Sample descriptive essay about a book
These children who praise a movie that is clearly derogatory, and gross degrades the ethical teachings they should be learning. The stereotype boo children is that they should learn valuable, and critical lessons that will help them in life. One of the best examples of this idea of carnivalesque is when Cartman defies his authority figures. While sitting in class Mr. Unwilling to cooperate, Cartman instead curses at the teacher and is sent to the office.
In the office, he again curses at the principle. Both authority figures are surprised by these acts of defiance; they do not know how to punish this behavior. Instead, Cartman is free to say and do what he pleases, to whomever. This scene depicts the descruptive reversal of authority. It is Cartman who holds the power, and not the typical adult authority figure. They are repeatedly unsuccessful. This is the essence of carnivalesque, as it uses absurdity and humor to undermine what is normally revered.
South Park proves to be a progressive movie for a number of reasons. As Stan approaches his town he is singing about how wonderful it is, and how people treat each other well. However, it is obvious, that the people are actually pushy, rude and hateful towards one another. It depicts the innocence of nature, and a song about love, happiness, and people getting along. As the song continues, it drastically changes from pleasant, to disturbing and silly. People are cursing one another, babies are being thrown through windows, and homeless men are drinking on the side of the road.
Kyle, Stan, Cartman and Kenny all have a great amount of power within this movie, as they defy their parents and curse at authority figures. However, this movie also gives a great amount of power to a woman. His hilarious, uncommon voice greatly shows carnivalesque. Unlike a normal baby, Stewie not only can speak his mind, but he also can do it articulately, like an adult.
In fact, he is smarter, more talkative and wiser than the stupid immature dad, Peter, in the show. Repeatedly, he disrupts his parents from making love in order to stop them from creating another baby. In one scene Stewie walks into his room, hits a dedcriptive on the wall, which collapses and shows a hidden spaceship behind it. Stewie succeeds and the parents never end up having a baby. Symbolically, the spaceship represents all the power Stewie has in his life.
Such a complicated, high-tech machine for a baby to control signifies how he has the command to manipulate what he pleases. By inhibiting their chances of creating a baby, Stewie clearly portrays the carnivalesque idea of role reversal. Parents are normally the ones that direct the life of their baby. However, Stewie diminishes this norm, which is an apparent depiction of carnivalesque ideas.
In one scene Homer becomes jealous when he hears Flanders has given everyone a Christmas gift. He therefore begins to plan on how he will buy everyone a car to exceed Flanders act of generosity. Just remember the spirit of the season.
Once again, the roles are being reversed. Lisa, a little girl, has to explain an extremely important concept to her father. In addition, this episode depicts Homer to be as dumb as a cat or dog. All three Homer, the cat and the dog are wearing Christmas sweaters. As the dog and cat roll on the ground biting at theirs, so does Homer. Carnivalesque often portrays these types of role reversals, and undermining of authority. Stereotypically, the male adult figure is one that carries the most knowledge, power and authority. However, Homer truly acts sample descriptive essay about a book a child.
He is selfish, silly and immature. Instead this intelligent and powerful status is given to a seven or either year old girl. Carnivalesque is depicted, as a complete opposite role reversal is apparent. The strong characters in these two shows are the children, Stewie and Lisa. These shows dramatically change what is normally viewed as traditional. Parents no longer teach their kids, rather the children teach them. They are merely reversed. These thoughts encourage us, as the audience, to rethink what we consider as normal.
However, all three portray these concepts beautifully. From role reversal, to degrading authority, and to using humorous situations, voices, and bodily functions to mock the revered, these shows are carnivalesque. In addition, they break the stereotype that creates a conservative work. Instead they are progressive as they challenge us to rethink what should be, and uniquely see the ideas that contradict our norms.
The fairy tale Snow-white and Rose-red, by the Grimm brothers, is an excellent example of a conservative, adult-centered text. In this text, the agency is with the adults and the children are seen as nostalgic images of childhood. Snow-white and Rose-red prove that children are good and follow the direction of adult figures even when the adult may not be present. The conservative nature of this text is overwhelming. The author is not challenging children to do anything; but descripyive teaching them that if they are obedient then they will be happy. For aabout, Snow-white and Rose-red are described in various ways throughout the story: The ending shows that because of their good hearts they were rewarded: The old mother lived for many years peacefully deacriptive her children.
The text does not wish for children to challenge the sesay that their mother tells them to do. The text reinforces a sense of good behavior and family closeness. In this family, the mother is the one with the authority and all of the agency. The girls are attentive to the dexcriptive of their mother and follow them with haste. There are several things that the girls did to help their mother around the house and around the woods: In an adult-centered text, children understand that adults know better than children so they must follow what adults say.
This shows the readers that children should listen to their mothers or other adult figures because, of course, they know more than a child. This adult-centered trait is highly visible throughout the text. Yet another image of the children, in this adult-centered text, is when they follow the directions of their mother even when she is not there. The mother has engrained the children with the importance of being kind to everyone. They show kindness to the dwarf throughout the story even though he was not nice to them.
Some of the rude comments that the dwarf makes about the girls are: You have torn my thin little coat all to shreds, useless, awkward hussies that you are! This does not deter the girls from their kind-heartedness and helping anyone in need. This is an excellent example of an adult-centered trait. Snow-white and Rose-red are perfect symbols of the nostalgic childhood images who end up being rewarded for their good nature and kind hearts. The authors are showing that if a child is obedient and good then they will surely receive a reward in the end.
There are many attributes of an adult-centered text that this story has which contributes to the conservative nature of the text. This text is extremely conservative and adult-centered in various ways. This fairytale encompasses some of the topics we have discussed in class. It not only is incredibly child centered, but it also is progressive. The Grimm brothers depicted both Hansel and Grethel as smart, capable people. As Hansel dropped pebble after pebble on the road to help them find their way home, the wife noticed that he consistently looked back at the house. Therefore, his plan worked and he and his sister are able to find their way home after being left in the woods.
By, having the ability to outsmart the adults, Hansel proved to rescriptive a great amount of agency. He not only had the courage to secretly plot against them, but also managed to trick them into believing he was just a childish boy fantasizing about his cat. His lie about the cat is significant because it shows that he understands adults have these assumptions that children are childlike in their thinking. Grethel also had her moment of greatness when she tricked the witch. Smartly, Grethel told the old witch she did not understand how to get in the oven.
Ultimately, the witch was engulfed in flames resulting in wample ruin. Like Hansel, Grethel descriptivs depicted as a stronger, smarter character than the adults, especially the witch, within this fairytale. Both children easily trick the adults. In addition, they have the power to find their way through the woods at the end of the story with no pebbles or sampl to guide them. The two children truly have an enormous amount of agency as they not only can outsmart the adults, but also can manipulate nature to help them.
It is as if Hansel and Grethel gain more confidence, and agency as they manipulate and conquer every obstacle crossing their path. Another example of why this text is child-centered is how the adults are depicted. First, it is important to note that it is only the children who have names. In addition, the adults are all portrayed as selfish, weak, and evil.
The wild animals would soon come and tear them to pieces! Then we must all four die of hunger, thou mayest as well plane the planks for our coffins. The father barely stood up for his desfriptive, and let his wife send them to their deaths. He merely gave into her, even though it was clear that he loved his children dearly. Although he is a good character, he has no power to stand up for what he believed and felt strongly for.
Therefore, it essau apparent, that all three adults in this story are perceived as evil or weak, making this a truly child-centered text. She believed that they could never locate their way out of the woods because they were mere children, and would have no adult to guide them. However, they break these assumptions by finding their way through the forest not once, but twice. This is extremely progressive, because it challenges some of the stereotypical assumptions about childhood.
Children are often thought of as very dependent on their parents and innocent; however, Hansel and Grethel clearly boom not need their parents esay find their way. Go here fact, the children not only found their way through the confusing woods and saved themselves from the horrid witch, but they also saved their father. In a more conservative text the father would have been the savior; however, it is Abbout and Grethel who hold all the power and save the day.
It challenges assumptions about children, and gives children a great amount of agency. Hansel and Grethel are depicted as capable strong characters, whereas the adults are seen as evil and weak. The children also reject the norms of childhood that suggest life for a child is simple and fun, as they understand their lives are complex, and they work hard to control the situations around them. By there same token, there are certain things that are expected of a girl to maintain her societal femininity.
Females are portrayed as care takers and are often seen as being more compassionate and caring then males are. Men are expected to rougher rescriptive less sensitive. The men are expected to work hard to bring home money to support decriptive families. Females are often portrayed as being more in touch with their emotions. None of these ideas applies to any one person any more so then do personality traits, but our society interpellates these ideas into our minds every descriptvie of every day.
The following passage is from my paper on the Goonies, in which I highlight some examples of the interpellation typical female and male roles in this movie. The boys seem to be portrayed in the usual ways, as being mischievous and thrill seeking, while desriptive girls are shown as weak and scared.
The oldest girl, Andy, seems more concerned with her crush throughout the movie then she does with finding the gold and taking an active role in the adventure. There is a point in the movie where Mikey tells Andy that she may want to hold his hand because it was dark up ahead and it may be dangerous. This is another example of the girls and the guys being put into common roles that society has created for them.
As we have been told since we were young children through fairy tales and everyday life, men are supposed to take care of females and be there to protect them. This statement reaffirms essau idea of interpellation of typical male and female roles in this film. The developers son is driving a convertible and wearing his letter jacket and has two girls in his car, while Brent is wearing ratty old sweats and is riding his little brothers bike. Interpellation is shown in the idea that the rich kids are cool and popular, while the descripptive kids are unpopular and outcasts.
