The Aesthetics Of One Cult Film Film Studies Essay

The Aesthetics Of One Cult Film Film Studies Essay This essay will discuss the aesthetics of the cult film, Blade Runner. Firstly we will look at the way in which theorists have set out to define the extensive genre of cult film, looking at in particular, but not limited to, the works of theorists Telotte, Jancovitch and Sconce etc.   We will then analyse the film Blade Runner, dissecting the film and its aesthetics and discuss how, or if, they contribute to making it a cult classic, looking at its appeal to audiences, and what makes it transgressive in its theme and style. Cult film is a diverse and wide-ranging quasi-genre that cannot be attributed to one set of stylistic conventions, as Sconce comments in his study [cult film] would include entries from such seemingly disparate subgenres as bad films, spatterpunk,mondo films, sword and sandal epics, Elvis flicks, governmental hygiene films, Japanese monster moves, beach party musicals, and just about every other historical manifestation of exploitation cinema from juvenile delinquency documentaries to soft core pornography. (Sconce, J (1995)  Cult fictions: Cult Movies, Subcultural Capital and the Production of Cultural Distinctions. p.373). There is one feature that can be attributed to that of all cult films the devout admiration that it receives from its fans, Sconce argues this further it is not defined according to some single, unifying feature shared by all cult movies, but rather through a sub-cultural ideology in filmmaker, films or audiences are seen as existing to the opposition to the mainstream. In other words, cult is largely a matter of the ways in which films are classified in consumption. (ibid p.373).   As there are no clearly defined set of characteristics that define a cult film, I believe it is useful to look at  the etymological root of the word cult, which  comes from the Latin word cultus and means belief and ritual. J.P. Telotte states in his 1991 book Beyond All Reason: The Nature of Cult, that the word  signifies both adherence and mastery and also submission and domination, meaning that the word is steeped in a dual purpose to both worship and control (p.14). Telotte furthers this argument by stating that a film transitions to its cult status by the actions of its fans through a process of reception and conversion a film is transformed into an object of cryptic worship and a supertext is created by the audiences actions with the original text (p.7). Other theorists such as Jancovitch and Sexton also empathise this strong link between cult films and audience appropriation processes. All theorists also argue the process of resurrection is a feature of a lot of cult f ilms that a film takes on cult status when it is resurrected from its critical and / or commercial failures and  takes on a new life through its adoption by this new niche audience. The film is brought back to life within a different cultural context, attracting strong emotional connections from audiences who use it to define themselves in opposition to what is considered as the norm or mainstream at that time (Jancovitch (2003) Defining Cult Movies: The Cultural Politics of Oppositional Taste. p.1). This inference that cult film viewers love their films for aggressively attacking the established quality of cannon cinema  Sconce, J. (1995) Trashing the Academy: Taste, Excess, and an Emerging Politics of Cinematic Style. p.374) and that the text is not always in opposition on its release, is often drawn upon when assessing the cult film. It is this resurrected category of cult films that Ridley Scotts Blade Runner falls into.   Transgression is another feature of many cult films as, as stated, cult fans are often attracted to themes and styles that can clearly be understood as in opposition to the mainstream, ignoring the established conventions and rejoicing in difference. According to theorist Barry Grant, transgression can be understood in terms of content, attitude or style (Grant, B K (1991) Science fiction double feature: Ideology in the Cult Film. p.123). Saturated with cultural visual references and clichà ©s, generic hybridity, collage-like excessiveness, and technical incompetence are all recognised stylistic and aesthetic examples of transgression in cult film. Transgressive subject matter in cult films are the subjects that often are ignored or deemed too taboo for mainstream cinema such as rape, transvestism, social / political critique, incest, dehumanisation, ideas of dystopia and slavery etc. Blade Runner can be seen as transgressive in its style, content and attitude by the way in which is paints a gritty, dystopian vision of the future that explores themes of dehumanisation, slavery, social