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Concept of good and evil in movies essay
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one which he “peddles” to the viewers (Anderson & Meyer, 1988). Character exaggeration is often utilized as a means of overstating the value of a given message. In the film Kingdom of Heaven (2005), for instance, the character of Balian is portrayed as a “perfect knight” and Guy, as the “perfect villain.” Historically speaking though, Balian was never a perfect knight, let alone a guy who was profoundly valiant, virtuous, and prudent. Note that this theory assumes that the viewer sees the actor as being independent from the subject/object he represents, and that the actions of the actor are autonomous in the sense that they are independent of the prevailing social or cultural order. The primary viewpoint is the viewpoint of the director/producer,
who can willfully peddle his interpretation of events to his intended audience, without concealing its actual context (Anderson & Meyer, 1988). Unlike cultivation theory, however, social action theory sees viewers not as hapless and inert receivers of information, but as active communicators of meaning. Audiences engage actively in mediated communication, fully capable of interpreting the content and meaning of any given information they receive (Anderson & Meyer, 1988). This theory assumes that the interaction between the audience and the media in relation to meaning construction is not a one-way process; rather it is constructed within it. Thus, there are three (3) sources of meaning: the intention and/or interpretation of the producer (his version of reality), the conventions of the content (historicity or content validity), and the interpretation of the viewer (Anderson & Meyer, 1988). Consider this example. A large percentage of adults are regular viewers of wrestling matches on television. The producer/stage manager willfully directs “exaggerated” matches to please the audience. The more violent the show, the more appealing it is. There are no violent matches per se, in the truest sense of the word, because they are regularly rehearsed. Because viewers are aware of these conventions, they do not expect that someone will
Thomas C. Foster in his work How to Read Literature Like a Professor argues that even though characters may display evil characteristics, their religious values overpower and express “themselves in connection with the [character’s] role within society” (Foster 125). Literary characters may display some of the same characteristics as Christ while accomplishing actions with “redemption, hope, or miracle” (132). Jay Gatsby in F. Scott Fitzgerald’s The Great Gatsby symbolically resembles a Christ figure—sacrificing himself to save Daisy from the law, outstretching his arms towards hope, and coming to West Egg to retrieve Daisy’s unworthy world.
Al Pacino and William Shakespeare both utilized their texts to illustrate cultural agendas and present varying interpretations of the same story. The analysis of this pair of texts served to heighten our understanding of the values and contexts of the texts and the commonalities between them. Whereas Shakespeare’s audience placed great significant value on religion and divine retribution, Pacino’s audience have independence placed on the individual rather than God. Finally, the contextual comparison of the texts furthers our understanding of the values portrayed in two different zeitgeists.
In “The Thematic Paradigm,” Robert Ray explains how there are two vastly different heroes: the outlaw hero and the official hero. The official hero has common values and traditional beliefs. The outlaw hero has a clear view of right and wrong but unlike the official hero, works above the law. Ray explains how the role of an outlaw hero has many traits. The morals of these heroes can be compared clearly. Films that contain official heroes and outlaw heroes are effective because they promise viewer’s strength, power, intelligence, and authority whether you are above the law or below it.
The audience haven’t seen Macbeth yet and he is made out to be a brave
Film Analysis of All That Heaven Allows Chosen sequence: Golden Rain Tree/Cary's bedroom scene. Before the emergence of 'auteur theory' the director Douglas Sirk was a renowned exponent of classical Hollywood narrative, particularly in the genre of romantic melodrama, of which his film All That Heaven Allows is a classic example. However, he is now regarded as a master of mise-en-scene, one of the few tools left to a director working within the constraints of the Hollywood studio/institutional system who is now thought to have been highly critical of American mainstream culture and society in this prosperous era. 1, 2 The 'Golden Rain Tree' sequence occurs early on in the film after the opening panoramic, establishing shot - showing the scene of the action, a small middle-class New England town in autumn. The main protagonists are soon introduced of which the prime causal agent is an unsettled woman, Cary Scott (Jane Wyman), in keeping with romantic melodrama.
Truth and idealism can lead individuals onto an enlightened path, however, with questionable ideals an individuals life can be persuaded inaccurately. In the Shakespearean Drama, Macbeth, the main characters experience misguidance from their own mislead ideals, which created significant disorder among themselves and the country of Scotland. Ambition combined with the unrighteous forces of Macbeth and Lady led them predominantly to deadly consequences. Macbeth and his wife are engrossed by the witches prophecies which directed them both to irrational thinking and absurd actions. These actions defined both characters throughout the play and impacted their demise tremendously. The ideals of the powerful couple, along with their overbearing ambition, lead their reality into an unconscionable future and their eventual death.