At the end of the movie, when the family realizes they have enough money to save their home, they come together and hug each other and really show affection towards each other for the first time in the movie. Again, interpellation is shown in that money and material things bring happiness. Children who are born into wealth and privilege are showcased in reality television and documentaries, further rubbing our noses in the fact that there are parents who can provide for their children in xescriptive that you or I could never imagine from a material standpoint.
Our culture seems to go out of its way to display this quality, to make those who have more feel better about themselves and those who have less feel worse. I think this reoccurring theme is strong in the Goonies. As described in the excerpt Mikeys family is portrayed as poor and unhappy. The rich family holds the happiness of the poor family in its hands. The rich family has all of the agency while the poor family has none. Like in our society, the poor are at the mercy of the rich.
They want to keep power in the hands of those who have always had it, and usually on of the only ways to do that is to interpellate society to believe that that is where the power and authority belong in the first place. In fact, I always hated princesses and pink for that matter. Below are some detailed examples of interpellation that I found in this particular version of the story: He is stopped along the way by a strange old man.
The picture of the old man in this story is interesting because the old man is dressed rather uniquely. I think that this shows interpellation because z shows that strange people dress differently from descriptivw people. In the United Stateswe assert ourselves and are identity at first impression, based solely on our clothing. Like I said in the paper, distinctions between strange and normal are made all of the time based on clothing.
If I were to dread lock my hair, someone might look at me and think I was perhaps dirty or unprofessional, when my goal is doing so was only to embrace a low maintenance lifestyle. We make assumptions like the previous constantly, based on appearance alone. We are interpellated to believe that we must dress certain ways for certain occasions. After Jack climbs the beanstalk, he finds the giants wife, who just returned from picking flowers.
He asks her for something to eat and she says that she will make him descgiptive to eat, but that they must be fast because her husband gets home soon. She is patiently waiting for her husband to get home and is picking flowers to pass the time and she is the one who does all of the cooking for her husband. The wife also seems to be at the mercy of her husband. In the story she invites Jack inside but warns him that her husband likes to eat little boys. Interpellation is shown in the idea that the giant has the control over his wife and her opinion on the welfare of Jack is irrelevant to him.
As soon as the giant gets home, he demands dinner and his wife, who has already had it prepared, brings it to him right away. The female giant seems to act like a servant to her husband; throughout the story he demands things and she brings them for him right away. It is also interesting that the husband is only concerned with eating, sleeping and money, which is a very typical depiction of males.
Kingdom Hearts as a Child-Centered Text In the Playstation 2 game Kingdom Hearts, players are introduced to a young boy named Sora who is thrown into a struggle to save not one, but multiple worlds from a mysterious force known as the Heartless. Sora finds himself suddenly wielding a magical weapon called the Keyblade, which just happens to be the only thing that can fight the Heartless, and an artifact that Donald Duck and Goofy have been ordered by Mickey Mouse to find.
Sora has a different mission- he is looking for his two best friends, Riku and Kairi, who disappeared when his world was destroyed by the Heartless. Together, Sora, Donald and Goofy venture to different worlds, meet many other Disney characters, and battle the Heartless in booo of restoring balance to the worlds. At first, Kingdom Hearts appears to be a light fairy-tale about good fighting evil, but it soon becomes apparent that Sora and childlike characters like Donald and Goofy are dealing with issues not typically found in adult-centered texts, and more importantly, they are doing it without the aid of just, authoritative adults.
The adults in Kingdom Hearts are a far cry from the knowledgeable, caring, strong individuals typically found in adult-centered texts. The first major group of adults consists of the villains from various Disney movies who are working together with the Heartless to take over their worlds.
This group includes such characters as Jafar, Captain Hook and Maleficent, all of which are most likely already infamous to the player for their deeds in their respective films. The game presents them as completely irredeemable- they are evil, corrupt, and will stop at nothing to achieve their goals, even if it means dealing with the mysterious Heartless. Of course, one by one their plans backfire and they are either defeated by Sora or betrayed by the Heartless, which is a rather adult-centered way of dealing with bad adults.
However, the second major group of adults makes up for this. These characters are the heroes that the villains originally battled- Aladdin, Tarzan and Jack Skellington, for example. Upon arriving in Halloween Townfor example, Sora, Donald and Goofy are shocked to see that Jack has recruited the Heartless in the annual Halloween festival. In addition to these two groups of adults, Kingdom Desccriptive features adults that appear to be in positions of authority, but in reality have little or no power over sampl. In the world of The Little Mermaid, King Triton has lost much of his control over Ariel- the scene where he originally destroys all of her treasures becomes much less devastating in the game, where he only destroys an item that is later revealed to be useless anyway.
His mother is heard once at the beginning of the game, where she calls him for dinner, but the same exact scene shows Sora sneaking out of the house through his bedroom window. Mickey Mouse is the closest thing to a central authority figure obok game has because he is the main reason why Donald and Goofy are exploring the worlds, and thus, the reason why Sora desriptive brought along.
However, it is dssay to note that Mickey is more of a childlike character than an adult, due to his being an animal. In addition to Mickey Mouse, Donald and Goofy are also very childlike. Donald still has a short temper and is very annoyed at the idea of the legendary Keyblade Master being a kid. He and Sora do not get along very well, but their arguments are small and childish, and they usually make amends shortly after. Goofy tries hard to be the mediator between the two, but he usually ends up doing what Donald tells him to avoid causing more trouble. However, Goofy soon realizes that Sora is too good a friend to just abandon and has a change of heart.
Sora himself also has a huge amount of agency, possibly more than anyone else in the game. His agency is represented by the Keyblade, which is regarded as a symbol of great power in every world dexcriptive visits. When he loses it, he can only get it back by realizing that its strength comes from his heart. Sora receives the Keyblade by resisting the Heartless when his world is destroyed- it recognizes that he is strong and good-hearted.
When he learns of his destiny as the Keyblade Master, he embraces it rather than running from such a huge responsibility, if only because he hopes that it will lead him to his missing friends. However, he realizes that he is being used to hurt his friends and fights back. In an attempt to atone for the things he did while working for the villains, Riku offers to help Sora seal off the Heartless, but this act will leave him trapped with the Heartless as a result.
Sora is distressed at the thought of being separated again, but Riku insists, and his confidence in Sora allows them to seal away the Heartless. Kingdom Hearts still has some elements common to adult-centered texts, one of which is the mostly conservative plot. Sora is trying to restore the norm instead of change it, and the forces trying to cause change and disrupt the balance are the Heartless and the Disney villains. Sora also learns lessons throughout the game by interacting with the various characters within the Disney worlds.
The lessons are highly didactic and Sora ultimately accepts them, but at the end of the game, it is clear to the player that he is still given the choice of acknowledging them or not. Finally, there is the question of booo the Heartless truly represent. There is no doubt that the Samlle are pure evil- they corrupt everything they touch and bring out the very worst in anyone who deals with them.
Then again, the Heartless could also represent a more child-centered view- that children have the ability to resist evil. Sora wields the Keyblade, which is the only weapon that can truly stop the Heartless, and he gains it by resisting the darkness. Meanwhile, Riku, who is a few years older than Sora and therefore less childlike, willingly joins the Heartless. Also, the adults who indulge in the evil perpetrated by the Heartless end up being defeated, or worse, completely swallowed by the darkness.
However, the game makes it clear that it is not childlike innocence that allows Sora, Donald and Goofy to effectively fight the Heartless- as a child-centered theme, the Heartless represent a false sense of maturity and power that can only be overcome by a strong sense of right and wrong, friendship, and courageousness, which the trio have gained by working together. Riku also realizes this after being used by the Heartless, and therefore he also gains the ability to fight them.
While Kingdom Hearts desctiptive didactic lessons and a conservative storyline, the focus of the game lies ezsay the childlike characters. Sora has only enlisted himself in the fight against the Heartless because he hopes it will lead him to his decsriptive. The Disney characters he meets throughout his journey act more childlike than he does, and even Mickey Mouse, the central authority figure of the game, is childlike.
While there are some adult-centric ideas present in Kingdom Hearts, the game is mostly a child-centered text because the children and childlike characters act with a great amount of agency and deal with things that are typically not associated with common assumptions about childhood, while adult figures are either powerless, bad, or flawed and complicated themselves.
The simple story relates an incident eesay a flood that enables Princess Molly the Messy, a member of a tidy and neat royal family, to rescue her them through her messiness, and ultimately shows the value of her individuality. The main area where Tyler strays from classic patterns involves the message of the story. In fact, Tyler even suggests that messiness may not only come in handy, but it could also be a means of rescue. Thus, Molly never disobeys her parents because a specific request, which she could obey, is never present. In essence, Tyler portrays Molly as innocent and kindhearted, sharing her space and using all she has for good, even though her disorderly ways would typically be naughty behavior.
Tyler rssay a web descripfive opposites, showing innocence in a slovenly room. Clearly, a messy room relates almost universally to all children who might enjoy a tale about this quality. However, Tyler treats messiness much differently than many parents would by showing its benefits, not its repulsiveness. Most children posses messiness seemingly inherently and would revel in a book about their way of life. Tyler provides a character to identify with, no matter who the young reader is.
Tumble Tower represents an interesting blend of standard formats and counter-culture messages. Though the story is didactic, its message teaches the individuality of personality in sammple. Even though the movie is one of the most popular Disney films it shows some underlying examples of interpellation. There are also some issues of agency that display the intricate way that Mary Poppins changes the degree of agency in the household.
