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Behaviour of jealousy
Essay on jealousy in relationships
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In his 2001 film entitled Lantana, director Ray Lawrence provides a dramatic look into the consequences of jealousy and infidelity in relationships. The film focuses primarily on two couples, Leon and Sonja, and John and Valerie, whose relationships are both seemingly in the midst of their own downward spirals. As the story unfolds and the issues affecting each of these relationships are uncovered, the film paints a vivid picture of the different ways that such themes can quickly bring ruin to relationships, and, in the case of some of the film’s characters, lives.
As the film opens, it quickly becomes apparent that Leon, a married law enforcement officer, is cheating on his wife Sonja with Jane, a woman from their dance class. Jane is also married, but is separated from her husband. It is obvious from the start that Leon and Sonja’s marriage is in dire straits. The other main couple, Valerie and John, are struggling to hold their relationship together after the murder of their young daughter. Valerie also happens to be Sonja’s therapist. Through therapy sessions between Valerie and Sonja, it becomes clear that Sonja is having suspicions regarding Leon’s extramarital activities. Simultaneously, Valerie is counseling a homosexual man named Patrick, who is having an affair with a married man. Both patients seem to be causing Valerie an immense amount of stress, as she begins to question whether John is being faithful to her in the midst of their struggles. As the film progresses, Valerie begins behaving erratically due to her growing jealousy regarding the affair that she suspects John of being involved in. While driving home late one night, Valerie becomes stranded and calls John from a pay phone multiple times, but ...
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...rnations of jealousy can arise in relationships, and the effects of each type.
The storyline elements in Lantana were masterfully crafted by the director as each interaction and relationship showed a different aspect of the results of jealousy and infidelity in relationships. I found the differences in the relationships themselves, as well as the ways in which each participant in the relationships reacted to their relational situations to be rather realistic, and ultimately, fairly educational. Though the film was clearly a drama and an art piece, it successfully reinforced many of the ideas communicated in lecture, and helped to explain the differences in subsets of jealousy and infidelity. Overall, the film, and the actors’ portrayals of the characters, provided an in-depth look at the ways in which jealousy and infidelity affect intimate relationships.
The Notebook (Cassavetes, 2004) is a love story about a young couple named Allie Hamilton and Noah Calhoun, who fall deeply in love with each other. The Hamilton’s are financially stable, and expect for their daughter Allie to marry someone with the same wealth. Noah on the other hand works as a laborer, and comes from an underprivileged family. Throughout the film there were several negative behaviors, and interpersonal communications within the context of their relationship, which relates to chapter nine. This chapter explores relationships, emphasizing on affection and understanding, attraction, and the power of a relationship. The focus of this paper is the interpersonal conflict with Noah, Allie and her mother, Anne Hamilton.
“There once was a time in this business when I had the eyes of the whole world! But that wasn't good enough for them, oh no! They had to have the ears of the whole world too. So they opened their big mouths and out came talk. Talk! TALK!” (Sunset Boulevard). The film Sunset Boulevard directed by Billy Wilder focuses on a struggling screen writer who is hired to rewrite a silent film star’s script leading to a dysfunctional and fatal relationship. Sunset Boulevard is heavily influenced by the history of cinema starting from the 1930s to 1950 when the film was released.
Beginning a relationship is usually different from person to person, but with mostly every relationship, there is a cycle that is known as “Relational Development” which illustrates the rise and fall of relationships into ten stages (pg. 283). In the film, The Breakup, Vaughn, who takes on the
...pared because of the infidelity and betrayal to their loved ones, and contrasted because of the different emotions that each of the main characters from feeling regretful and very indifferent.
...l concept, many consequences can arise as a result of it. Their display of self-destructive and reckless behavior endorses the idea that young lovers are not yet mature enough to handle the ramifications that appear as a result of a complicated relationship. Their willingness to rush into major events, such as marriage and even death, further shows how passion can cloud one’s judgement and control one’s thoughts and actions. Though written a long time ago, the message that Shakespeare conveys in Romeo and Juliet about young, passionate love applies to modern society as well, where great consequences arise from people acting on emotional impulse as opposed to calm reasoning.
“Like a river flows so surely to the sea darling, so it goes some things are meant to be.” In literature there have been a copious amount of works that can be attributed to the theme of love and marriage. These works convey the thoughts and actions in which we as people handle every day, and are meant to depict how both love and marriage can effect one’s life. This theme is evident in both “The Storm” by Kate Chopin and “The Yellow Wallpaper” by Charlotte Gilman; both stories have the underlying theme of love and marriage, but are interpreted in different ways. Both in “The Storm” and in “The Yellow Wallpaper,” the women are the main focus of the story. In “The Storm” you have Calixta, a seemingly happy married woman who cheats on her husband with an “old-time infatuation” during a storm, and then proceeds to go about the rest of her day as if nothing has happened when her husband and son return. Then you have “The Yellow Wallpaper” where the narrator—who remains nameless—is basically kept prisoner in her own house by her husband and eventually is driven to the point of insanity.
In the short story “The Cheater’s Guide to Love” by Junot Diaz, the author pinpoints on the Yunior’s life as a writer and college professor who is also struggling with his romantic relationships. The short story is filled with his experiences of using women for his beneficial needs and how it negatively affects him. It focuses on Yunior’s downfall through life after the destruction of his relationship with his fiance. The diction includes the narrator’s hateful consideration of women and a paradox of his own endeavors which prevent him from pursuing a meaningful relationship, but he grows to realize that he treats women awfully and his ex did the right thing by leaving him due to his untruthfulness.
