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Stephen King influence on literature
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Rob Reiner's Stand By Me “Stand By Me” is a film directed by Rob Reiner, which is based on the novella “The Body” by Stephen King. Stand By Me is the story of four twelve year olds living in a small town in the year 1959, whose lives were changed by a chance adventure that they embarked on at the end of an indolent summer. The four boys were Gordie Lachance (Wil Wheaton), Chris Chambers (River Phoenix), Teddy Duchamp (Corey Feldman), and Vern Tessio (Jerry O'Connell). It fits into the film genre coming of age. This genre is outlines as a small group of individuals who have a life changing experience in the natural world. They are usually are the same sex, If not the opposing character would be more masculine/feminine and clearly more suited to hanging round with the group of the opposite sex. The director of the film is keen to show a very strong message, which is apparent though out the film. We are alone in this long journey to adulthood. He expresses this in a variety of ways. One method is cinematography. He frequently uses perspective and panoramic shots, which charts their long, eventful but beautiful journey to the back Harlow Road. The incoming train is another way Reiner shows the boys fear of adulthood. The train is a large, opposing and fast moving object; the threat is objective rather than impersonal. It is one of the imagery factors used he uses to add to his message. Other references to the adult world are seen as enclosed and often hazy, used to portray the boy’s view of maturity. Whereas the world the boys see and particularly the journey uses wide and expansive shots to show the whole world opening up in front of them. Other films shots that are used are close ups which show the particular intense moments of the journey for the boys. The help give a sense of tension and strong emotion. This is particularly shown well at the end of the film when the boys go to split up.
H.G. Bissinger’s Friday Night Lights brings to mind the cold, autumn nights of 1988 where a town, just like any other rural town in America, was brought together in such a raw and emotional way. From the rise and fall of Boobie Miles to the push for the playoffs, it is clear that 1988 Odessa was swept up in the glory of football to replace the grandeur of the 1950s, which seemed to deteriorate throughout that hectic decade. While a modern reader may view Bissinger’s masterpiece as a tale from a dated and faraway place, several factors have kept it in the public’s eye. What is it about Friday Night Lights that still resonates today? The answer can still be found in the same rural towns of America. Though it may seem incredible, Texas is still football crazy, and it may be fairly concluded that emotions have only slightly receded from the obsession they once held towards high school football. People’s inability to analyze themselves, the impact a community can have on younger generations, and the way priorities can easily be warped all struck me as subjects that have stayed true in Texas culture over the past 26 years. I will be discussing these topics throughout this dissection of Friday Night Lights.
film as well as similar to 'Stand By Me' We simply used our own ideas
Breathless is in many ways the antithesis of the classical Hollywood cinema; the changes have a direct effect on the relationship the film has with the viewer. Classical Hollywood cinema includes standards such as continuity editing, highly motivated, character-driven stories and a coherent narrative structure. Breathless defies these elements of traditional filmmaking, instead defining what we know as French New Wave.
In Daniel Wallace’s novel, Big Fish: A Novel of Mythic Proportions and Tim Burton’s film, Big Fish, the relationship between the dying protagonist, Edward Bloom and his estranged son, William Bloom, is centrally to the story in both the novel and film. Like many fathers in today's society, Edward Bloom wishes to leave his son with something to remember him by after he is dead. It is for this reason the many adventures of Edward Bloom are deeply interwoven into the core of all the various stories Edward tells to mystify his son with as a child. Despite the many issues father and son have in their tense relationship as adults, Daniel Wallace and Tim Burton’s adaptation of Wallace’s novel focalizes on the strained relationship between Edward Bloom and William Bloom. In both Wallace’s novel and Burton’s film, they effectively portray how the relationship between Edward Bloom and William Bloom is filled with bitter resentment and indifference towards each other. Only with William’s attempt to finally reconcile with his dying father and navigating through his father fantastical fables does those established feelings of apathy and dislike begin to wane. With Burton’s craftily brilliant reconstruction of Wallace’s story does the stories of Edward Bloom and his son blossom onto screen.
In the movie, “Saving Private Ryan,” by Steven Spielburg, it begins with a veteran of WWII returning to Normandy to visit the burial ground for those Allied servicemen who were killed on D-Day. He is looking for a particular grave, and when he finds it, he takes a knee and starts sobbing. Captain John H. Miller has a flashback to June 6, 1944 in Omaha Beach, Normandy, France.
Cancer affects Hazel Grace, Augustus Waters, and their families deeply, it represents the lost, hope, and surprise of cancer often, but this is not only true in books,it also affects people in real life, parents start to view their kids differently, and the children start to view themselves as nothing but disease, and the culture they once had starts to change. Augustus Waters and Hazel Grace each have their own struggles, Hazel suffers from thyroid cancer and is terminal, Augustus had been cured, but it popped back making his body full of cancer, he as well ending up with terminal cancer. Often organizations and people would give them a little bit more because they are kids who had inevitability of death to look to. They both having to deal with the fact that they never knew what was coming, or if Hazel would lose Augustus first or if Augustus will lose Hazel first, though eventually that fact became obvious. Their families treat them in a way if they were healthy, they wouldn’t be treated in such a way. In real life there are hundreds who suffer cancer, but less who are terminal. Families have to learn how to deal with this, especially when the person is an adolescent. There are point where The Fault in Our Stars shows how different society becomes for those with cancer, and this is true in real life. Augustus Waters and Hazel Grace experiences and cancer let us view the world of cancer for several.
