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Analysis of hollywood romance films
Romance movies analysis
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Bilguun Dashdorj
A Doll’s House Assignment
True love has no boundaries
Like the sun, love radiates independently of our fears and desires. Love is inherently free. It cannot be bought, sold, or traded. Love is more easily experienced than defined. You cannot make someone love you, nor can you prevent it. Love is a force of nature. That is why “love” has always been a major theme in filmmaking and in writing. Films such as “It’s a Wonderful Life” or “Pretty Woman” or even the recent animated film by Disney, “WALL-E”, are representations of the theme “Love” in films. “WALL-E” is an animated motion picture that depicts the world 700 years from now. WALL-E (whose name is an acronym for Waste Allocation Load Lifter Earth-Class), the last robot left on earth, goes through his lonely
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routine of sifting through trash, finding clues of what it meant to be human.
He works, that is, until love blasts in from outer space, a robot named EVE (Extra-Terrestrial Vegetation Evaluator). The director Andrew Stanton, supported by brigades of artists, voice artists and computer wizards, has produced a tender irrational love story between two robots whose feelings for each other seem as deep as any film in modern live action drama we are likely to encounter these days. Love depicted in films today is different from how love was depicted in the eighteen hundreds. Henrik Ibsen’s play “A Doll’s House” depicts a society in which the roles of both genders are rigidly fixed and structured and both genders are expected to abide to their respective duties. Henrik Ibsen shows a marriage built merely on appearances, and not love. While Andrew Stanton’s “WALL-E” and Henrik Ibsen’s “A Doll’s House” both follow the theme of love, Stanton’s story adheres more closely to the theme by allowing its central
protagonist to experience love. In Ibsen’s story, by contrast, no real love occurs. In Andrew Stanton’s “WALL-E”, love has no territory, no borders, no quantifiable mass, or energy output. First shot at romance for WALL-E appears in the form of an egg-shaped robot named EVE, who was sent to Earth to check for any signs of life. Inspired by a worn-out video of the classic musical “Hello, Dolly!” the lonely WALL-E seeks love and companionship with his visitor. When EVE is forced to be sent back to Space, our humble hero WALL-E stows-away in an effort to stay with his new companion, setting off on a wild chain of events and adventures. The two experience thrill, fear, and happiness during their journey to save humanity. It shows how partners go through hardships and happy times together. Stanton portrays love as having no boundaries and regulations. He tries to convey the message “anyone can learn to love”. Love is inherently compassionate and empathic. Love knows that the "other" is also oneself. “WALL-E” portrays that this is the true nature of love and love itself cannot be manipulated or restrained.
Love, itself, is a simple word, but no word can compare to its power. Love can lead people to their extremes and some people to their downfalls. In Feed by M.T Anderson, the story shadows two lovesick teenagers and their dreadful ending. The story commences as Titus and his friends go to the moon for spring break, where they meet Violet. Shortly after a day on the moon, Titus and his friends, including Violet, are hacked by the Coalition. After they depart back home from the hospital, Violet has a secret; a secret that it will change Titus and Violet’s life forever. Violet’s feed is malfunctioning; she is dying. All this information and Violet’s overload of her memories, bucket list made Titus part from her. In the end, Titus reunites with Violet as she dies. Titus then deliberates, “Everything Must Go” (Anderson 299). In Pixar’s Wall-E, the story set in a robotized and catastrophic earth, surveys a love story between Wall-E and Eva. Although the movie is without words, none are needed to see the love between Wall-E and Eve. Chasing Eva relentlessly, Wall-E embarks on the AXIOM. After the discovery of the plant, the captain of the AXIOM is mesmerized by the beauty of the earth. Inspired, the Captain faces a couple of battles against technology but maneuvers the ship back to earth. Even though the earth is lifeless and adulterated, they begin to nurture it with plants. In analyzing Feed by M.T Anderson and Pixar’s Wall-E, they both share some differences and similarities.
