The unfulfillment of wishes and dreams or yet-to-be fulfilled promise surrounding the zone both torment Red of Roadside Picnic and the attributed ‘Stalker” in the later film adaptation directed by the auteur, Andrei Tarkovsky. However, it is the respective protagonists’ emotional integrity that most significantly contributes to their fall and devastating descent into madness. In this essay, I will use a psychoanalytical lens to highlight the above thesis. Accordingly, I will compare and provide evidence to the level of mental stability/instability and or callousness that is a result of how each character responds to the dangers within the zone and the familial and socio-political turmoil surrounding both characters outside of it. Before I delve into the intricacies of my …show more content…
It’s hard to deduce an answer so simple from a story a story that is full of possibilities — one that tends to expand beyond belief and possibility, like the zone itself. With that being said, I think it is important to commentate on the manner and how quickly Red from each adaptation develops. Now, in the film, audiences may find it difficult to gauge the emotional complexity and the character development within Red as the film progresses. In fact, we don’t get much at all, we can only assume he is and has been a conflicted individual from the beginning. While we see how he responds his surroundings within the zone that will part of the discussion will be held off a little later on. On the other hand, with “Roadside picnic,” audiences receive a much more gradual development of Red’s character given the thorough nature of literature, and although the book moves forward by years through each section, we still can trace how Red became the man he was at the end of the book simply because we have in-depth, detailed insight into how he thinks and how he processes conflict and existential dilemma.
[2] Missing is a rather confusing film to follow at first. Admittedly, I had to view it a few times to understand what was happening. Perhaps the initial feeling after seeing this film is confusion. However, after having watched it a second, fourth, eighth time, what I really felt was anger. Each time I watched the film, the anger and disgust would grow, so much so that it pained me to watch it again. However, in identifying the cause of my anger, I began to realize many things.
In “The Red Convertible,” Louise Erdrich through her first- person narrator Lyman, creates an unspoken emotional bond between two brothers. This emotional bond between the brothers is not directly spoken to each other, but rather is communicated through and symbolized by “The Red Convertible.” In spite of what appears as a selfless act by one brother, in turn, causes pain in the other brother, as no feelings were communicated. In this case, Lyman explains his version as he takes us through the experiences that he and his brother Henry have with the car.
Apart from the novel's thematic development, McCarthy's setting and his detailed description of the ornate beauty of the desert southwest is deserving of praise. A lyrical quality and refined beauty are apparent in the novel's description. McCarthy's extended accounts of the pristine beauty of the desert can be seen as an artistic and visually appealing piece work apart from the plot of the novel. Such memorable accounts seem to be a lone highlight in a shockingly disturbing book (Moran 37).
Forthright emotions are not necessary in this piece for the reader to connect, understand, or empathize with the plot. Johnson created a character who clearly has emotions, but chooses to safeguard them for a realistic feeling and the ability to concentrate on the more important purpose of the novel: to expose the difficulties a man with dual identity may face in a time period determined on separating and segregating who he is. Detached and emotionless, in this well-crafted and well-thought-out scenario, expresses more emotion and creates a more realistic novel than a complex examination of his inner feelings may have
Throughout a lifetime, one can run through many different personalities that transform constantly due to experience and growing maturity, whether he or she becomes the quiet, brooding type, or tries out being the wild, party maniac. Richard Yates examines acting and role-playing—recurring themes throughout the ages—in his fictional novel Revolutionary Road. Frank and April Wheeler, a young couple living miserably in suburbia, experience relationship difficulties as their desire to escape grows. Despite their search for something different, the couple’s lack of communication causes their planned move to Europe to fall through. Frank and April Wheeler play roles not only in their individual searches for identity, but also in their search for
People’s decisions can be majorly influenced by love and insanity. In “Prophyria’s Lover”, the speaker has to face his inner emotions of love towards his wife, which in the end lead to the murder of his own wife. The struggles of facing inner self has been a cause of the deaths of many people in the world. It can be the struggles of a single person alone, or can be struggles a person may have in which they take another persons life because of the relationship they have between one another.
