The documentary film ‘Once My Mother”, produced by Australian filmmaker Sophia Turkiewicz, depicts her mother Helen’s struggle for survival as a Polish refugee during World War Two and the process of the filmmaker’s reconciliation with her mother after her abandonment in an orphanage at a young age. In some senses, it is a story of loss and abandonment due to the miserable experiences Helen encountered at a young age. The film, however, predominantly portrays Helen’s incredible human strength on her journey of survival during the war and the complex love between Helen and the filmmaker.
Helen’s early life was very much shaped by her loss and abandonment. The greatest loss Helen experienced was the death of her parents. As she was orphaned by the age of six, it left her with great grief, darkened childhood memories and bewilderment of where she truly belonged. She eventually found her position as a labourer in her uncle’s house. After working on her uncle’s farm for two years and being denied an opportunity for education, she faced the most significant abandonment in her life: being turned
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However, because of these extraordinary events, Helen developed the skills and character to survive her refugee journey. The traumatic events and harsh conditions Helen endured and successfully overcame on her journey of survival marked her great human strength. In addition, the love between Helen and Sophia was intricate yet self-evident which survived through years despite of many difficulties. Helen’s love for Sophia was unconditional as she always treasured Sophia’s existence while Sophia’s love to Helen became more and more apparent when she came to understand Helen’s selfless love. Hence, Once My Mother is not simply a film about loss and abandonment, it is primarily a film that portrays great love and human
“Picking up the pieces of their shattered lives was very, very difficult, but most survivors found a way to begin again.” Once again, Helen was faced with the struggle of living life day-to-day, trying not to continue feeling the pain of her past.
Hattie spent much of her younger years living with different relatives because both of her parents had died when she was five. As Hattie was “tossed” from one relative’s home to another throughout her childhood, she never had a sense of belonging. To make matters worse, her relatives treated her like a hassle—as though her very existence was an annoyance. Needless to say, Hattie’s relatives were neither supportive nor encouraging of her. By age 16, Hattie’s feeling of self-worth was at an all time low. The story did not describe her appearance in depth, but it did say she was very modest and dressed humbly.
Looking back and forth on her childhood and adolescence in Puerto Rico and New Jersey, it is narrated in a contemporary voice, but also in part her childhood voice. The movie and memories focus on the influence of her father, even from a distance, and the role of women in society.
Her family life is depicted with contradictions of order and chaos, love and animosity, conventionality and avant-garde. Although the underlying story of her father’s dark secret was troubling, it lends itself to a better understanding of the family dynamics and what was normal for her family. The author doesn’t seem to suggest that her father’s behavior was acceptable or even tolerable. However, the ending of this excerpt leaves the reader with an undeniable sense that the author felt a connection to her father even if it wasn’t one that was desirable. This is best understood with her reaction to his suicide when she states, “But his absence resonated retroactively, echoing back through all the time I knew him. Maybe it was the converse of the way amputees feel pain in a missing limb.” (pg. 399)
Some would argue that my story is incomparable to that of the young woman’s due to the significantly different circumstances and the different time periods. Nonetheless, it is not the story that is being compared; it is the underlying emotion and specific experiences that made such a wonderfully deep connection. Marie’s intention when writing this tale was for her reader to learn something, whether it is about themselves or the story. Though the outcomes seemingly differ as the three characters--Milun, the women, and their son--are reunited and live happily ever after, my story is not over. Through my life experience and emotions of love, motherhood, and separation, I have learned that patience and time heal all.
The misfortunes Jane was given early in life didn’t alter her passionate thinking. As a child she ...
In “To Set Our House in Order” Margaret Laurence, it conveys the message that alienation is self-inflicted on the character “Grandmother MacLeod” as a result of a tragic event. In this case alienation is used as a coping mechanism for the Grandmother who lost her son Roderick in the battle of Somme. In the story she tells Vanessa, “When your Uncle Roderick got killed, I thought I would die. But I didn’t die” (Laurence 94). This shows how she now avoids affection and emotion in fear of becoming vulnerable. In consequence the Grandmother is in a state of emotional withdrawal which is shown where it states, “For she did not believe in the existence of fear, or if she did she never let on” (93). By doing so she decides she is better off trying to feel no emotion which supports the fact her alienation is self-inflicted.
Philosophy questions many ideas or statements. For example, the Examined Life asks, does life have meaning? This idea was analyzed, experienced, questioned, discussed and concluded in many different ways. There was a common thread between the Philosophy film, the Apology, our class discussions and the video, Examined life. We often ask ourselves, are we obligated to other people?