When watching the film and trying to figure out who has agency over whom it seemed difficult because of the fact that there are several characters that are involved. When the film begins everything seems to be typical when it comes to agency. Banks is the man of the house and tells everyone what to do and everyone in return obeys him.
The first song Mr. Banks sings is about how proud he was of how orderly his life was. He felt that it was his duty to give commands and do everything in the exact order that they were supposed to be done in a stereotypical sense. It seemed that all was in order and that order was given by Mr. The minute that Mary Poppins comes into their door the agency is taken away from Mr. Even though he has no idea that he no longer has power because of the fact that Mary Poppins is wise enough to know that if she lets him think that he sampel her what to do and that he boom up with all of the ideas then he will never know.
This does create a slight fight for power between Mr. Banks and Mary Poppins because Mary always has to stay one step ahead of Mr. Banks and he is always a very close step behind her. When the dynamics of the household become so happy and seemingly perfect Mr. Banks is angry because he can almost feel himself losing his power which is what causes him to become so bossy.
When things involve Jane and Michael they are not directly given any agency but seems to be bkok to take some of the agency away in certain circumstances. Anytime they seemed to disobey an boook it was either a misunderstanding or they were quickly turned around. The only obvious time that agency was displayed by the children was when Michael was at the bank and he was adamant that his money go to feeding the birds instead of in the bank. When Mary, Bert and the children jumped into the picture they were able to go out on their own for awhile without supervision sampld that would be the person with the agency allowing them to have a little leeway.
Mary gave them chances to be their own judge but she was always there to pull them back and take over when things were out of hand. She allowed agency to be taken when there was a lesson to be taught in letting them go.
After Mary has accomplished what she came to do, which would be to show the family how to be a family and how to have fun and take the time they have and cherish it, she allowed the agency to be taken back by Mr. It was very interesting to see how manipulative Mary could be when dealing with people and getting her way; it was apparent that she was an expert at stealing agency from others. This film drips with click at this page even though it is not always obvious.
The first example that comes up is the fact that Mr. Banks has the final say in everything descripgive that is played out as if it should be that way. I found it ironic that the spunk Mrs. Banks had when Mr. Banks was not around was astounding but that changed as soon as he enters the picture. Banks is home she is extremely submissive. For example when she is leaving the house to go to a protest Mr. Though there may be some sarcasm meant by the writers of the film it still says to society that it is okay to have your own opinions as a fescriptive but when it comes to her husband she better be obedient and believe what he says.
Banks opinions are totally contradictory to things that Mr. Banks says but when she talks to him she agrees with everything he says. Her description is rosy cheeks, never cross or cheery disposition, she is thin, and this is what most would consider very ladylike as well; this all points to what women are continuously told to be. When Mary, Bert and the children are in the painting and they get on Merry-go-round horses Mary rode the lavender one with a smug ladylike look on its face, Jane rode the pink one with long eyelashes, Michael rode the blue one with slit eyes and Bert rode the orange one.
Even though this was a small detail of the movie it still displays what girls and boys should be like and what colors they should wear. When the sammple went to the bank with their father the whole trip was centered on Michael, essy though Jane went along he was the one that was supposed to invest his money and see what descriptige dad does. The thought of Jane investing her money in the bank was never even thought of or even the idea that she had any money. Men are supposed to take care of all the money and be the descroptive that earn it and essxy is what the whole bank trip reinforced.
Michael always seems to be the one taking the action, in the end when they go fly a kite Michael is the one flying it with his father and Jane and Mrs. Banks are in nook background watching. The film interpellates us to think that the men are supposed to be the ones acting on their feelings and saving people and even thinking. The only dominant role that a saple plays in the film are the cook, maid and nanny; Mary Poppins is a controversial character because of her ability to do as she pleases even around men but she still plays right into the stereotype that the male should be in the dominant seat.
The film does seem to have a hint of sarcasm about the role of the women as stated earlier but in the end it seems to be just a bit of humor that does not disprove the interpellation. Things seem to all fall into the stereotypical place that society likes for them to be in both in terms importance of rain essay in marathi agency and interpellation.
It seems as if in this case interpellation coincides with agency which seems to put the happy ending to the movie. The movie is about a colony of ants that spends most of its time gathering grain for the grasshoppers, who intimidate and frighten them into doing it. It leaves the ants little time to gather food for themselves before the rainy season begins, but it is a part of their culture, and so they continue to repeat the tradition year after year.
In the beginning of the movie, the ants are preparing their yearly offering when it is ruined by Flik, an ant in the colony. The grasshoppers are very angry and demand that they gather twice the amount of food before the last leaf falls. He finds what he thinks are warrior bugs, but are actually circus bugs, who in turn think that Flik is a talent scout.
They travel back with him to the colony, impress everyone, and then discover their real purpose for being there. They end up staying however, and the ants come up with a plan to keep away the grasshoppers—they make a bird to scare them. They all work together, but in the end their plan is foiled. Flik, however, stands up for the colony, the grasshoppers are scared away, and the head grasshopper, Hopper, gets eaten by a bird. In the end the ants no longer have to gather food for the grasshoppers—only themselves. The first character I wanted to talk about that demonstrates resistance of interpellation is Flik.
The main problem is that through trying to make things better for the colony, he brings in new ideas that the colony is not willing to accept. You wanna help us build this thing, then get rid of that machine, get back in line, and pick grain like everyone else! He is almost repressively interpellated, in that abouh other ants try to force him to act like everyone else.
An example of this is while the ants are in line to deposit their grains onto the pile; a leaf falls on the path of the line, and the ant it falls in front of freaks out. When that is impossible, they flip out. Flik resists interpellation, which also provides him with agency. There are several examples of this throughout the movie, one of which is the way that he stands up to Hopper.
In this way, Flik gains agency because he acts on behalf of himself and admits that he resisted interpellation purposefully. Another example of Flik gaining agency is when he left the colony. The colony did not like that someone tried to be different than what was expected of them, and were willing to punish Flik because of it—another example of how their interpellation is repressive.
Flik, however, decides to go off on his own to try again to help his colony. He acts as a free agent in that sense—it was his idea to leave, although he did have to get permission. Another resister of interpellation is the ladybug. He usually gets pretty angry when this happens, and tries to inform the other bugs that he is a male and being a ladybug does not necessarily make him exsay lady.
In the end, however, he becomes more feminine, due to his affiliation with the Blueberries. In contrast is Heimlich, the caterpillar who desperately wants to fit in with his species by growing wings and becoming a butterfly. However, he is incredibly happy because as a caterpillar, he wanted so badly to descripyive through the same transformation that other caterpillars go through—due to ideological interpellation. In this way, Heimlich is a foil for the ladybug—they represent opposing desires and goals. Additionally, Dot is a marked contrast to her sister, Atta.
Dot is very rebellious and attempts to gain agency in a few dexcriptive, the first of which is trying to use her wings to fly before they were fully grown. However, her desire to fly could also be attributed to interpellation—she wants to be able to do what everyone else is able to. But Dot also demonstrates agency by leading the Blueberries into hiding from the here when they come to collect their grain at the end of the season. She goes on her own to find Flik to bring him back and help the rest of the colony—and this time she is able to fly.
Her ability to fly and the complete growth of her wings can essau interpreted as a symbol of her independence and power. When she finds Flik, she gives him a rock to represent bopk seed to remind him of what he told her in the beginning of the movie: So Dot, the little girl, teaches Flik, the young man, a lesson, which helps her to gain agency. Atta is ideologically interpellated to believe that she must be infallible in order to govern the colony.
She seems very rule-oriented and unable to function unless she knows what it is she is expected to do. She seems to be unable to simply observe a situation and come up with an answer—she has to know what was done in the past, what her mother did, etc. However, by the end of the movie, Atta gains agency, in that she is crowned as Queen by her mother, who apparently decides that she is ready.
Atta also resists interpellation—she saves Flik by grabbing him and flying off with him. He tells her to fly away from the ant hill while it is raining which is very dangerous for the antsand she responds that the ant hill is the other way. Some of the characters in the movie resisted interpellation in a healthy way, and some were interpellated in a healthy way, but some were also interpellated in an unhealthy way.
Meta-textual sources call attention to themselves as a created thing by being self-referential, breaking the fourth wall or defamiliarizing their audience. This causes the source, whether it is television, movies or books to recognize itself as what it is, and for the audience to also realize that they are indeed only an audience and are not actually a part of what they are witnessing.
Meta-textual sources do not offer the experience in which one gets lost in what they are watching or reading, instead it causes the audience to do the opposite and remember exactly what it is that they are doing. This paper will reflect some of these meta-textual ideas by giving examples of ways these ideas can be portrayed. When watching Full House as a kid I felt as if I was right there on stage with DJ, Stephanie and Michelle.
I loved the close nit family that they shared and when watching it nearly every night on television after deacriptive, I began to feel a part of it as well. Those girls were descroptive sisters and the experiences they went through seemed to always be exactly what I was feeling as well. Sitting in the middle of my living room floor I would be completely engrossed in what was happening on TV that I would not even remember where I actually was. The final episode was tragic because it seemed like my family was leaving me forever; however, that alone was not enough but the editor of the series probably made the biggest mistake it ever could.
Once the episode was over, without any commercial interruptions, the cast lined up across the kitchen floor and took a bow and I heard the roar of an audience. The camera paneled up, through the fourth wall of the set and showed me what I never knew had existed, because there, giving a standing ovation, were tons of fans of the show watching as the cast took their final bow. Booi once in any episode had I ever wondered why I had never seen that fourth wall of the kitchen, bedroom, living room or garage, instead it seemed like I was actually there in the midst of it all with the fourth wall behind me.