In his documentary Classified X, Martin Van Peebles describes three areas where African-Americans could be receive some sanctuary from the racism that pervaded almost all Hollywood films. These three places were: the Hollywood version of an all-Black film, the church, and entertainment. Black culture and music is prominent in mainstream society, but the people behind this culture don’t always receive recognition and respect for their creations. Mainstream White pop culture excitedly consumes and appropriates Black culture, but disrespects the source.
In the play A Doll’s House by Henrik Ibsen, several literary lenses can be used to better help understand the storyline. The most prominent lens used throughout this play is gender. It plays a large role in the story A Doll’s House. Nora, the protagonist is faced with many challenges because of the normalities of 19th century society. She must overcome these difficulties throughout the play.
Many stories talk about relationships, especially the ones between man and woman as couple. In some of them, generally the most popular ones, these relationships are presented in a rosy, sentimental and cliché way. In others, they are presented using a much deeper, realistic and complicated tone; much more of how they are in real life. But not matter in what style the author presents its work, the base of every love story is the role each member of that relationship assumes in it. A role, that sometimes, internal forces will determinate them, such as: ideas, beliefs, interests, etc. or in order cases external, such as society. In the story “The Storm” by American writer Kate Chopin and the play A Doll’s house by Norwegian playwright Henrik Ibsen I am going to examine those roles, giving a special focus to the woman´s, because in both works, it is non-traditional, different and somewhat shocking, besides having a feminist point of view.
Henrik Ibsen uses his play, A Doll’s House, to challenge the status of the typical marriage and question feminist equality. Ibsen makes an example of the Helmer marriage by exposing social problems within society. The play ends without any solutions, however, Ibsen does offer women possibilities. Nora is a heroine among women, then and now.
A Doll’s House play by Henrik Ibsen shares many comparisons and contrasts with the short story “The Storm” by Kate Chopin. In fact, Ibsen’s play premiered at the Royal Theatre in Copenhagen, Denmark on December 21, 1879. This play aroused significant changes in the attitudes towards 19th century marriages (princeton.edu). Interestingly, “The Storm” stands as the sequel to Chopin’s other short story “At the Cadian Ball”. Kimbel wrote in his article on Dictionary of Literary Biography, “Her first two published stories appeared in the summer of 1889” (Kimbel 1). In the short story, “The Storm”, and drama, A Doll’s House, both the authors contain different plots, share a similar subject where both the female protagonist commit clandestine wrongdoings, comprise an identical theme of marriage, and include different symbols.
In the play A Doll House, by Henrik Ibsen, the convention of marriage is examined and questioned for its lack of honesty. The play is set in the late 1800s, which provides the backdrop for the debate about roles of people in society. Ibsen uses the minor character, Dr. Rank, to help develop the theme of conflicts within society. This, in turn, creates connections with the plot. Dr. Rank's function in the play is to foreshadow, symbolize, and reflect upon the truth of life and society and to break down the barrier between appearance and reality.
Henrik Ibsen’s screenplay A Doll’s House is a tantalizing story between a married couple and their lives during the 19th century; an era which for woman was highly oppressed, period in time where men ruled the household as business, whereas their wife played the docile obedient lady of the home. Therefor they followed their husbands and fathers implicitly until Nora. Nora sets the stage of her life, starting in her father’s home; she is a stage onto herself. According to Ibsen; little secrets told not only to ourselves but to those around us, find a way to resurface. The ability to understand changes as life’s little secret unfold their true meaning is found in A Doll’s House being played out with Nora learning the art of manipulation of lies.
Henrik Ibsen’s “A Doll’s House” is a controversial play focusing on the marriage of Nora and Torvald Helmer. The play is filled with symbols that represent abstract ideas and concepts. These symbols effectively illustrate the inner conflicts that are going on between the characters. Henrik Ibsen’s use of symbolism such as the Christmas tree, the locked mailbox, the Tarantella, Dr. Rank’s calling cards, and the letters allows him to give a powerful portrayal to symbolize aspects of characters and their relationship to each other.