criticism and crisis and corporate / capitalist greed. The aesthetic aspects of the film present a shadowy, rainy visual style that is indebted to the genre of Film Noir. This helps to reinforce the subversive themes, submerging the audience into a dark, oppressive world that is familiar (through its constant cultural references) but alien at the same time, namely though its captivating special effects. Blade Runner can also be seen as transgressive in its narrative style and pace many viewers criticised the film for its slow-developing storyline and filming style that went against the speedy, action-packed action of sci-fi films of its time. It is also a prime example of generic hybridity, crossing over cinematic styles such as Film Noir, Science-Fiction, Thriller and Romance.   You are no longer simply a fan of Blade Runner: you are part of the world of Blade Runner or even a blade runner yourself. (Brooker, W (1999) Internet Fandom and the Continuing Narratives of Star Wars, Blade Runner and Alien, p.60). Ridleys Scotts Blade Runner, released in 1982 (re-release 1992) by Warner Bros, was adapted from Philip K. Dicks novel Do Androids Dream of Electric Sheep? by Hampton Fancher and David Peoples. Initially it was not well received but went on to achieve cult status with fans dedicating websites and fan conventions to the film. Depicting a dystopian Los Angles in 2019, it is now thought of as the benchmark with which to compare cinematic representations of urban decay. The film has made a lasting impression and long stayed in the minds of countless fans in the 30 years since it was released, justifying its further releases.  Blade Runner was released during the same year as big blockbuster hits such as E.T. and Star Trek II. Not only did the film have to compete with such big-budget movies, but these films are almost in direct opposition to Blade Runners gritty disposition, and their up-beat attitude. Unsurprisingly the film was not a box-office success, taking only $14.5m in ticket s ales whilst costing an estimated $28m to make. Critical reception was also disappointing with most reviewers failing to fully understand the film in one sitting, and so dismissing the narrative as muddled and inconsistent. Fortunately Blade Runner was produced around the same time as the arrival of home cable and videotapes and was chosen as one of the first films to be released for home video. This ultimately meant that the film was now made available for people who wouldnt normally go to the cinema to watch sci-fi films and enabled the viewer to watch as many times needed in order to fully understand and appreciate the complex narrative, and it was in rental video and cable TV that Blade Runner found its devoted audience. Since this time the film has been released a further two times once ten years on in 1992 as a Directors Cut and again in 2007 as a five-disc Final cut including deleted scenes and commentary the ultimate collectable for the cult fan. Although there were only tw o official releases, there are several different versions of the film. This enables the cult fan to research the details of the other versions, helping them to better understand and identify the film and fulfil their desires for more.   First, the [cult] phenomenal experience is an aesthetic one. It is an experience that is sought for its own sake- as an end in itself. (Mathijis, E Sexton, J (2011) Cult Cinema p.18).   In Blade Runner, cult aesthetic techniques help to articulate the films critique of capitalism. The shadowy visual style is all-encompassing and supports the films transgressive themes. The set design and narrative use of set spaces create an atmosphere of (frightening) splendour and mystery. The high towers are only accessible by futuristic flying crafts (only available to the police) or by controlled access lifts. Blade Runner contrasts an upper city for the authorities and the wealthy, with a dirty and more chaotic lower city for the masses. The continual darkness and absence of natural light constantly remind us of mans destructive greed and is juxtaposed to the bright neon lights of the commercial adverts placed in every possible space. These mesmerising neon billboards and corporate adverts that dominate the city signify capitalist greed and are the only source of light in what would otherwise be a very bleak and depressing environment. The garish pink and red colours also evok e references to Hell. In their stark contrast to the obscure landscape below, the bright neon colours suggest the links in advanced capitalism, with the sparkling promises of consumption and the cruel realities of production and the mundane. These urban scenes manifest our fears about urban decay, and visualise our anxieties of complete corporate