We all battle good and evil, right and wrong, moral or immoral, internally on an everyday basis. A good person, by society’s standards, will always be compelled to do the good thing, the right thing, the moral thing. However, to be compelled to do the right thing does not signify and in no means guarantee that an internal battle between good and evil is not being fought, or that good will win. Sometimes, more often than not, the evil, wrong, immoral side of the fight presents such an alluring personal gain that these “Good Men”, no matter how compelled to do the opposite, succumb to it. In both William Shakespeare’s Macbeth and John Milton’s Paradise Lost the main character rationalizes their evil deeds with good intentions. However, both writers managed to create characters with similar internal rationalizations but with a different outlook on the outcome of their actions.
...fers from the typical hero’s journey most is the role of the anti-hero as the central character. In discovering the conflicting ideologies and qualities of heroes versus anti-heroes, it is interesting to see that an anti-hero can follow the narrative structure of a hero’s journey to some extent. The skeletal structure of the journey stays much the same, however, the motivations of the anti-hero are drastically different to those of the hero and therefore produce a drastically different outcome in the journey itself. The fact that many of these motivations and outcomes are complete opposites to me also shows their similarities. It is my belief that the anti-hero must follow the narrative structure of the hero’s journey for them to be considered an anti-hero at all. If the structure is ignored completely the character is no longer an anti-hero but a villain.
Through popular children’s films, the villain is typically represented as intimidating and dark. Their evil aura is portrayed through dark clothing, and dramatic music, while on the other hand, protagonists in these popular films are represented as whimsical and gracious. Despite being assumed as superior people, Kurtz and Macbeth both truly exemplify how dark and evil can be shielded by being of higher authority. Both the Shakespearean play Macbeth and the novel Heart of Darkness focus on the evil that can be presented through acts of greed and deceit. But the way in which it is represented through characters Kurtz and Macbeth in many ways, differs. Kurtz and Macbeth were initially two highly admired leaders at one point, but both shared a dramatic downfall that ultimately lead to their deaths. From Macbeth unwillingly murdering the king of Scotland, to Kurtz stealing ivory for his own personal benefit, both stories take a dark, and unexpected turn for the worst.
...While he is obviously no monster, ironically, his weakness and frailty as a limited mortal prolong his fall from grace, making a rise from such a fall seem insurmountable, tragically preserving the inaccurate image of his soul as that of a mere depraved, malevolent, and corrupting offense to human decency.
And immediately we are brought to tragedy and what the concept of a hero is. In Shakespeare's play, Macbeth, the character of Macbeth murders his king, Duncan, for personal motives, there appears to be little subjective reasoning for the murder. This perhaps encapsulates the notion of an incident which has the potential to arise pity from an audience. The reader begins to pity Macbeth despite the obvious character flaws of greed and corruption. Shakespeare manipulates the audience to react sympathetically towards Macbeth through the use of Macbeth's actions, dialogue, and passion.
...is considered to be a very deep and complex character due to this, and because he is ultimately the protagonist of the play, but yet he is also the antagonist too. He killed anyone that stood between him and his country’s crown, but yet in this speech he has an abrupt realization of what he has accomplished. He also had a strong and deep bond with his wife, yet when he receives the news he simply says, “she would have died hereafter: there would have been a time for such a word,” implying that he doesn’t care (Lines 17 – 18).
Macbeth further explores how the unchecked passions and greed of Man can corrupt his rational thoughts and actions. This ultimately develops into a loss of moral conscience and rationalism leading to their eventual damnation. Through Macbeth, Shakespeare exposes the flawed nature of Man’s values and audiences’ timeless struggle to find moral highground when corrupted by their desires.
The modern world generally prefers characters that have flaws and qualities that are more humanlike. As said by Nicholas Cage, “I like flawed characters because somewhere in them I see more of the truth”. This statement holds much truth as flaws illustrate who the character really is and what their true intentions are. Therefore, characters with imperfections are more likely to have more of an appeal to the public. Many stories, such as Othello by the famous playwright William Shakespeare, have characters that may seem flawless on the outside, but when imperfections are portrayed, the truth is exposed.
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...