess short story Where Are You Going, Where Have You Been? was first published in the literary journal Epoch in 1966. The story is about beginnings and the rites of passage. This work is an illustration of a coming of age story, also known as an initiation story. In such stories, the protagonist undergoes an important rite of passage, transformation, an experience of transition, usually from childhood to adulthood, or fromRead MoreAnalysis Of The Poem The Stone Boy 1954 Words   |  8 Pagesindustrial designer Adam Savage, â€Å" one of the defining moments of adulthood is the realization that nobody’s going to take care of you.† This statement caused me to cogitate the potential aspects that cause one s shift from childhood into adulthood.Within the four short stories â€Å"Initiation†( Plath, Sylvia.) by Sylvia Plath, â€Å"Araby†(Joyce, James.) by James Joyce, â€Å" Where Are You Going, Where Have You Been† (Oates, Carol Joyce.) by Joyce Carol Oates, and â€Å"The Stone boy† (Berriault, Gina.) by Gina BerriaultRead MoreEssay on Transition in Where Are You Going, Where Have You Been3629 Words   |  15 PagesTransition in Where Are You Going, Where Have You Been      Ã‚  Ã‚  Ã‚  Ã‚   Each of us experiences transitions in our lives. Some of these changes are small, like moving from one school semester to the next. Other times these changes are major, like the transition between youth and adulthood. In Joyce Carol Oates Where Are You Going, Where Have You Been?, the author dramatizes a real life crime story to examine the decisive moment people face when at the crossroads between the illusions and innocenceRead MoreWhere Are You Going? Where Have You Been?2044 Words   |  9 Pagesstory â€Å"Where Are You Going? Where Have You Been?† both characters, Connie and Arnold, suffer from having dual identities. Connie is an individual who acts completely different outside her home, where she tries to portray an image of being sexually appealing. However, she is the complete opposite within her home, where she hides her sexuality and acts more like the adolescent she really is. Arnold is a mature man, something Connie is looking for in life an d this intrigues her. Both characters have trouble