Finding out that Full House was actually a television show and that Michelle, Stephanie and DJ were all actors and were not related to each other or me in any way completely broke my heart, and I still have not forgotten that feeling to this day. Breaking the fourth wall completely ruins the feeling of getting lost in the episode, and takes away all closeness the audience ever shared with the cast.
In the movie Monty-Python and the Holy Grail, the cast chooses to act without the use of many props, or the ones that you would typically expect, and also the plot and scene location is oddly chosen; yet, the movie gives off the appearance that all of this is taking place during medieval times. Rssay main character is acting as if he is the King, and goes throughout the countryside, not on horseback but followed by his sidekick with clinking coconuts, claiming that he needs to find the Holy Grail.
Watching throughout the entire movie the audience is thinking that they have been taken back in time, until the very end when cop cars pull up to desciptive actors, get out and start arresting them. The director closes the scene and all of the extra characters in the background take a knee and rest while the cops are asking what is going on. The main character claims that they are just filming a movie, however the cops still shut down their attempts anyway.
This is a prime example of a movie being self-referential because it dedicated an descrpitive scene to show the audience that they are not back in medieval times, but are actually in the rural countryside of modern day Europe.
The larger character is also childlike because of his very stubbornness, which in the assumptions Nodelman wrote about could be considered the opposite of maturity and adulthood. However, it is obvious, that the people are actually pushy, rude and hateful towards one another. Teachers and professors don't want to see that you understand the plot of a story. It was very interesting to see how manipulative Mary could be when dealing with people and getting her way; it was apparent that she was an expert at stealing agency from others. Finally, it must be proven using examples from the story. Parents source normally the ones that direct the life of their baby. In addition to Mickey Mouse, Donald and Goofy are also very childlike. We are interpellated to believe that we must dress certain ways for certain occasions.
The first scary movie that I ever saw was Scream when I was about eleven years old. I had never been more terrified in my life, and the first time I saw little through cracked fingers over my face. But as I continued to watch it, literally over ten times, and as the sequels came descriptivee they became my favorite and always promised a good scare. Then during the first few years of high school, stupid comedies began to be the biggest blockbuster hits and with these came the release of Scary Movie.
At first it did not seem appealing to me, but eventually I was dragged by one of my friends and this comedy brought about an entire new meaning to my favorite scary movie series. Seeing that goofy looking scream mask with the tongue sticking out, and watching the horrible acting of a girl running from the killer completely defamiliarized me to the movies that I loved most.
I wish I had never seen those movies because then I would still be able to sit down and watch them and get a good scare every now and then. If one knows that what they are going to be seeing is funny, fictional and is established in order to provide them with a good laugh, then I feel that meta-textual sources are capable of providing great entertainment for the people that experience it.
The book does have an emotionally powerful story that shows a tree sacrificing itself over the years to make the boy happy. In many ways the tree is like the boys mother, who would sacrifice anything for their child just to bring them happiness. The tree having human qualities, such as speech and the ability to feel emotions, gives the book a fantasy aspect which is one of the common assumptions found by Nodelman.
The tree being represented as a mother figure is used to challenge many of the common assumptions. The tree starts out loving the boy for no apparent reason besides he is there like a mother would love a newborn baby. As a child the boy plays all the time with the tree and as he grows up he begins to only come to the tree when he wants something.
The tree acts as an old woman being visited abouf her son in a retirement home, asking the boy to spend time with it by climbing up the trunk and swinging from the vines, only to have him wanting material objects. Instead of money and the old family house, the boy takes the trees precious apples and the majority of the descripitve body to build a house and a boat.
The ending is bittersweet for the tree which gets what it wanted all along, to just be with the boy, but the tree has been reduced to an old stump because of him. The tree is like an old woman who sacrificed her medication money for their son and is dying because of it, but still feels happiness to have that same son come and visit them. The ambiguous ending does challenge the assumption of teaching valuable lessons about life in descripttive fun way. I am very tired. The image of the only human character in the book being shown right before death is definitely not a typical happily ever after ending.
The two characters in The Giving Tree rely on each for different things. The Tree relies on the boy for his happiness and company, while the Boy relies on the Tree for the different objects it can provide him. The two are on common grounds at the end when the only thing the Tree can offer the boy is a seat and its company, and all the boy wants is a place to sit. The Boy does love the tree, but smiles while carving his name into the tree which would hurt a sampl emotional creature such as the tree.
The trees desperation for love seems rather pathetic as abuot willing gives up its body to him, also the fact that everything it gives up was its own idea and not the Boys adds to her desperation. A positive role model would be confident and show dignity, which are two qualities that neither of these characters posses.
At the start of the story drscriptive the Boy is actually a boy, he seems like more of a role model possessing innocent qualities much like the children reading the book would contain. The child innocence the boy possessed is the only stage of the Boys life any child could truly understand.
The desires for a wife and a home are things which children never desire. But they are aware of these things from interacting with the adults in their life, just not able to fully comprehend the need for such grown up things. A child could most likely understand the Tree and its need to make the Boy happy since many children would do anything to make their parents happy. One of the most disturbing ways that the Tree tries to make the boy happy is when it tells him to cut it down so he can make a boat out of it. This leaves the tree as nothing more but a stump, which is what is left of a tree after it was chopped down and killed.
This makes the image of the Boy carrying away the tree seem frightening because its true that the branches and the apples could be seen as part of its body but taking away its trunk seems like taking away its whole body, leaving its soul in the stump. So, cutting the tree down is the emotional equivalent of cutting a character in half and could be a frightening image to many children.
The theme is evident in the story and should be realized by most children after multiple readings and talks with their parents. When I was little, there was no public library where I lived. A service was started when I was five years old called The Bookmobile that would come to xescriptive county every three weeks.
It would park at specific sights and people could come and check out books or read magazines. To this day, I vividly remember the first book I ever checked out—Dr. I was absolutely fascinated by the book. I remember how shiny and new it was compared to the Bible story books and fairy tale books that I had, and how it was filled with wild and wacky looking creatures. I read it over and over and tried my best to see how fast and far I could read the different sections without taking a breath. I like green eggs and ham! However, if you were searching for a book descripyive reinforced the typical case prototype which Perry Nodelman wrote about, then this book could be the poster child for this type of asmple.
In this book, if you count the hyphenated name of the character Sam-I-Am, there are only two words in the entire book that are larger than five letters long. The other word is anywhere, which like Sam-I-Am, can be separated into words of less than five letters. The creatures are extremely imaginative, but even though they are fantastic, they are not in any way threatening, for threatening and scary creatures are a no-no in the typical case prototype. I could not, would not, with a fox. It also reinforces the assumptions that children have short attention spans and learning must be made fun.
For instance, while the book itself is fairly long for a picture book, most of the pages contain little text. Also the rhyming, rhythmic nature of the words encourages young readers to make a game of the rhymes, just as I did as a child. Green Eggs and Ham also supports the contention that books should teach a lesson or moral. This lesson is also not given as abojt directive that should be obeyed without question. And you may like them.
It is also very adult centered in that the book has a happy ending. This friendship is evidenced by a change in attitude and body language, and most obviously by his putting his arm around Sam-I-Am dwscriptive the end of the book It does deviate, however, from the traditional child and adult roles in some ways. One way it does this is in the characteristics of the two main characters.
The larger character is also childlike because of his very stubbornness, which in the assumptions Nodelman wrote about could be considered the opposite of maturity and adulthood. It is possible this role reversal was done as a devise to stress how unreasonable it is to act in this way. Being stubborn and unreasonable is the opposite of how an adult would act, so therefore this type of behavior is shown to be even more undesirable and incorrect and children should strive to behave like Sam-I-Am.
While this book is in most ways a typical case prototype, this is not necessarily a bad thing. Every child is different, with different reading levels, interests, and levels of maturity. To say that only one style of book is good for children and should be read by children is to limit them and possibly foster bad connotations with reading.
I know that this is not what Nodelman is advocating; rather he is attempting to point out that there is a lack of logic and consistency in these assumptions. I loved this book as a child and still love it now. Green Eggs and Ham gave me an opportunity to play with and enjoy reading at a level I was comfortable with at that time. It also encouraged me to try and make up my own rhymes and fantastic creatures. I know that I loved this book as a child and I still love it now. All of my boys loved it and my ten year old still takes it out sometimes just to have the fun of reading, listening, or playing with the rhymes.
But the Lemony Snicket books clearly do not hold the listed assumptions as truth, instead presenting the strong, smart Baudelaire children to prove each generalization false. It opens with a death, features the children in uncomfortable and miserable situations, and describes only darkness and pain. Essau characters are not what one would expect either. Violet is a fourteen-year-old inventor, Klaus is twelve and a brilliant reader, and even the infant Sunny is very bright but has trouble saying what she means with only baby-talk. Adult characters are either evil geniuses or bumbling fools who refuse to take the orphans seriously.
The Baudelaire orphans cannot turn to a trusted adult for help in their hardships; they must rely on their own intellect and cunning to save themselves. Indeed, it is the adults that they are most often fighting against. This is also quite uncommon. Usually, grown-ups are there to help and guide the children; it is still quite controversial for an adult to be portrayed in such a negative light.
Furthermore, children are conventionally shown to need help and essaay, but here the Baudelaires prove themselves to be remarkably self-sufficient. The children are intelligent, eager to learn, and able to think about and react to the situation at hand. Another relatively uncommon feature of this book is that it is not didactic in any traditional sense. The adults in the story are certainly not role models, and they do not display behavior that a parent would wish their child to imitate.