Looking back on the death of Larissa’s son, Zebedee Breeze, Lorraine examines Larissa’s response to the passing of her child. Lorraine says, “I never saw her cry that day or any other. She never mentioned her sons.” (Senior 311). This statement from Lorraine shows how even though Larissa was devastated by the news of her son’s passing, she had to keep going. Women in Larissa’s position did not have the luxury of stopping everything to grieve. While someone in Lorraine’s position could take time to grieve and recover from the loss of a loved one, Larissa was expected to keep working despite the grief she felt. One of the saddest things about Zebedee’s passing, was that Larissa had to leave him and was not able to stay with her family because she had to take care of other families. Not only did Larissa have the strength to move on and keep working after her son’s passing, Larissa and other women like her also had no choice but to leave their families in order to find a way to support them. As a child, Lorraine did not understand the strength Larissa must have had to leave her family to take care of someone else’s
Within the German Democratic Republic, there was a secret police force known as the Stasi, which was responsible for state surveillance, attempting to permeate every facet of life. Agents within and informants tied to the Stasi were both feared and hated, as there was no true semblance of privacy for most citizens. Directed by Florian Henckel von Donnersmarck, the movie The Lives of Others follows one particular Stasi agent as he carries out his mission to spy on a well-known writer and his lover. As the film progresses, the audience is able to see the moral transformation of Stasi Captain Hauptmann Gerd Wiesler primarily through the director 's use of the script, colors and lighting, and music.
A breathtaking saga of a young girl’s tragic memories of her childhood. As with Ellen, Gibbons’ parents both died before she was twelve-years-old, forming the family. basis of the plot and themes of this novel. The fond memories she possessed of her mother and the harsh ones of her father are reflected in the thoughts and actions of Ellen. The simplistic and humble attitude that both Gibbons and Ellen epitomizes in the novel is portrayed through diction and dialogue.
Vladka Patel Meed was an 18 year old girl when she and her family has to face the atrocities of the holocaust. born in 19211 in Warsaw, Poland, Meed was born in the center of Polish Nazi operations during the Holocaust. As Jews, she and her family were sent to live in the Warsaw Ghetto where there was ‘starvation and typhoid and hunger and [constant] terror’ conditions in the Warsaw Ghetto were terrible and inhumane although to make things less depressing, Meed ‘belonged at the time ... to the Jewish Cultural group’. While in the ghetto, Meed and other young people ‘has lectures and ... cultural events.’ After spending some time in the Warsaw Ghetto, the Nazis in charge of the ghetto decided it was time to begin deportations, which both meed’s mother and brother were included in, although she was not. Her mother and brother were to be sent to Umschlagplatz, a place that was well known as being a poor place to be sent to, often resulting in death. In vain, meed tried to bribe an officer to keep her mother and brother, the only family she had left, from leaving. They left and her brother later sent her a note telling her that he was hung...
While at Lowood, a state - run orphanage and educational facility, Jane’s first friend, Helen Burns, teaches her the importance of friendship along with other skills that will help Jane grow and emotionally mature in the future. She serves as a role model for Jane. Helen’s intelligence, commitment to her studies, and social graces all lead Jane to discover desirable attributes in Helen. Helen is treated quite poorly, however, “her ability to remain graceful and calm even in the face of (what Jane believes to be) unwarranted punishment makes the greatest impression on the younger girl” (Dunnington). Brontë uses this character as a way to exemplify the type of love that Jane deserves. This relationship allows Jane to understand the importance of having a true friend. Given Jane’s history at Gateshead, finding someone like Helen is monumental in her development as a person. Helen gives through honest friendship, a love that is
The world before her is a film of hope and dreams for Indian women. We examine two girls with different paths but one goal in common, empowerment. This term conveys a wide range of interpretations and definitions one of them being power over oneself. Both Prachi and Ruhi manifest a will for female empowerment but both have distinct views on how this is achieved. Prachi believes the way to achieve empowerment is through her mind and strength, while she still confines to tradition views of Indian culture. Ruhi desires to achieve female empowerment by exposing her beauty in a non-conservative way while maintaining her Indian identity.
As a girl, she had an extremely difficult childhood as an orphan and was passed around from orphanage to orphanage. The author has absolute admiration for how his mother overcame her upbringing. He opens the third chapter by saying, “She was whatever the opposite of a juvenile delinquent is, and this was not due to her upbringing in a Catholic orphanage, since whatever it was in her that was the opposite of a juvenile delinquent was too strong to have been due to the effect of any environment…the life where life had thrown her was deep and dirty” (40). By saying that she was ‘the opposite of a juvenile delinquent’, he makes her appear as almost a saintly figure, as he looks up to her with profound admiration. He defends his views on his mother’s saintly status as not being an effect of being in a Catholic orphanage, rather, due to her own strong will. O’Connor acknowledges to the extent that her childhood was difficult through his diction of life ‘throwing’ her rather than her being in control of it. As a result, she ended up in unsanitary and uncomfortable orphanages, a ‘deep and dirty’ circumstance that was out of her control. Because of this, the author recognizes that although his childhood was troublesome, his mother’s was much worse. She was still able to overcome it, and because of it, he can overcome