Even though Stanley Kubrick’s Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb screened in the midst of the sobering Cold War, critics were keen on praising the film for its mastery of humor applied to such a sensitive matter. The film is exceedingly loaded with metaphors, innuendos, and allusions that nothing can be left undissected or taken for face value; the resulting effect is understood to be part of Kubrick’s multifarious theme. Kubrick has stated that what began as a “the basis for a serious film about accidental war ” eventually birthed an absurd and farcical classic comedy. The director fuses together irony, satire, and black humor to create a waggish piece but most of all the situation of the times and its gravity is the essence of what the audience finds so hilarious . Using caricatures rather than characters, exaggerated script, and sexual undertones, Kubrick manifests to the audience their own predicament and just how ridiculous it is to even consider brinksmanship as a means to preserve the American lifestyle.
Symbolism is the element that plays the starring role in this production, coyly divulging the clues necessary to illuminate the reality of her psychosis. The physical triggers of said psychosis belong solely to the room she and her husband slept in; now a playroom, it had obviously gone through many other transformations as had this woman, who despised it (nursery, gym, playroom). More importantly, it is the wallpaper that has caught and held her mind's eye.
In this book, Dr. Ernest Lash discovers he has a love for psychoanalysis after several years working as a psychopharmacologist. Justin, who has been a patient of Ernest for several years, tells him he left his wife, Carol, for another woman. While Ernest sees this as a good thing since the marriage between Justin and Carol as unhealthy, he is still slightly upset that Justin gives him no credit for his help in the situation. Justin then decided he no longer needs Ernest’s help.
1. What type of emotional disturbance does John Nash, the main character in the film,
When this story is viewed through Sigmund Freud’s “psychoanalytic lens” the novel reveals itself as much more than just another gory war novel. According to Sigmund Freud psychology there are three parts of the mind that control a person’s actions which are the id, ego, and superego. Psychoanalysis states that there are three parts of the human mind, both conscious and subconscious, that control a person’s actions. The Id, ego, and
In the play “Trifles” by Susan Glaspell, the play approaches the psychoanalytic perspective. As the play approaches many different angles from many characters, it is discussed from two women the behavior she accumulated. The inner mind of an individual develops unconscious thoughts which in result proceeds to the psychoanalytic perspective. The woman in this story is affected by it because of the environment that cages her in turmoil.
The creation of a stressful psychological state of mind is prevalent in the story “The Yellow Wall-Paper” by Charlotte Perkins Gilman, as well as, Edgar Allen Poe’s “The Tell-Tale Heart”, Ophelia’s struggles in William Shakespeare’s “Hamlet”, and the self-inflicted sickness seen in William Blake’s “Mad Song”. All the characters, in these stories and poems, are subjected to external forces that plant the seed of irrationality into their minds; thus, creating an adverse intellectual reaction, that from an outsider’s point of view, could be misconstrued as being in an altered state due to the introduction of a drug, prescribed or otherwise, furthering the percep...
Emotional discomfort can sometimes be perceived as mental instability. A person may look, act, or feel insane, when in truth they are just very uncomfortable in their own skin. The narrator has a genuinely difficult decision to make which far outside his comfort zone. He is choosing between a woman who has been like a mother to him and much needed job that he feels he may enjoy. This choice is tearing him apart from the inside out. From the ringing noises that interrupt his every thought to the skin he is scraping off. The author uses diction, syntax, and extended metaphors to express the complete and utter discomfort of the narrator, both physically and emotionally.
All dramatic productions feature the elements of drama. Following a viewing of the scene ‘Someone’s crying’ from the 1993 movie ‘The Secret Garden’ three of the elements of drama have been assessed. Role, character and relationships have been utilised in ‘The Secret Garden’ to create anxiety and suspense, enticing the viewer to solve the mysteries the Secret Garden presents. The protagonist in the scene is a young girl, around the age of ten who during the night leaves her room to explore her residence. The protagonist narrates the scene; she begins by stating that the ‘house seems dead like under a spell’. This makes the viewer anxious and fearful for the safety of our young protagonist. The protagonist is brave. She pushes open a door and