Inevitably, there comes a point in everybody’s life at which they have an experience that completely alters their view of the world. This moment is when one loses his or her innocence, or comes of age, and he or she realizes that they do not live in a utopian Golden Age. Parents are charged with the monumental duty of protecting their children’s innocence, but everybody inescapably grows up. This experience can be anything from an embarrassing situation at school to coming within seconds of death. In the short story “Ambush” by Tim O’Brien, the author tells the true story of his daughter confronting him and asked him if he had ever killed anyone. In an effort to be a good parent and protect the nine-year-old’s innocence, the author does not share with her the story he goes on to tell to the reader. He explains how many years ago, he was serving in the army and was taking a shift guarding his troop’s campsite when all of a sudden, a young man from the opposing army came walking up the trail. Without a second thought, O’Brien killed the boy with a grenade, and he lost his innocence after realizing he had killed a defenseless man without hesitation. Tim O’Brien develops Ambush as a coming of age story through the use of literary devices.
During the opening six minutes of Nicholas Roeg’s film Don’t Look Now, the viewer experiences a dynamic mixture of film techniques that form the first part of the narrative. Using metaphor and imagery, Roeg constructs a vivid and unique portrayal of his parallel storyline. The opening six minutes help set up a distinct stylistic premise. In contrast to a novel or play, the sequence in Don’t Look Now is only accessible through cinema because it allows the viewer to interact with the medium and follow along with the different camera angles. The cinematography and music also guide the viewer along, and help project the characters’ emotions onto the audience because they change frequently. The film techniques and choppy editing style used in Don’t Look Now convey a sense of control of the director over the audience and put us entirely at his mercy, because we have to experience time and space as he wants us to as opposed to in an entirely serial manner.
The film, Vertigo (1958) directed by Alfred Hitchcock, is classified as a genre combination of mystery, romance, suspense and thriller about psychological obsession and murder. Filmed on location in San Francisco and on the Paramount lot in Hollywood, California in 1957, the cultural features of the late 1950’s America were depicted in the films mise en scène by costume and set designs current for that time period. The film was produced at the end of the golden age of Hollywood when the studio system was still in place. At the time Vertigo was produced, Hollywood studios were still very much in control of film production and of actor’s contracts. Hitchcock’s groundbreaking cinematic language and camera techniques has had great impact on film and American popular culture and created a cult following of his films to this day.
As muscle-bound figures such as the Terminator and Rambo stormed big screen, it was also during this period that we witnessed the ostensive arrival of “racially sensitive” buddy cop films. Lethal Weapon 4 (1998) directed by Richard Donner is a buddy cop film, which portrays a more subtle ‘modern’ type of racism. In saying so, the film examines inter-racial relationships attempting to diminish racial issues and present characters with equity in order to give comfort and reassurance to a wider ethnic audience. With calls for more minority representation on screen, black-white interracial buddying seemed to make political and financial sense to Hollywood studios (Chan 110). However, minority representation on screen presented a much more complex underlying notion to be represented on screen. In relevance to Lethal Weapon 4, this essay attempts to examine relevant points from Shoham and______ article .
Life is fragile, everything that knows life will eventually meet death; it is impossible to mention one without the other. Humans have grasped the concept of life and death more so than any other species, yet we still consider it one of the great unknowns. All man knows in regards to life, he learns from his experiences with death. Man can look to many classic and religious texts searching for the meaning of life, but the only way one can truly learn it is through experience. To many, finding happiness means first coming to terms with the finite stretch of life one has and then making the most of it. Many films try to breach the subject of the preciousness of life, but only a few seem to hit as deeply as ones told through the eyes of a child.
In the American society, we constantly hear people make sure they say that a chief executive officer, a racecar driver, or an astronaut is female when they are so because that is not deemed as stereotypically standard. Sheryl Sandberg is the, dare I say it, female chief operating officer of Facebook while Mark Zuckerberg is the chief executive officer. Notice that the word “female” sounds much more natural in front of an executive position, but you would typically not add male in front of an executive position because it is just implied. The fact that most of America and the world makes this distinction shows that there are too few women leaders. In Sheryl Sandberg’s book “Lean In,” she explains why that is and what can be done to change that by discussing women, work, and the will to lead.
Stand and Deliver, a 1988 film directed by Ramon Menendez follows the true story of how teacher Jaime Escalante, played by Edward Olmos in his Oscar nominated role, takes a group of poverty stricken students in a run down school and defies the odds by not only getting them to learn but want to learn. Throughout the whole movie is the proof that being underprivileged does not mean less intelligent, Stand and Deliver shows that with hard work, the proper push, and desire, anything can be accomplished.
The poem 'Homecoming' originates from Bruce Dawe. Its journey depicts the aspects of war and its devastations upon human individuals. Using mainly the Vietnam War as a demonstration for its destructions.
Margin Call depicts a realistic take on what happens inside a Wall Street firm. It is about a company that is downsizing their workers because of a firm’s crisis. One of the victims, Eric Dale, was working on a major analysis when he was laid off. He hands his coworker Peter Sullivan his USB, which contains the major analysis. Peter stays late and cracks the issues and calls his coworkers and bosses in about the financial disaster he had discovered. He had discovered that the company is about the crash. He tries to get ahold of Eric, no luck. He then calls his coworkers Seth Bregman and Will Emerson, who are at a bar and tells them that they need to come back to the office for an emergency situation. After showing the situation to Will, John Tuld, the Chief Executive Officer, quickly hears about it. They all have a conference meeting and decide that the company will sell all of the mortgages, which have little to no value. Once the sale is completed, the company tries to save their reputation by saying that this issue was nonpreventable.