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Music and narrative in film
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The film adaptation of Sophocles’ Antigone portrays the text substantially well in several ways. The filmmaker’s interpretation encourages the audience to be discerning as their perception of the Greek tragedy is enhanced. The play becomes profound and reverberant because of the many interesting elements of production. These include musical score, set design, and the strategic costuming – all of which advocates an improved comprehension of Antigone. The musical score proficiently provides the viewers with a sense of what is happening in the scene which could not be communicated through text. Dramatic music is played for Creon’s entrance; this immediately communicates to us that he is a man of great importance and power. When Antigone enters after being arrested, the music is dynamic and tense. This conveys the seriousness and desperate atmosphere of the scene. The score is also a representation of the varying moods of the characters. An example of this is when Antigone is anxiously trying to appeal her sentence. The music makes the audience drawn is drawn to feel sympathy and pity her when she is preaching her views on death. For instance, a solemn melody is played when Haemon’s dead corpse is brought to King Creon. Creon grieves by himself as he is overcome with devastation caused by his foolish actions; his emotions are intensified by the sorrowful and sombre background music. The music is able to complement the play, while accentuating the more significant events. The design of the set is the most essential element of the production because it serves as the backdrop for the entire play. When the film starts, there is a wide shot of the Theban palace. There are two very large portraits of Creon hanging from the ceiling; this instantly establishes that Creon is the ruler of the state. The set depicts the castle’s massive foyer which contains a large staircase. Either than that there are hardly any props; this is advantageous because the presence of props and ornate decorations would divert the audience’s attention away from the dialogue and happenings of the play. Furthermore, the ambience in the palace becomes dark and bleak the moment Antigone commits suicide. This reflects the despondent mood and foreshadows Haemon’s suicide. The set of the play is successful in generating a suitable atmosphere and is reflective of the chaos that will occur. A significant aspect of the play is the acting and wardrobe, because it helps demonstrate the personalities of the characters.
When the war began and the union blockaded all their ports the south was out of luck. They had very little industrial workers and manufactured goods compared to the north so during the blockade they could not make their own weapons or food other than corn. (Doc 2) The north had the advantage because they supplied the south with a lot of important items such as cotton-mills and steamships. (Doc 3) They also had better means of transportation. The north had better boats because they had factories equipped to make them and they also had more railroads to transfer weapons and equipment to soldiers. (Doc 1) The north was meant to win from the beginning and even though it took longer than expected they still beat the south and defeated slavery. No one document will tell you that slavery caused the Civil War, but if it had not been for slavery the war would have never
In the awe-inspiring play of Antigone, Sophocles introduces two remarkable characters, Antigone and Creon. A conflict between these two obstinate characters leads to fatal consequences for themselves and their kindred. The firm stances of Creon and Antigone stem from two great imperatives: his loyalty to the state and her dedication to her family, her religion but most of all her conscience. The identity of the tragic hero of this play is still heavily debated. This tragedy could have been prevented if it had not been for Creon's pitiful mistakes.
In the Antigone, unlike the Oedipus Tyrannus, paradoxically, the hero who is left in agony at the end of the play is not the title role. Instead King Creon, the newly appointed and tyrannical ruler, is left all alone in his empty palace with his wife's corpse in his hands, having just seen the suicide of his son. However, despite this pitiable fate for the character, his actions and behavior earlier in the play leave the final scene evoking more satisfaction than pity at his torment. The way the martyr Antigone went against the King and the city of Thebes was not entirely honorable or without ulterior motives of fulfilling pious concerns but it is difficult to lose sight of the fact that this passionate and pious young woman was condemned to living imprisonment.
Antigone, a tragic drama written by Sophocles explores the different ranges of characters: static and dynamic or flat and round. Creon, King of Thebes in the dramatic play Antigone takes on the role that of a static character. Throughout the whole play Creon believed the idea that he was above the law of the Gods and his decrees cannot be disputed. Unknowingly, who would think that Creon’s sense of pride would cause him the life of his wife, son, and niece? However, at the very end of the play Creon returns to the palace, holding his son’s lifeless body, where he finds out that his wife has killed herself as well. Overwhelmed with grief about the death of his loved ones, Creon turns to the Chorus and says, “Lead me away. I have been rash and foolish. I have killed my son and wife. I look for comfort; my comfort lies here dead. Whatever my hands have touched come to nothing. Fate has brought all my pride to thought of dust” (1833). Creon takes responsibility of the death of his son and wife by calling himself a “rash” man and this is where Creon undergoes the changes of a dynamic character by admitting that he was wrong.
In “On Free Choice of the Will”, Augustine indicates the importance of his beliefs and opinions of human nature and of God. He thinks as greatly of God as possible and centralizes his thoughts of goodness with the concept of being/form (God); he also gives a description of how God’s rightness can be interpreted clearly through the evil doings of the world. One of the biggest and most difficult problems facing people is the problem of doing evil. If God is being, unchanging, eternal and all-powerful, then how is it that people do evil? Augustine tries to solve the problem by examining the “source of evil” and “what evil is”. He explores the ways in which to live a happy life and an evil-free life by having a perfectly ordered soul—a life willed by the virtues—through free will. In the pursuit to find out how it is that evil exists, Augustine explores how people sin with inordinate desire as the driving force and free will. He lists the things we need to possess in order to sin and to live a happy life—goods of the will and temporal goods—that is, one cannot sin without temporal goods, inordinate desire, and free will. In the same way, one cannot live a happy life without goods of the will and free will.
Antigone utilizes her moral foundations, her religious roots, and the events of her past to form a sophisticated argument. Despite being unable to convince Creon to reverse her punishment, Antigone is able to convince the people of Thebes that she was right in her actions. After Antigone’s death, and the deaths of several others, Creon reflects on this monologue and realizes the honest truth behind Antigone’s actions and words.