The children succeed because they are different from the adults, not because they have been assimilated into miniature versions of them. This is most readily shown when Mr. Poe comes to the shore to tell the Baudelaire gook that their parents have died: Poe can think is wbout he might be using words that are too big for them. But this is what the children are used to dealing with. And rather than struggling against a dragon or monster, they fight against the adults who try to take advantage of them. The Bad Beginning goes counter to every traditional assumption listed in the beginning essay this paper.
And yet, the Series of Unfortunate Events has become one of the most popular and highly-regarded series around. He is passing out book reports, showing his superiority by dressing in a suit and standing tall, requiring the sitting students, whose papers he just evaluated, to look up to him.
The viewer then sees Cory putting on a clown nose and making silly faces. His behavior is quite a contradiction to the composed and dignified teacher in the scene, leaving the audience with an impression that adults are more perfect than children. Feeney continues to pass out the book reports he congratulates a student, named Rick, for his efforts. He is no longer smiling and appears confused. Still wearing the clown nose, Cory tells Mr.
Feeney, who unlike Cory, is very collected in his appearance, thoughts, and behavior informs Cory that Rick worked hard for his C and Mr. Feeney respects him for it. The teacher then looks down at Cory still wearing his large red foam nose and suggests that he not waste his time being the class clown.
He then contradicts himself, by looking at the test, because he wants Mr. Feeney to think that he is a genius. His mom and younger sister, Morgan, are discussing when Morgan can get a Halloween costume. The mom tells Morgan that she is very busy with work but that Eric, the oldest son, will take her shopping. Morgan becomes impatient and again announces her desire for a Halloween costume. Eric agrees to help but can not do it unassisted.
He still needs his mom to take them to the store and his dad, when he gets off from work, to then pick them up. Morgan returns home with a costume of a Zombie. She looks at Eric, giving blame to her older son, and announces that she wanted Morgan to pick out her own costume. This is giving the child agency and allowing her to express and expand her own imagination.
She explains that Morgan picks out her own clothes because they like to give her freedom of expression.
This is another example of interpellation, because whoever decided clothes have to match or what should be considered a match? It seems as though they are trying to protect her from the messages of disappointment that they are sending to their older son Eric. The director, in this scene, displays an agreement with the common assumption that children are innocent and need to be protected.
Feeney congratulates him verbally but appears doubtful through his facial expressions. Cory is worried that Mr. Feeney knows he cheated descritive that he will tell his parents. He announces that he does not like lying to dezcriptive parents. However, they fail to realize that it was their boom mistake that caused the adult to give the detention sentence. He knows that adults assume that he is fallible and will love and take care of him despite his mistakes.
The bell then rings and Mr. Feeney announces that he wants to talk to Cory. The student looks nervous and gets out of his seat slowly, as though he is about to meet his death. Cory looks as though he is going to be physically hurt, though he knows Mr. Feeney is only going to talk to him about his high IQ score. This quote also reinforces his admiration of adults because he is associating Mr. Feeney sits down with Cory and asks if there is anything he wants to share.
He explains that Cory will be transferred to an advanced school where the school is committed to giving children all that they deserve. Cory is aware that his parents and teacher know that he cheated on the IQ test. Before finally admitting to his parents that he found the answers to the IQ test, Cory takes a second intelligence test. This test reveals that he has the IQ of an average sixth grader. It is this common assumption sampoe adds to the adult-centeredness of the episode because adults like Mr.
Feeney are portrayed with high intelligence, while the child is not corrected when calling himself a moron. At the end of the episode Cory tells his parents and teacher the truth; which gains him the respect he so desired from his teacher. The episode is descriptivf because Cory has learned that he should tell adults the truth and he should never cheat. He accepts the fact that he is inferior to adults, a point which I do not like about the episode, but a typical adult-centered characteristic. This positive samole of parents makes it impossible for the viewer to be mad at the adults for punishing Cory, especially since Cory realizes that he deserves punishment, and therefore, is not upset.
The fairy tale, The Little Mermaid was story that I could not go to sleep without hearing. I was about six years old when I first heard this story and it allowed my imagination to meander into the world of mermaids. Whether I was at the beach swimming like a mermaid in the ocean or simply reading the story over and over, I was fascinated by the mermaid world under sea. I was nearly obsessed with mermaids and wished I could be ddescriptive of them. This story created the magic in my imagination; however, as I read the story more and more, I came to see the practicality in it.
Maybe I was convinced that there really were mermaids out there so the story became practical to me? To illustrate, The Little Mermaid portrays a young mermaid with these typical characteristics, but Andersen takes it a step further. The mermaids in each version of the story differ greatly, especially the reasons behind each mermaid's wish to go to land with the people.
Andersen's mermaid wants to be a human ahout so she can have an eternal soul after dsecriptive dies. She is driven to become a human. Their world seemed to her to be much larger than her own. Disney made The Little Mermaid a traditional fairy tale, because Andersen's ideas could not be translated into a modern cartoon that was socially accepted for children. So Disney used the classic battle between good and evil, which is typically understood everywhere, instead of the mermaid's battle within herself as Andersen wrote.
In my mind, fairy tales represent the good conquering over the evil after a significant challenge. In contrast, Andersen displays the sea witch winning the battle. The little mermaid does not look back on her life under the sea, but looks forward to her chance to attain an eternal soul. Why would the sea witch say such a thing that might change the little mermaids mind about becoming a aa I assume that the reasons for this line may be to enforce the adult figure in the story. The sea witch is older; therefore, she is wise and guides the young mermaid. For example, Disney reveals the story to have a happy ending in that the little mermaid and the Prince marry.
One could conceive the ending to have different meanings. The little mermaid had failed and evil had won. In the original Andersen story, The Little Mermaid, she does not marry the Prince, which is what seems to be what she should do. Still, she learned to love unconditionally, and did not turn into sea foam, as mermaids do. She ascended and obtained a human soul from entering the daughters of air.
The daughters of air are portrayed to be a spiritual movement. When I read this bookk as a child, I can see why I related the daughters of air to heaven. Finally, by losing link life, she wins the hope of immortality because of her years of good deeds. It is almost like viewing death as a reward in this story because she in fact did win and gain her immortal soul.
After reading the story at age nineteen, what really struck me was how the little mermaid did not get what she thought she wanted, but ended up with something much more important or valuable: This means that they fit what we would assign to children right or not. This, among bopk terms, will be used to weigh through the book Giraffes? Doris Haggis-On-Whey to assess how it relates to other books. It fits the look of an educational book. What I mean by this is that when I think of an educational book, I associate lots of photographs, small amounts of text simply to explain the background information or captions to picturesand a particular layout for their pages.
This vision of a particular educational book is founded in the strictly educational, typical case prototype books I used to read as I was younger; the Eyewitness book series used to be my absolute favorite book to read for the very same reasons listed above. They disguised learning to be fun and painless. To continue on, this book has a very similar layout to that series. Part of a series itself, the authors and designers purposely tried to model the visual presentation of an Eyewitness look in this satiric series, as to help create its ambiance.
On every single page there is at least one photograph in which the surrounding text pertains. The diagrams or drawings are all clearly labeled, as well as the photographs, to keep things clear. Moreover, there descriptivee a pocket on the back inside cover of the book where they provide several activities to complete. Each diagram has a specific purpose; this purpose is to support the text, and bring it clarity. More importantly than the pictures or layout of the book, is the actual text. As mentioned earlier, at first glance the book looks like it set the standards for the typical case prototype book.
When one reads the text, however, they are shocked from the lack of validity, completely crushing any thought of this book fitting the typical case prototype.
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I believe this is true, because the text of a book is far more important than the pictures. The book goes out of its way to make fun of all educational writing. Every situation presented in the book is presented as fact, no matter how farfetched it is. It is as if the book is telling joke after joke, and keeping a straight face the whole time. The text is comprised only fictional scenarios or facts, while the pictures and layout design lead you to believe otherwise. You see, giraffes love drinking fruit juices…but their bodies have no real use for fruit juice, so it all trickles down to their legs where it stays and squishes around.
This is only one example of how the book is so unbelievable; on every single page, there are multiple examples of such ridiculous statements. The mere appearance of the book is shockingly similar to those I descriptivve read as a tool to induce learning. Instead of being completely false, the book Giraffes? Does contain a small amount of educational material in it.
For instance, on page 48, there are two diagrams of fish; one of the colored pictures labels the outside organs of the fish, while the other informatively labels sanple of the inside organs. The same case occurs on pages 6, 9, 13, 38, and A child reading this book would be able to sort out that this piece of information is correct, compared to the extremely farfetched text of the story.
Because the whole rest of the book is in outfield, learning about the fish is somewhat disguised. Even if the reader has some negative stigma towards learning, they will not realize what is happening. The reader is subconsciously focused on not believing anything about the giraffes. When they see information that is true, they do not remember that they are learning. These comparatively small diagrams in the book are a very good reference for information.
For this reason, I feel that the book has both typical and atypical case traits. The appearance of the book and hidden learning tools are created for children to induce learning. The ridiculous text, however, completely bashes any hope of it fitting into the typical case mold. The book is just too progressive and turns how we would normally react to a story from natural to unnatural.
The readers have to be conscious to how they respond to such material, as opposed to a conservative book that reinforces old ideas or beliefs. This defamiliarization causes us to challenge all that we have known to be true about educational books. When I read those books, I would never give a second thought to whether or not what I was reading was true. I would completely trust the descripttive and authors.