Gaitskill’s “Tiny, Smiling Daddy” focuses on the father and his downward spiral of feeling further disconnected with his family, especially his lesbian daughter, whose article on father-daughter relationships stands as the catalyst for the father’s realization that he’d wronged his daughter and destroyed their relationship. Carver’s “What We Talk About When We Talk About Love” focuses on Mel and his attempt to define, compare, and contrast romantic love, while leaving him drunk and confused as he was before. While both of my stories explore how afflicted love traumatizes the psyche and seem to agree that love poses the greatest dilemma in life, and at the same time that it’s the most valued prospect of life, the two stories differ in that frustrated familial love causes Gaitskill's protagonist to become understandable and consequently evokes sympathy from the reader, but on the other hand frustrated romantic love does nothing for Carver's Protagonist, except keep him disconnected from his wife and leaving him unchanged, remaining static as a character and overall unlikable. In comparing “Tiny, Smiling Daddy” and “What We Talk About When We Talk About Love”, together they suggest that familial love is more important than romantic love, which we relentlessly strive to achieve often forgetting that we’ll forever feel alone without familial love, arguably the origin of love itself.
In each of these plays, jealousy is used as a means of producing a conflict and creating trouble in the lives of the characters. The jealousy in each play, although it is introduced in a different way, always involves a man being jealous of his wife (or fiancée, in Hero's case) being unfaithful with another man. Whether he misinterpret something he sees, or believe slanderous lies, the man's jealousy builds until it forces him to do something to punish his unfaithful woman. At the end of each play, the man is made to realize his mistake, but sometimes the damage can not be undone. Jealousy is the main crisis in each type of play - tragedy, trage-comedy, and comedy - but its results lie strictly in the way it is introduced, and the intended severity.
But jealousy, and especially sexual jealousy, brings with it a sense of shame and humiliation. For this reason it is generally hidden; if we perceive it we ourselves are ashamed and turn our eyes away; and when it is not hidden it commonly stirs contempt as well as pity. Nor is this all. Such jealousy as Othello’s converts human nature into chaos, and liberates the beast in man; and it does this in relation to one of the most intense and also the most ideal of human feelings. (169)
Most people who have watched a soap opera can recognize that the love triangle is a crucial element to the plot. In fact, the original radio broadcasted soap operas seemed to consist almost entirely of love triangles. The love triangle, for plot purposes, seems to be a popular technique employed to change the dynamic, add dimension, and generally ‘spice up’ an otherwise stagnant monogamous relationship. It would make for a pretty dull and quite unpopular show if such popular daytime soap characters as Luke and Laura or Bo and Hope had enjoyed a smooth courtship, uncomplicated marriage and then grew old and gray together without a single conflict. The viewers watched them go through many conflicts, some of which involved the classic love triangle. Such conflicts as the love triangle keep the story moving. Common elements of triangles in today’s soaps consist of lust, greed, jealousy, any of which are interchangeable with the conflicts resulting from situations involving lovers coming back from the dead or paternity uncertainties. Yet love triangles, whether in the soap opera or in the novel, are not all uniformly constructed. James Joyce’s The Dead and Thomas Hardy’s Jude the Obscure, both modernist novels, each contain love triangles as an integral element of the story.
The patterns or interactions between different types of relationships even family ones show that there are different types of dynamics. Every power dynamic is different and unique in its own way. No matter how close or distant the relationship’s parties are they are always influenced by their surroundings and what is portrayed around them. In her short story “Storms” Claire Keegan manipulates the theme of cruelty in order to explore power and family dynamics in a relationship.
Today, romance is one of the most popular genres to watch on television. Unlike most, romance is a genre where the plot revolves around the love between two main characters as they experience the highs and lows of love. “Common themes that revolve around romantic movies are kissing, love at first sight, tragic love, destructive love, and sentimental love” (Taylor). These themes appear in many historical films and the pattern still continues in modern films as well. Watching romantic movies has a giant negative influence on the viewer's analysis of what love and relationships should really be like. These films give the wrong impression of reality when it comes to dating, marriage, having children, and even how to manage a relationship in the first place. Even though romantic movies are commonly watched, there are many effects on personal real-life relationships after watching these types of films.
Romance movies have this weird love that goes on in them. Some characteristics include; sex scenes, lovey dovey affection, hate (sometimes) that ends up in love, marriages, divorces, new found love, and really anything that can happen between a man and female, female and female, man and man, whichever someone prefers. Romance movies are often seen as “chick flicks” while some may agree, others disagree. The ONLY reason they are considered “chick flicks” is because it’s a romance and theirs sappy love. There is no real evidence of it being labeled as a “chicks only flick”, men actually prefer to watch some of those movies. It doesn’t make them weak, homosexual acting, a pansy, or anything else men might call other men. Romance movies and novels are highly bought in stores. Who knows? It may be bought by your future husband or wife. And, since this paper is describing the differences, parents might look at this and decide whether or not to show the kids these types of
Eben Harrell, a writer for Time Magazine, explains in the article entitled “Are Romantic Movies Bad For You?” that many couples being treated in therapy have problems as a result of the “misconceptions about love and romance depicted in Hollywood films” (Harrell 1). “Phillip Hodson, a fellow at the British Association for Counseling and Psychotherapy, says that while romantic comedies can cause problems for couples once they exit the euphoric first few years of a relationship, they also provide a much needed source of hope and inspiration for the unattached” (Harrell 1). While I do agree that romantic films can provide people with encouragement that there is somewhere in the world for them, I believe Hollywood’s portrayal of love is only acceptable to an extent. People must be careful not to project circumstances or expectations shown in films on their loved