I have notice people really caring about the characters wellbeing and life . This is the reason why television is so addictive, being able to live in a show with monsters. The audience is caring about a monster that kills people for a living. Isolating themselves from the ordinary life and getting lost
Cathy Caruth once said ‘The traumatized, we might say, carry an impossible history within them or they become themselves the symptom of a history that they cannot entirely possess.’ It is true that fictional narratives are not always derived from the personal views or experiences of the author who is writing them. But at times, they can perfectly capture trauma so convincingly that we are almost convinced they are drawing off of first-hand experience. Cathy Caruth, a trauma theorist, has summated
of his time connecting with his fictional character, Leigh-Cheri, through the use of Lysergic Acid Diethylamide (LSD) and other hallucinogenic drugs such as marijuana. Through the writing process and the hallucinations mainly from LSD, Leigh-Cheri became a real person over time for Robbins and he had a seemingly intimate relationship with her. Leigh-Cheri was the reason Robbins originally raised the question, “Who knows how to make love stay?” (Robbins 4). I intend to change the way readers
hypothetical situations as well as moments from the past; the consequences consequently resulting from these events are what influence these opinions to either become personal opinions or reincarnate to a Hindsight-based opinion (opinions formed from the ‘I-knew-it-all-along’ concept). The omniscient point of view present in Mary Shelley’s Frankenstein: The Modern Prometheus supports how deriving themes, from the novel based on a hypothetical situation, substantiate personal and well-reserved opinions on
Possession, a critically acclaimed novel by A.S. Byatt, weaves together the past and the present by paralleling a love affair between two poets in the Victorian era to two scholars in the nineteenth century. In order to accurately portray the poets and their scholars, Byatt was inspired by her own education and studies. Shifting from the two plot lines she uses literary techniques to differentiate between the opposing time periods, mastering both modern and historical language. Among the plotlines
important themes that people can actually understand from a fictional aspect. The story explains the struggles of life in the eyes of the main protagonist, Beauty, who now must do what she can to help her family after they lose their wealth. The three main themes that apply well in this story are: patience is a virtue, keeping the promises you make, and do not judge a book by its cover. The first theme, patience, plays a critical role in the narrative of this story. The main protagonist, Beauty, is a young
After this extreme Bollywoodisation of Indian Cinema, I don't really have much hopes that it can produce substantially good movies. Today what sells is the stardom of the actor and Honey Singh's item numbers for the promotion of the movie, with this it gets into the 100cr club, irrespective of the fact that if the movie has any substance in terms of narrative, acting, cinematic skills etc. But yes, the 1990's were tough period when it came to producing contemporary cinema, in terms of content, thought
recollections on the ability of the platoon soldiers to express themselves. O’Brien established contrast between his thorough, descriptive narrative style and the
O’Brien chooses to conform to the typical convention of characterization, he mainly strays from the norms of narrative structure, chronological order, and point of view to make his novel, “The Things They Carried,” an authentic war story. O’Brien deviates from the traditional conventions of a war story to, not only make the readers believe, but also to make his readers
mode of narration that became popular as an alternative model during the decline of Hollywood dominance. According to Hayward, the term – art cinema, ‘refers predominantly to a certain type of European cinema that is experimental in technique and narrative’ (2013: 23). Hayward also outlines art cinema as ‘Second Cinema (European art cinema and the cinema of the auteurs)’ (Hayward 2013: 383), which incorporates various issues that were faced by post-war European countries. Although art cinemas share