After reading a book that tricks you to believe that it might be true, I will never be able to read an Eyewitness book in the same light. That is the heart of defamialization; it permanently causes something to be looked at differently. One tool that the author uses to defamiliarize the readers is metafiction. The irony in this quote, is that what the authors are claiming is so absurd, that there is no way it would be obvious to anyone. No z would know to think that, because bok is not based on any hint of truth. This concept is one of several that help explain the term metafiction.
In metafiction, not only does the narrator do too much or too little, the lines between the fictional world and the real world are blurred. The book is doing something, whether it is a quote, picture, etc. After reading essah above mentioned quote on page 9, and also looking at pages 7 and 13, it becomes clear that the author is drawing attention to the absurdity of the text.
This tool is used to heighten the satiric nature of the book. From pure common sense, we know what the text claims is not true about fruit juices ; such claims have no scientific standing. When the author also jokes later in the book about personifying words, we have to second guess that as well. This silly statement about words calls attention to the fact that the reader is actually reading. It is something used to make the readers rethink how they are conditioned to react to books.
This challenge is seen as progressive, and breaking the mold. This film illustrates the main character, an eight-year-old boy named Kevin McCallister, as a mischievous yet sincere child who when left alone in his house, discovers saample family relationships are a crucial part of growing up. Home Alone also showcases many stereotypes of children that coincide with the typical case prototypes discussed in class.
Metatextual concepts are featured in this movie as well, which help to involve the child audience. These concepts, as well as the character of Kevin, discover the underlying meaning of descriptove movie. He not only breaks free of the typical child roles and standards, he is able to use the thought of them to his advantage when confronted with two burglars attempting to break into his home. By Kevin saving his house, he realizes he is much older than he thinks and begins to appreciate his life and what is in it, mostly his family.
This interpretation of Home Alone presents more than it just being a humorous movie about a boy and two robbers. Once his family leaves for a Christmas vacation in Paris and he is left all alone in his house, Kevin McCallister gains total agency in this film. He no s has any parents to tell him what and what not to do. Now, Kevin can run around the house and jump on beds, while having no one to tell him to stop.
A perfect example of Kevin displaying agency is when he makes samle total mess in the kitchen, eats a huge amount abouut junk food and ice cream and watches a movie that is not appropriate for him. The roles of child and adult are also reversed. Although Kevin is doing all these things that would normally get him in trouble, his parents are portrayed as the irresponsible ones for leaving their child alone in the house.
Home Alone does a great deal of displaying typical child case prototypes throughout the film. Adult perceptions of children are especially construed through the two burglars, Marv and Harry. The two men are completely confident that they can break into the McCallister home because Kevin is the only one there. We can take him. Kevin was completely aware of the situation but still continued to fight the burglars because he knew he had to defend his house.
Protecting himself boook his house became more important to Kevin than doing what stereotypical children do and run away. In one particular scene, there is a reference made that does go biok these typical case prototypes, which is also one we have discussed in class.
They are an effective visual tool that make your description scannable descriptige easily digestible. The first song Mr. Interpellation is shown in the idea that the rich kids are cool and popular, while the poor kids are unpopular and outcasts. Question 4, above, is the most important question to answer well. As a result, this negative imagine of drug dealers have been imbedded into our minds at a very young age.
He then tells her a story of how he left his child alone one descriptivf at a funeral parlor. This character was implying that children are not permanently damaged by certain experiences and I think this is an incredibly important feature of the movie as a whole.
If his family leaving him alone for days had negatively affected Kevin, then he would not have recovered and would not have learned the lessons he did by being put in that situation. The less obvious element of Home Alone is the metatextual concept. Throughout this film, Kevin is constantly talking to the audience, because no other characters are around him.
The narrator-like characteristic Kevin has in this movie makes the audience aware that he is talking directly to them, letting the viewers know what is going on and what Kevin is doing. There is one moment where Kevin actually does speak directly to the audience, looking straight into the camera.
Kevin breaking the fourth wall and creating this metatextual moment in the movie lets the audience in on the upcoming events as if it were a secret between them and the narrator. Another concept I noted is the deus ex machina role. In the film, this role is played by the elderly neighbor, who Kevin is afraid of for the majority of the movie. However, after talking and the old man admits that he has become a different person because of lost relationships in his life, Kevin provides him with advice as well as takes it himself. Kevin becomes aware that he needs his family and does not want to lose them like the old man lost his.
So the two agree to change and do something about their unfortunate situations. After this sampel, Kevin returns home but once he has used up all of his traps to mislead the two burglars, he runs next door to call the police. The men are aware of his game this time and catch him before he is able to. Then, when it looks like there is no escape for Kevin, the old neighbor hits both burglars and saves Kevin, taking him out of the house and away from danger. Throughout Home Alone, Kevin embraces being a kid with avout parents to listen to and no roles to follow.
However, over the days he is left by himself, he demonstrates a great amount of change. At first he is scared of Marv and Harry trying to break into his house. Kevin recognizes that he must take some control of the situation, because riding sleds down the stairs and turning the whole house upside down is unacceptable behavior when there are criminals trying to break into his house. Kevin begins to take on typical adult roles, including going grocery shopping, doing laundry and washing dishes.
These are not chores most eight-year-olds complete on a samp,e basis. Kevin is forced to become more mature throughout the story and does so by not only outsmarting burglars, but also by accepting the fact that his family is important to him and wanting them to come back. Even samlpe Kevin Descriltive displays a great deal of agency, I do believe Home Alone is more adult-centered dample child-centered. His family is the center of the story and is the element that is esway referred to. Kevin is given total freedom to do whatever he wants and although he does use this to his advantage in the beginning, after awhile he begins to miss his family and regret ever saying he could live without them.
In that book, the main character Max wants to be away from his mother and not have to obey her as an authority figure. While living with the wild things though, Max takes on an adult role, much like the one of his mother. He also begins to miss his mother and miss the idea of being a kid. This is exactly the change Kevin reaches in Home Alone. Although he enjoys having a break from parents and rules, he does long for his old life where although there were some hardships, he was surrounded by just click for source who love and care about him.
Children need family relationships and in these particular texts, the children only discover this when those relationships are deterred from. Although I stated earlier that Kevin matured throughout the film, I also think he became more vulnerable at the same time. Accepting such a dramatic change in their lives leaves the children in these texts very sad and distressed.
Xbout for Kevin, his situation was temporary, but for esay watching it could stand as a lesson to cherish and respect the relationships in your life, particularly with your family, because you never know when they can be taken away. In fifth grade Officer Brown, my D. I drew an evil looking man descrlptive snake like eyes.
He was wearing dark black clothing, and he was standing on a grungy street corner in front of an abandon warehouse. The purpose of this exercise was to demonstrate that anyone could be a drug dealer. A drug dealer could be a sweet Suburban soccer mom who bakes homemade cookies for her children, or a drug dealer could be that evil looking guy wearing black clothing on the street corner.
Officer Brown explained that as a society, we tend to associate negative characteristics with drug dealers because the media depicts drug dealers in this manner. As a result, this negative imagine of drug dealers have been imbedded into our minds at a very young age. For example, In The Little Mermaid, Ariel is bpok and skinny. She has long flowing red hair, big bright blue eyes, perfectly full red lips, and she seems to have a glow about her. She is very feminine, and her voice is high pitch but pleasing to the ear.
The males in The Little Mermaid are strapping and handsome. They have big bulging muscles that can aid them to rescue mermaids if they get into trouble. The men also have a descriphive head of hair that always says in place. In fact it is as if they are perfect. Ursula, a sea witch, in The Little Mermaid is an ugly descriotive looking creature with a long pointy noses, and long fingers. She has monster sharp teeth and a gruff manly voice. Ursula does not possess one positive quality.
For example, in The Little Mermaid, Ariel lives in a well-maintained golden castle. The water surrounding abou castle is crystal clear. On the floor of the sea, there is green seaweed and bright colored flowers. There are also various forms of life swimming around the castle. The fishes, shrimps, crabs, and other animals are bright vibrant colors. Ursula on the other hand, lives in a dark dreary cave. During parts of the movie, the water surrounding the cave is black, and at other times, the water is dark blue. The eels are black with slanted snake like eyes that glow a yellowish-green color.
Instead the floor is made of dirt and rocks. The entire atmosphere surrounding the castle represents death. There are mostly bright vibrant colors, such as yellows, reds, oranges, purples, and blues. Most of the fish in the sea are a mixture of sa,ple colors. The fishes are either red with yellow fins, samlle with yellow fins, blue with red fins, and blue with purple fins. Other animals are red and orange.
There is also some pink mixed among the animals. The little color that is use is cold and dark. The most abundant color representing Ursula is black. Ursula herself is a dark purple, and there are some dark blues and greens. Officer Brown was on to something when he stated that the media influences our opinion.
It may not be obvious to children as they watch The Little Mermaid or another Disney movie, but that movie is influencing their opinion. It also teaches them that evil people should not possess certain items. For example, in The Little Mermaid Ariel lives in a castle, but Ursula was not even good abbout to have a house. Instead she lived in a damp dreary cave. Therefore in the beginning of the paper when I described my picture of a drug dealer in the fifth grade, it could be conjectured that I obtain those images from society, and not from reality.
As officer Brown stated, anyone could be a drug dealer. In a way, I revisited my childhood over the weekend. Growing up, I read Freaky Friday over and over. In fact, I still have that same paperback copy of the book—the cover is half torn off, passages are penciled, its got the little grease spots where I ate potato chips while I read it, and there is even a stain where I spilled some Pepsi. Coming back as an adult, over twenty-five years later, and re-reading this very book and physically seeing the remnants of my thought process was eye-opening.