This play, Antigone, was titled after one of the play’s main characters; however, the title could have been “Creon”, due to Creon’s influence throughout the play. Creon was a major influence to the play’s plot as it involves Creon within a majority of the scenes, from beginning to end. Throughout the play Creon’s tragic countdown is expressed, beginning with him as king of Thebes to the death of his beloved family. Antigone is merely portrayed as a rebellious nephew, as she consistently defies Creon. Antigone is expressed within the play consistently; however, the play portrays decisions proclaimed by Creon, which displays Creon’s tragic flow. Being titled “Antigone”, does not accurately express the play’s content as Creon’s tragic fate is actually being described and represented.
The play “Antigone” is a tragedy by Sophocles. One main theme of the play is Religion vs. the state. This theme is seen throughout the play. Antigone is the supporter of religion and following the laws of the gods and the king of Thebes, Creon, is the state. In the play Creon has made it against the law to bury Antigone’s brother, something that goes against the laws of the gods, this is the cause of most conflict in the story. This struggle helps to develop the tragic form by giving the reader parts of the form through different characters.
The chorus being a part of the audience allowed for the audience to have a more direct link between what was occurring in the play. However, the chorus itself added a comedic and introspective aspect into the play. For example, the chorus seemed to be one of the few characters that were aware of the situation that the characters were in and the fate of each one. An example of the comedic effect that the chorus adds is when he questions Antigone about whether she remembers doing the entire play with a door strapped on her back because her father wanted her to. This comedic effect seems to lighten the mood during an intense monologue that Antigone is about to give, which addresses the ignorance of Kreon. Also, the wedding between Antigone and Haimon is another high point of the play as all the characters, including Kreon and Eurydike, are in a moment of contempt during the marriage. The low points of the play include Kreon’s realization of his actions and the suicide of Antigone. Both Kreon’s realization and Antigone’s suicide creates a cathartic moment in the audience, as those watching give pity to Kreon and Antigone for dealing with a less than ideal situation. The scene that surprised me the most is the random musical number that was added intermittently in the play. For example, the dancing scene surprised me as due to the randomness in the scene. I would not expect a dance
In Sophocles' most famous Theban play consisting of two parts, "Oedipus the King" and "Antigone", both parts are necessary in understanding some of the things that happened around them, and what type of man had raised Antigone. She is the main character in the play of “Antigone”.
Most people are deluded, believing that casual sex is emotionally safe when it is not. These views claim that there is no commitment to the partner, therefore lacking intimacy. Details of personality, family, an individual’s life and how an individual reacts to a situation are not communicated. It would seem to be difficult to become emotionally involved, which could easily cause the person to be vulnerable to stress and heartache. After all, with no emotional ties the individual can’t be emotionally hurt. If a problem does arise there are no commitments so the partner can easily be abandoned. However, this is not true. Sex always equals emotional bindings and even so called casual sex therefore creates emotional damage. Scientifically, the act of sex stimulates receptive nerves in the
In the books of the Confessions, Augustine praises God and confesses his sins while telling the story of his journey. The first half of the Confessions describe his journey away from himself, which include giving into his personal pleasure. The fifth book is when he has a revelation, and the rest of the Confessions gives the account of the process of getting back to himself, or being fully human. It is a path that took a large part of his life, but it in the end, he accepts his vocation of “being”.
Through The Confessions, Saint Augustine discusses how he came to learn of God and further discusses his relationship with God. Throughout The Confessions, Aurelius shares many examples in which he veered of the path of good and struggled continually to keep a relationship with God. Although Saint Augustine is credited with being a highly influential model in the Christian faith, he did not always live a life of good and in fact did not convert fully to Christianity until his middle life. Throughout the work, it is easily noticed that Saint Augustine continually struggled with the concept of good versus evil. Aurelius seemed to always explore the origin of good versus evil and whether or not evil really existed or if it was just a choice brought on by man. This fascination of good and evil is continually seen throughout all of The Confessions written by Saint Augustine.
Antigone if she is caught. As the play moves on there is a building of this fear and pity that is felt for many of the characters that finally is resolved at the catastrophe. At that point the reader learns that Creon, the king, has lost his wife, his son, and his niece Antigone, all because he was too stubborn to give in as well as to afraid that if he did give in that he would be judged as an easy king. In a way this ending brings the two emotions together. The reader feels pity for Creon because of his great loss, but at the same time he feels a bit of fear because he wouldn’t want this type of tragedy to ever occur in his life.
Even a system as morally flawed as the Feudal one required a strict adherence of an individual to his borne title, specifically the serf who must always respect the knights, lords and the king simply for the sake of respect for all that they provide for him. This also extended towards higher classes, a Feudal structure would have been futile if the knights did not respect the lords and the king as they swear to protect him and his people. Similarly, the King had to respect his kingdom in order to sustain a prosperous and ever-flourishing kingdom that grew into many European countries that exist today: England, Germany, Belgium. A similar structure not only exists within multi-generational families for the elders in Japan (again highlighting the significant ties to Confucianism and the Confucian dialects) but also for one’s employer or professor (Natsuko, 376). One must have respect for those who provide him with knowledge or opportunity, as ones employer or elders often do. In fact, the necessity for respect has permeated the language itself of Japan, as there exist specific words for this sole purpose. These honorifics exist not only to show respect to one on a greater hierarchical level than oneself, but also to allow oneself to acknowledge their humble place in society (Hymes, 408). Honorifics, while polite, are not optional as they maintain the strict hierarchical structure Japan is built