dominance of everyday life. The urban images paint a ruined and devastated natural environment with many buildings abandoned and streets overflowing with rubbish. I would argue that the use of the light in the film enhances the themes of social and political critique and thus helps cult fans to understand it as in opposition to the mainstream and thus identify themselves with it. Camera angles, shadows and the use of smoke are also very important aesthetics in conveying the films dark mood. POV camera angles are used to help the audience identify with the characters who are both humans and replicants- highly advanced cyborg slaves, manufactured by the Tyrell Corporation, that are More Human Than Human (The fictional companys marketing slogan) and eventually become hostile to their creator. Wide sweeping shots with high camera angles, looking either up at the tall imposing buildings or down at the dark streets, convey the enormity of the city and its intimidating atmosphere. This atmosphere of fear and intimidation is also created through the use of filming the city through the glass-bottomed police hover-cars that patrol the streets and see al l there is to offer in this dismal landscape. Scott uses shadow to continue the theme of darkness which, of course, lends from the Film Noir style of using shadow to create mood and enhance drama. The darkness continues even with indoor scenes and as in Film Noir movies, blinds are used to separate light and fragment the narrative visually. Shadowing is often used in the film to convey the underlying darkness in the narrative when it may not be apparent this is evident in a scene in JF Sebastians flat where Pris and Ron Batty (replicants) are hiding out (Sebastian is not aware they are Replicants) and although the characters are being nice to Sebastian, the viewer can sense that something more sinister is going on. Smoke is another feature used heavily in the film to create mystery and fear. Most characters smoke, expressing their paranoia and anxiousness. Smoke also emits from the industrial buildings, polluting the city and again, adding to the sinister tone.   Blade Runners generic hybridity is a recognised transgressive aesthetic within Cult film, with Telotte arguing that the generic mish-mash is a defining element (Telotte (1991) Beyond All Reason: The Nature of Cult  ). As discussed, Blade Runner embodies the visual style and aesthetics of many different film genres, such as Film Noir, Thriller, Romance, and of course Science-Fiction. Sci-Fi as a generic style is displayed in many cult films the groundbreaking special effects and visuals present the possibilities of new worlds with strange creatures and previously unimagined landscapes. This becomes the perfect breeding ground to explore the transgressive and subversive themes mentioned above.  If generic hybridity and collage-like excessiveness are recognised cult film aesthetics, then Film Noir and Thriller are perfect genres to lend from, for their roots in formal complexity are articulated through aesthetic and ideological ambiguity. According to Nicole Rafter Film Noir and cr ime films provide ways for viewers to enjoy fantasies of violence and law-breaking by offering forbidden pleasure and its chastisement, they offer viewers both transgression and the return to conformity, thus alleviating their anxiety about social norms (Rafter, N (2000) Shots in the Mirror: Crime Films and Society  p.153-154). This can easily be related to Telottes ideas on transgression in cult films that they allow the viewer to embrace the other within them and that this is a gesture or a feeling of being transgressive without actually being transgressive (Telotte, J P (1991) Beyond All Reason: The Nature of Cult  ). As mentioned above, the themes and narrative structure of Blade Runner are complex and the average viewer may find they need to watch the film many times in order to fully appreciate and understand it (which in itself encourages cult viewing). In conclusion I cannot deny that Blade Runners aesthetics are what set it aside from the popular movies of its time and so encouraging fans to read it as in opposition to the norm, and identify / align themselves with it. There is also no denying that the aesthetics and mis en scene come together to help narrate the story and support the films transgressive themes, again helping it to achieve its cult status. Fans can surround themselves in this strange but magical world and rejoice in its difference. Ultimately I believe that it is not solely a films cult aesthetics that establish it as cult film or encourage a cult following. Instead they support and encourage the cult themes and subject matter helping to visualise the films sub-cultural ideology (Sconce, J (1995).  