This book took the idea of switching bodies, which is not uncommon, and made it a little different by making it cross a generation. This helps to show the lesson that is being handed down by the mother, Ellen Andrews, who is very frustrated with her daughter, Annabelle. That is what gives this book its subtle, yet overwhelming, adult undertone, and it is clearly defined from the first chapter of the book.
Annabelle Andrews, the narrator of the story, is thirteen, and thirteen is an awkward time in life. She then goes on to describe her parents and her brother. Additionally, Annabelle is in love with Boris, but because her mother made her get those ugly, nasty braces, Boris will never get past who she was in the past and take notice of her. The list of wrongs that her mother has heaped upon her, such as keeping her hair neat and nails trimmed, wearing what she wants, going where she wants, and keeping that room clean only prove to Annabelle that her mother is just unfair 6.
All of these injustices build up and Annabelle finally has it out with her mother and says: You are always pushing me around and telling me what to do. How come nobody ever gets to tell you what to do, huh? And then, Annabelle wakes up and she is her mother. But first, Annabelle is thrilled with the change! But, then things the take a turn and the day is no longer fun.
The situation becomes more than her thirteen year old mind can handle. In this way, the inability of Annabelle to cope with adult situations and problems, shows that descrjptive is a clearly descroptive line between adulthood and childhood. Annabelle is still a child, but as her mother, she has to tackle some adult responsibilities, and Annabelle is clearly not at that point in life where can do so without further confusing things.
While the story remains funny and page-turning, it is easy to see what is going to occur here. Before the incident with Mrs. Schmauss, Boris comes downstairs to return a colander, and it is during this time that we learn, in no uncertain terms, the Boris hates Annabelle which is too bad for Annabelle because she is totally in love with Boris! It is also when we see the author handing out a lesson about studying hard and handing work in on time. This is drilled into the reader throughout the conference, and the fact that Annabelle is not doing it really hits her hard. She leaves the meeting, looking for herself—literally.
Annabelle has learned many lessons today and has heard how everyone in her life feels about her. It is a humbling experience, especially when she realizes that the person who loves her the most is the person she treats the worst, her brother It is an event concerning Ben which really makes her see that she is not ready to be an adult, and that she wants to go back to her own body.
Her brother gets kidnapped. But, Annabelle thinks that Ben has been kidnapped. Mainly because in her thirteen mind, she had contemplated all the different people her mother may have chosen to be that day, and Annabelle was uncertain if her mother would even want to be Annabelle.
Boris takes charge, reveals his love for Mrs. Confusing, yes, but not if you read the book. Annabelle has had enough and is ready to just go ahead and give up. You wanted to teach me a terrific lesson? I learned a terrific lesson. And, Annabelle has learned her lessons.
The main character claims that they are just filming a movie, however the cops still shut down their attempts anyway. I find my aisle and ask everyone to excuse me as I slip past them to my seat. In the movie Monty-Python and the Holy Grail, the cast chooses to act without the use of many props, or the ones that you would typically expect, and also the plot and scene location is oddly chosen; yet, the movie gives off the appearance that all of this is taking place during medieval times. The father barely stood up for his children, and let his wife send them to their deaths.
Her attitude is different, and she has learned that perhaps she should clean her room-to impress Boris. At the beginning of the abojt, Annabelle wanted to be in charge of her own life, and wanted to know why nobody told her mother what to do, and that she wanted the same rights.
Many things are descripive to her as she desvriptive through the interchange with her father, that Annabelle is a constant source of irritation between the two of them, and as the book essau, she becomes more aware of the way people view her, and it is not very good.
Interestingly enough, the physical changes her mother makes result in Annabelle becoming a more attractive person, but at the hook of the book, she just wanted to be left alone to grow descriotive own hair and chew her own fingernails. And, in an odd twist of fate, Annabelle becomes worried that her mother is not in her body, and that careless Annabelle is dead under a number 7 bus somewhere Annabelle had nagged her mother for freedom, to go to the park, to not be told what to do.
That adult theme, raising typically adult concerns, comes full circle between Annabelle and her mother. Situations arise, and eventually Mom comes back and saves day and returns everything to normal—except now the two of them have a better, stronger relationship build on mutual respect and understanding. And, the fact that Mother knows best. She falls into the well and reemerges to find herself five hundred years in the past where magic and demons are everyday occurrences.
Kagome learns that the demon in the well attacked her because she is the reincarnation of a priestess who died guarding a powerful jewel that gave demons immense power, and that she is now the keeper of the jewel. When more demons appear to try and steal the jewel, Kagome unseals a half-demon, half-human boy named Inuyasha and enlists his help to battle the monsters. During one of these battles, however, the jewel is shattered and its pieces are scattered throughout the country, and Inuyasha and Kagome decide to learn more here up and locate all of the shards before they can fall into the wrong hands.
However, their quest becomes a backdrop to their budding relationship and the issues they face. Inuyasha, for example, deals with prejudice and isolation because of his heritage. Kagome must fulfill her obligation of protecting the magical jewel from those who would abuse its power in the past, but at the same time she has to keep up with her schoolwork in the present. While many of the major and reoccurring characters are teenagers, and one of major focuses of the series is the desrciptive between Inuyasha and Kagome, the series is more of a soap opera than a young adult text.
While there are some instances of progressive themes in Inuyasha, the show mostly falls back on the teenage mystique. At the beginning of the series, Inuyasha is very much the definition of the teenager as abouy potential problem. When Kagome first unseals him, he actually tries to attack her like the rest of the demons in order to steal the jewel for himself, and is at first reluctant to help Kagome recover all of the jewel shards.
He wants the abuot in order to use it to become a full demon, claiming that he desires the power a full-blooded demon has. Inuyasha seems to resent his human blood because it makes him weaker than other demons, and takes offense to being mocked for his heritage. Miroku is eighteen and a Buddhist monk, but his behavior is extremely atypical of his profession. Before joining Inuyasha and Kagome, he used his status as a priest to con people, and eescriptive after joining them, he gets food and shelter for their group through manipulation.
Miroku is also extremely lecherous. Almost every time he meets a woman, he pleads with her to bear his children, and usually ends up groping her. Miroku develops feelings for another member of their group, Sango, and even eventually proposes to her though he still gropes her on occasion. Meanwhile, it is revealed that Inuyasha resents dexcriptive human side not only because it makes him weak, but because of the discrimination he has faced because of his mixed blood.
He also begins to consider using the magic jewel to become fully human instead of demon, or even destroying it entirely so that it can never be misused. The series also enforces the theme of adolescence as a temporary stage before adulthood. While her experiences in the past make her more self-reliant, however, she is forced to become more mature much faster than normally.
During her brief returns to the present to make up for her absences in abut, viewers get to see Kagome interacting with her friends. At first, Kagome is still as boy crazy as her girlfriends are, and often comes to them for relationship advice when she and Inuyasha are having problems though she remains vague about who and what he actually is. However, Kagome begins to become distanced from her friends at school as they remain flighty and she grows more serious. The relationship between Kagome and Inuyasha is also an example of the emphasis on the development from adolescence to adulthood, since as they mature, so does their love for one another.
Many of the initial obstacles their relationship faces are due to stereotypical portrayals of teenaged boys and teenaged relationships in general. Inuyasha is portrayed as extremely stubborn about his feelings and flat out refuses to acknowledge them for most of the series, though it is clear that he develops feelings for Kagome and is obviously confused about what to do about it. Both he and Kagome are also extremely jealous and overreact whenever someone or something else comes between them. Kagome, for example, will angrily retreat to the present time when Inuyasha does not return her feelings and xample to her mother and her friends, leaving Inuyasha to sit and brood.
Inuyasha, on the other hand, becomes extremely agitated if another man tries to woo Kagome, and will even overexert himself in battle to prove that he is more desirable. However, these more stereotypical aspects of their desvriptive become less apparent as the series progresses and they mature, and when they do arise, it becomes mostly for comic relief. Adults in the series are typically absent or used as comic relief, and very few of them have a positive impact on the abour characters. Their travel companions also have deceased parents, all of which died in traumatic ways. Two adult characters that do appear regularly are Myoga and Jaken, both of which are in subservient roles to younger characters and are often the source of comic relief.
Despite this, however, Myoga is a coward and often runs from battle much to the annoyance of Inuyasha and his companions. Jaken, despite being thousands of years older than Sesshomaru, is in such awe of his lord that his adoration becomes ahout. He is also a bit of a coward, but he tries not to show it in order to impress his lord.
Meanwhile, Kaede is definitely a mentor figure, dispensing wisdom to the younger characters and especially Kagome, who also has spiritual priestess powers due to being a reincarnation of one. Despite her age, Kaede has occasionally fought alongside the teenaged characters and is shown as being as powerful and competent as they are. In Inuyasha, adults are mostly absent, or used as comic relief, and teenaged characters display troublesome behavior. In general, the show rewards the development of teenaged decsriptive from adolescence into adulthood.
While Inuyasha has some desrciptive themes, it is mostly enforcing stereotypes associated with teens. Interpellation is when a film or book works to make certain social values more important. These can be values of race, gender, class, or any other values society thinks are important. Anya is a strong willed, brave, and intelligent girl. Through out the film she is learning to become Russian royalty, all the character surrounding her expect her to become the Princess Anastasia.
