Carolyn Burnham in American Beauty
Directed by Sam Mendes in 1999, 'American Beauty' is set in a
seemingly typical suburban neighbourhood that gives an in depth look
beneath the surface. An ordinary, financially well-to-do family is
followed through the point of view of the father (Kevin Spacey). He
narrates his life and lets the audience in on all of his quirks, flaws
and limitations, as well as those of his wife Carolyn (Annette Bening)
and his daughter (Thora Birch). The film exemplifies the idea of
achieving the 'American Dream' - not necessarily to reach your
ultimate goal in life but to portray the image of reaching that goal.
In addition, the film won 5 Oscars, including best picture and was
praised for the directors use of imagery and editing.
Carolyn Burnham, played by Annette Being, portrays a dynamic character
in the film. Her key traits help us to understand how her personality
works. In this particular extract of the film we learn about Carolyn's
character from the use of language, camera shots, music, physical and
vocal expressions and other presentational devices. 'Mis en Scene' is
also used in this particular scene and is particularly effective as it
enables the audience to understand how Carolyn interacts with the
objects around her and this reveals more about her personality.
The shot opens with Carolyn putting up a 'for sale' sign outside a
property she is trying to sell. Here she is organised, prepared and
optimistic. She then glances to a house across the road where a
bigger, bolder sign is. Her facial expression immediately changes to
self-doubt, as she realises she has competition. She then takes
contr...
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...ntrol her
emotions in front of the clients she punishes herself for failing.
Through Annette Bening's acting techniques we learn that there are
almost two sides to Carolyn's personality: the positive, determined,
optimistic side that she only lets her clients see, and the child-like
side that cannot handle failure disappointment or imperfection.
In conclusion, Carolyn is obsessive, perfectionist and cannot handle
pressure or failure. We receive this information about Carolyn through
the different camera shots, acting techniques and presentational
devices. These devices are so efficient that the audience can portray
Carolyn's personality in seconds, whilst the different shots are being
played. They also help the audience to comprehend and understand how
her personality works and what her true character is really like.
For this assessment, I have chosen the movie Real Women Have Curves. The movie follows a traditional Mexican family and their struggle to survive in America. The film focuses, on the youngest American-born daughter Ana. Ana lives in a Hispanic community in East Los Angeles the daughter of Latino working immigrants from Mexico. Her family unit consists of her parents, two brothers, older sister and her grandfather. The movie shows the conflict Ana faces between the clashes of the two cultures. The film shows that Ana goes to great lengths to attend school every day. Ana has had a successful school career, as her peers are getting ready to attend college. She’s expected to get a job to financially help her struggling family. She
"Only the BLACK WOMAN can say 'when and where I enter, in the quiet, undisputed
shot. It’s as if the viewer is being introduced to the character gradually. For example,
Flannery O’Connor was born Mary Flannery O’Connor on March 25, 1925 in Savannah, Georgia, as the only child to Edward F. O’Connor, Jr., and Regina (Cline) O’Connor. Later in 1941, Flannery O’Connor’s father dies of lupus while O’Connor is in Milledgeville, Ga. After her father’s death, O’Connor rarely speaks of him and continues to be active in school projects such as drawing, reading, writing, and playing instraments. Further, in the summer of 1942, O’Connor graduates and enters Georgia State College for Women as a sociology and English major. Moreover, O’Connor took on the name Flannery O’Connor, dropping Mary from her signature. When O’Connor graduates from college, she leaves for Iowa City and applies for several college teaching positions while attending the University of Iowa. Thus, she receives her Masters of Fine Arts in 1947. Although her first story, “The Geranium” was publised in Accent, during the summer of 1946, it was only the beginning of many of her works to be published. Like her father, O’Connor was living with lupus and her first major attack came in December, 1950. However, O’Connor did not allow the disease to keep her from writing and getting her works published. In fact, she got her nineth story , “A Good Man Is Hard to Find” published. Also, O’Connor has won many prizes and awards with her writings over the years. For instance, she was named the Honorary Doctor of Letters by institutions, was the first prize of the O. Henry award in 1957 and 1963 and had previously won second in 1954 and 1955. Moreover, O’Connor died on August 3, 1964 I a Milledgeville hospital. Nevertheless, her stories cont...
Flannery O'Connor was born in Savannah, Georgia, the only child of a Catholic family. The region was part of the 'Christ-haunted' Bible belt of the Southern States. The spiritual heritage of the region shaped profoundly O'Connor's writing as described in her essay "The Catholic Novelist in the Protestant South" (1969). O'Connor's father, Edward F. O'Connor, was a realtor owner. He worked later for a construction company and died in 1941. Her mother, Regina L. (Cline) O'Connor, came from a prominent family in the state - her father had been a mayor of Milledgeville for many years.
Durkheim's concepts of the sacred and the profane has dominated religious and social commentary for decades. While these two, inexorably linked, concepts are most often related with respect to religion, we can apply them to the almost-religion of the “American Dream” for the purpose of analyzing the lives of Lester and Carolyn Burnham, Buddy Kane, and Angela Hayes in the film “American Beauty.” In “American Beauty” the experiences of the characters illustrates the dichotomy between the sacred and profane, the morality associated with the sacred and profane, and the influences the sacred and profane have on the characters.