Henrik Ibsen’s famous play A Doll’s House was first published in 1879 and contains elements and characters that appear to support feminism, and drew attention from the women’s rights movement. However, Ibsen himself said that he was not a feminist; rather, his play is about the human nature in general, and is not specifically about women’s rights. Over the years, this was the view that most scholars used to interpret the play, but more recently scholars have produced an opposing argument. Margaret Stetz, one such scholar, writes that “To call Ibsen a feminist playwright or to describe A Doll’s House as a drama in favor of women’s rights is no longer controversial” (150). The most obvious example of Ibsen’s view on gender roles is the relationship between Nora and Helmer and, more specifically, Nora’s self-discovery at the end of the play. Other characters, however, such as Mrs. Linde and Krogstad, as well as Anne-Marie, play a part in defining gender roles in A Doll’s House. In this essay, I will discuss the ways in which Ibsen represents gender roles in A Doll’s House through the characters in his play and the differing views about feminism and gender roles in the play.
English A1 Oral Presentation Transcript Portrayal of Sexism in Henrik Ibsen’s ‘The Doll’s House’ Ibsen was a pioneer of the realistic social drama. Unlike playwrights who came before him, he was very concerned with portraying realistic social settings and illustrating a conflict resulting from social pressures and mores. Ibsen also endeavors to show the blatant sexism rampant in the country at the time. This is shown In part by the unequal nature of Torvald and Nora’s marriage.
First of all, partnership is a key aspect in any contemporary relationship between equals. Without it, a relationship is not truly equal. Such was the case in Henrik Ibsen’s, “A Doll House.” In Ibsen’s play, the husband, Torvald, held the dominant role in the relationship. He was controlling, demeaning, and emotionally abusive towards his wife, Nora. So, while Nora cared for Torvald more than anything, and considered him her partner, he did not
In Henrik Ibsen’s A Doll’s House, Nora Helmer is a traditional “angel in the house” she is a human being, but first and foremost a wife and a mother who is devoted to the care of her children, and the happiness of her husband. The play is influenced by the Victorian time period when the division of men and women was evident, and each gender had their own role to conform to. Ibsen’s views on these entrenched values is what lead to the A Doll’s House becoming so controversial as the main overarching theme of A Doll’s House is the fight for independence in an otherwise patriarchal society. This theme draws attention to how women are capable in their own rights, yet do not govern their own lives due to the lack of legal entitlement and independence. Although Ibsen’s play can be thought to focus on the theme of materialism vs. people, many critics argue that Ibsen challenges the traditional gender roles through his portrayal of Nora and Torvald. Throughout the play Nora faces an internal struggle for self-discovery, which Ibsen creates to show that women are not merely objects, but intelligent beings who form independent thoughts.
In its historical context A Doll’s House was a radical play which forced its audience to question the gender roles which are constructed by society and make them think about how their own lives are a performance for Victorian society.
A doll may look like a beautiful figure, but within a doll’s house, the beauty is sealed within the inside of the house, which the beautiful doll is useless. Within the doll’s house, the doll is not fulfilling its potential for why it was created, to be attained to- it is merely a household decoration. In Henrik Ibsen’s play, A Doll’s House, Nora is the doll, and her marriage is enclosed in the doll’s house. As a person, Nora is considered to be a beautiful creature who entertains her husband within the beautiful images of a docile wife. However, she is not who she seems to portray as. There is a dark secret within her. She’s a desperate creature longing to explore the outsides of her marriage outside of the doll’s house. In a society that is dominated by men, the expectations that Nora must handle, she must choose between the obligations that is determined by her role as a wife in opposition to the obligations of self, by focusing in her true identity. Divined with the context of her love, she commits forgery, and through the hardships and deception that she goes through, she realizes that her marriage is nothing more than an illusion, and she is nothing more than a doll within Torvald’s house.