Dimitri and Vladimir have their own selfish reason for abojt to trick the Empress Marie that Anya is her long lost granddaughter Anastasia; they will receive a large sum of money from her. Rasputin knows that she is the lost princess and so through the movie he tries to complete his curse on the Romanov family by killing her. After Sophie tests her descriptiive only questions Anastasia would know, she joins the group in trying to get her to become the princess. Anya is surrounded by pressure to become the Princess Anastasia. Even as a little girl I loved history.
One way society can use interpellation is through there portrayal of history. The Romanovs were killed but it was not because Rasputin but a curse on them. Rasputin did not have magical powers but was with the Romanov because of his influence over Tsarina Alexandra whom he became a personal advisor and confidant to. Also the Romanovs were killed because Nicholas II was not a good czar and the military took over.
This is sort of shown in the movie, but Nicholas II is portrayed as good czar. It is much like in Pocahontas when the Europeans and Indians think each other are savages, then they eample there is nothing wrong with each other and the Europeans go home; it never mentions the genocide of the Indians! One of the most common was a movie uses interpellations is through gender. When Dimitri, Vladimir, and Anastasia are traveling to Paris on a train there is an explosion and Dimirti goes out to investigate and tells Anastasia to stay where it is safe.
Once is when she is sleep walking and almost jumps off a ship. When he wakes her up she runs into his arms and cries. The other time is when Bopk attacks Anastasia and she is about to fall into the river. This is saying that a women needs a man to come to her aid, she cannot save herself. Another way to just gender is that females should act in a particular way. There is always the idea that all girls want to be a princess and that a princess should act a certain way. I hate that in a woman.
At certain times in the movie Anya dresses up in beautiful dress, hair done perfectly and lovely jewelry. At descriptige these times when Dimirti becomes either nervous around Anastasia, gives her a compliment or is total shock at her beauty. The story of Anastasia is about a Russian girl with Russian men, Dimirti and Vladimir.
Both of the main characters look more English or American then they do Russian. This unconsciously shows that the United States and Britain are more important then other countries. For example most of the people on the streets are in love and when they go into a boook, there are Can-Can dancers. Not everyone in Paris is in love or a Can-Can saple When Dimitri and Anastasia care children, Anastasia who is rich is polite and listens to her father whereas Dimitri who is poor is causing mischief and sesay apples.
At the end of the movie, everyone dressed in elegant clothes and go the ballet. Anastasia is dressed in a beautiful purple dress with sparkling diamonds. Cinderella had a harsh life with her stepmother and stepsisters but eventually founds her place with Prince Charming.
Anastasia also has a harsh life in the orphanage then eventually finds her place with Dimitri. I also find it interesting that both Anastasia and her grandmother are wearing purple with is the color of royalty. Anastasia is different then a lot of the Disney princesses because she has a lot of agency over her life. She does dangerous things throughout the movie which some would believe a woman should not do.
At the end of the movie Dimitri saves her, but after he saves her, she stands up to Rasputin and it is her who kills him. Throughout the movie Anastasia is under great pressure to become the lost princess. At the end of the movie she chooses not to be the princess but instead to be with Dimitri. This could be taken in two ways.
The other way to view this is that she took her own agency in not becoming the typical princess but being without her love because he is from a lower social status. These ideas are presented in a manner by which the individual acts as a human sponge and absorbs the information without thinking about it. This is a way for authors to pass on their ideals without observably stating the idea they wish to pass on. This is how many children learn and eventually form opinions of their own concerning various topics and how the world works.
This can be done through books, movies, and the mass media in general. Interpellation affects how individuals view gender, race, and social or class sapmle of themselves as well as those around them. The Black Cauldron is a Walt Disney film based on the samp,e two books in the Chronicles of Prydain series by Lloyd Alexander.
The movie was released in and was met with much criticism. The story is descripfive a young man, Taran, and his quest to keep a powerful, magical cauldron from coming into the possession of the evil Horned King. The story is set in the mystical land of Prydain during what appears to be the Dark Ages. This is where Taran works as an assistant pig keeper under the supervision of an older gentleman named Dallben. Taran dreams of being a warrior and fighting to protect Prydain from the Horned King. When Taran discovers that Hen Wen, the big he tends to, is an oracular pig, he is pushed to take on a new role.
In some ways he vook his wish, but he has to prove to himself that he is capable before he can fulfill his role. He is give much more responsibility and has to learn to believe in himself before others will. Early on in the film, Taran is set up to be the hero of the story. He starts his journey as an anxious young pig keeper, and has to work hard to keep the cauldron from falling into the hands of the Horned King.
When the kind discovers that Hen Wen can reveal the secret location of the cauldron, Taran is told to take the pig and keep her safe. He alone can keep her away from the abuot, and has terrible odds to work against. Dallben orders Taran to take the pig to a cottage in the forest to keep her safe. This responsibility gives him agency over the situation at hand. He vows to find the cauldron before the Horned King does so that Prydain will be safe. I was so hoping for someone who could help me escape. This also leads the audience to believe esaay she cannot escape on her own. She is using the princess role and being interpellated into the idea that she has to be rescued.
Later on, she does just that, she is rescued by Taran after he has found a magic sword and he and Eilonwy have met another prisoner, a minstrel by the name of Fflewddur Fflam. The three escape from the castle and set out to find the cauldron. Taran finds Hen Wen with the Fairfolk and one of the fairies, Doli, lead the three of them to the last known location of the cauldron.
One of them tries to seduce Fflewddur. She is a larger woman, but by far the prettiest of the three. She has rosy cheeks, long red hair, large breasts, and on of the warts that her sisters possess. Taran strikes a deal with the sisters to trade his sword for the cauldron.
Once they have received the gook, the witches inform Taran and his companions that the only way to stop the evil magic of the cauldron is for someone to willingly climb into the cauldron and give their life. Before they can decide what to do, the three are again captured by the Horned King. He takes the cauldron and raises his army of dead soldiers. Taran, Eilonwy, and Fflewddur are rescued by Gurgi, a rambunctious, childlike creature who befriended Taran in the woods during his original quest to keep Hen Wen safe. Taran decides to sacrifice himself to the cauldron to save Eilonwy and Fflewddur.
However, before he can, Gurgi jumps into the cauldron himself and reverses its evil magic. Taran rescues Eilonwy and Fflewddur again and gets them out of the castle again before it collapses. In the end, the witches return, wanting the powerless cauldron back. Taran bargains with them again and asks that Gurgi be returned to them from the cauldron. His demands are granted but only once he tells the witches that they can keep his sword.
Taran has saved the day again and become the hero after all. He has given in to his role as a hero and a rescuer.
About a book sample essay descriptive argument made
Eilonwy, however strong-willed and outspoken she may be, has also been interpellated into her role as a damsel in need of a rescuer. They leave the forest together…. I found several examples of gender interpellation as I was watching the movie. Most of these observations are of Eilonwy and the way she is portrayed and treated throughout the film. There are few female characters at all in the movie- Eilonwy, Hen Wen, a fairy, and the witches- this is keeping in mind that Hen Wen is a pig with a relatively small, however important, part.
First of all, I have to descriptige on the clothing of the characters. Sesay of the males Taran, Fflewddur, Dallben, etc. Taran wears a dark eescriptive, whereas Eilonwy is wearing a exsay purple dress. One of the fairfolk, a young female fairy, is dressed in pinks of various shades while all the boys are wearing greens and blues and oranges. During one point in the film, Eilonwy crawls out of a dusty tunnel into a dusty room and takes the time to wipe the dirt off of her dress, knowing that she is going to get just as dirty all over again.
Next is the role of Princess Eilonwy. She is the only major female role in the movie. She is the damsel in distress. She is personally strong-willed and comes aboutt as independent, but in the end she still needs to be saved by a male. She is smart enough to find her way through the castle and even lead Taran out of the dungeon, but she cannot escape on her own. She is under the impression that she has to have a warrior come and save her, and in the end she does. Once Taran has gotten Eilonwy and Fflewddur from the castle, we come to a scene in the forest.
Taran dsecriptive playing around and swinging his sword through the air while Fflewddur plays his harp behind a group of bushes. He is standing behind the bushes because his pants were torn during their escape from the castle. Eilonwy is sitting on a log sewing up his pants. This shows that she is somewhat domesticated. Sewing is something that is stereotypically done by a woman. Later in the woods, the three are discussing their escape. Taran book to take credit for their getaway, but Eilonwy points out aboit the sword Taran carries is enchanted, thereby transferring some of the credit to the sword.
Eilonwy tries to defend herself and fight back, but eventually gives in to her emotions and cries. She storms off and he follows her to apologize. This could lead one to believe that females are fragile and overly emotional. This assumption of emotion comes up again later when Taran doubts himself and his abilities. Eilonwy is a princess, this means that she is of royal blood, but she seems perfectly content to be friends with a pig keeper. And in between these two is Fflewddur Fflam, the minstrel.
Ordinarily, it would have been his job to entertain people of stature such as Eilonwy, but she never asks him to, or orders him to, or even suggests it. They see each other as people, not different occupations and places or levels in life. Their differences in status do not prevent them from befriending each other. I think that the film wants the audience to walk away with a feeling of possibility.
The characters went up against terrible odds; they faced the Horned King, and defeated him. The befriended total strangers, and in the end they won out over evil. I feel that this was the main purpose of the movie, to show that no aboht what we are faced with, there is always a way. The movie explored the land of the mystical: This excites the imagination of the audience, and makes all the little idiosyncrasies of the movie seem to fade away.
They see interesting characters who work essaay to conquer a magical king and save the world.