Mary Flannery O'Connor was born in Savannah, Georgia, on March 25, 1925. Until she graduated in 1945 she was known as Mary Flannery. At this point she felt that Mary Flannery didnt seem suitable, on one occasion she described it as sounding like the name of an Irish washerwoman. From this point on, she was known as just Flannery OConnor. Flannery is most recognized for her short stories but at the same time had great interest in cartooning and drawing. She would paint over any cracks in the walls of her home so that her mother would not cover them up with paintings from relatives. As a student at Georgia State College for women Flannery displayed her interests in art by painting murals on the walls of the student union building. Flannery often accredited her father, Edward OConnor as being one of the first and most important influences in her life. Edward OConnor not only encouraged his daughter to write but to explore her artistic ability as well.
Mise-e-scène is one of the most recognizable conventions in filmmaking. It translates literally from the French to “staging” or “to put in the scene” in English. When applied to film studies, mise-en-scène refers to all the visual elements within a particular shot or sequence. Mise-en-scène consists of 5 distinct categories which assist in the development of a film’s visual narrative: Setting and Design, Costume and Make-up, Lighting, Acting and Movement, and Framing. These elements together and separately help to inform the viewer by giving them visual cues as to the nuances of meaning within a film’s structural form. Mise-en-scène may gives the viewer insight into the nature of a film’s characters and their subsequent state of mind, the time and place in which events are occurring, the mood and meaning intended by a particular scene, and also help the viewer to form expectations based upon the filmmaker’s interpretive point of view. In the film, The Eternal Sunshine of the Spotless Mind, Director Michael Gondry utilizes mise-en-scène to denote the complex temporal relationships between his characters, their circumstances, and a fragmented plot structure which progresses through elliptical patterns between memory and reality. In fact, the use of mise-en-scène in Spotless Mind is central to understanding the inner construct of Joel (Jim Carey) and Clementine’s (Kate Winslet) personalities and personal motives, as well as the antagonistic mechanism at play in their relationship.
Mary Flannery O’Connor was born in 1925 in Savannah, Georgia. She was an only child, and her parents were deeply religious Roman Catholics. She was educated at the Women’s College of Georgia and the State University of Iowa. While she was at college, she wrote short stories which were published. During this time her father died of lupus, a blood disease that would eventually claim her life as well. After she was diagnosed, she moved to Milledgville, Georgia, for treatment of the disease. She continued writing and published two novels, Wise Blood and The Violent Bear it Away, as well as two collections of short stories, A Good Man is Hard to Find and Everything That Rises Must Converge. She died from Lupus in 1964 (Charters, 1079).
view. The narrator is able to delve into Andy’s thoughts and feelings but is also able to
In the mid 1900’s, America experienced many changes, from society and politics to religion and literature. Countries were facing the aftermath of World War II, and authors of the time reflected on how the world was dealing with the changes. Flannery O’Connor, a prominent Catholic writer from the South, was one of the many who examined society and shared their philosophies. O’Connor shocked her twentieth century readers with the haunting style and piercing questions in her short stories and novels, which were centered on a combination of her life experiences, her deep Catholic faith, and the literature of the time.
“She was from Pasadena, this six-foot-two marvel of a woman. It was not so much because she was an extraordinary cook- and she would pointedly remind us that she was a cook, not a chef” (Kehoe 1). Julia Child was an extraordinary woman who had a passion for cooking that she didn’t even know could change the way people cook. Julia Child most definitely influenced cooking for generations to come with her passion for cooking and love for food.
In today's world, technology is constantly changing from a new paperclip to an improvement in hospital machinery. Technology lets people improve the way they live so that they can preserve their own personal energy and focus on the really important factors in life. Some people focus their energy on making new innovations to improve transportation and the health of people that may save lives and some people focus on making new designs of packaging CDS. Technology is significant in everyone's life because it rapidly changes what is in the market. But, some new innovations of technology are ridiculous because they serve no purpose in helping mankind.
Is government regulation something that benefits us, or something that deprives us of our freedom? Katherine Mangu-Ward, a Libertarian Journalist who has written for the Washington Post, the Wall Street Journal, and the Weekly Standard, would introduce government regulations as an endangerment to our constitutional freedom. Mangu-Ward is a Yale Graduate that has a concept that negative liberty is at war with the people. She believes that there should be minimal interference from the government or anyone else, and that people have become complacent with government interference. I disagree with Mangu-Ward’s theory, and believe that people aren’t fighting against negative liberty, its concept is just dying out while people are embracing positive liberty because it’s the better concept. I also disagree with her belief that the government shouldn’t regulate our lives, government regulation is something that keeps us and the world healthy.
Pretty Woman. Dir. Garry Marshall. Perf. Richard Gere, Julia Roberts, and Ralph Bellamy. Buena Vista Pictures., 1990.