Hamlet and Structural Functionalism Essay

In the famous play Hamlet by William Shakespeare, family takes an enormous part in the failure in the main character, Hamlet. What is interesting about his family dynamic and the way his family affects Hamlet’s actions, is that it directly correlates to Emile Durkheim’s theory on structural functionalism. It is a theory that studies our social structure and culture, and how they work together and affect us. Durkheim suggests that our social system is made up of a bunch of different parts and when one of these components gets taken away, we suffer and go into normlessness- which Durkheim refers to as anomie. Anomie is an indication of a loss of our sense of values and rules of conduct, creating problems. In relation to the play Hamlet, we can establish a connection between structural functionalism and Hamlet’s family through the losses he encounters throughout the book. While dealing with the death and re-appearance of his father, his uncle’s deceit and his mother’s betrayal, he finds himself falling into anomie while overthinking, and becoming mad in result of his loneliness. In the beginning of the play Hamlet, we are promptly made aware of Hamlet’s family situation and what has recently happened with his father, Old Hamlet. When a child is born, the parent of the same sex as the child will usually be the one they feel the biggest connection with. There’s a feeling of common understanding, and when one gets that individual taken away it truly is devastating. That is how it was for Hamlet. We get to see the gravity of his father’s death destroying his optimism, when he’s talking to Claudius and tells him that people can act sad, but he has real grief beneath the clothes that he wears. â€Å"Together with all forms, moods, shapes of grief, That can denote me truly. These indeed â€Å"seem,† For they are actions that a man might play. But I have that within which passeth show, These but the trappings and the suits of woe.† (1, 2, 83). Two scenes later, we are showed how the death of his father affects his mental state. When Horatio and Hamlet lay eyes on the ghost in scene 4, Horatio begs Hamlet not to follow him. â€Å"What if it tempt you toward the flood, my lord, Or to the dreadful summit of the cliff That beetles o’er his base into the sea, †¦Ã¢â‚¬  (1, 4, 72). Hamlet answers him with a shocking comeback and follows the mysterious figure into the mist. â€Å"Why, what should be the fear? I do not set my life in a pin’s fee, And for my soul—what can it do to that, Being a thing immortal as itself? It waves me forth again. I’ll follow it.† (1, 4, 67) This quote reveals Hamlet’s opinion on his self-worth. He explains to Horatio that he does not value his life. If Hamlet’s father had not died, and he had not been so fragile and in such grief, there would have been a significant difference in the way that he handled the situation. His father’s death, r ight from the beginning of the play, started affecting his sense of values and rules of conduct- leaving him in a state of normlessness. This is what spun the chaos of Hamlet into action, starting Hamlet out on his path to self-destruction, eventually to the point where his death is the result of his own medalling. In the words of a man who lived long ago, â€Å"what we fear, we create.† After the death of his father Hamlet continues to mourn the loss, as one would usually do if their parent were to decease. Oddly enough, his own mother and lest we forget; the recent wife of his father, says to him: â€Å"Do not for ever with thy vailed lids Seek for thy noble father in the dust: Thou know’st ’tis common; all that lives must die,   Passing through nature to eternity.† (1.2.2) This is shocking because normally, if one’s spouse has passed away they would experience some sort of great grief, however Gertrude takes little discomfort in the matter and in the quote above, tells him not to fret, for everybody must die at some point. To this, Hamlet says to himself, â€Å"O, God! a beast, that wants discourse of reason, Would have mourn’d longer–married with my uncle,My father’s brother, but no more like my father Than I to Hercules: [†¦]† (1.2.151). Clearly her insensitiveness and incentive to quickly re-marry angers Hamlet. How could she not mourn the death of her own husband, and re-marry his brother almost right after? Hamlet demonstrates great disgust for his mother and accuses her of incest. â€Å"She [Gertrude] married. O, most wicked speed, to post. With such dexterity to incestuous sheets! It is not nor it cannot come to good: But break, my heart; for I must hold my tongue.† (1.2.158). With the loss of his own mother, Hamlet (as would any child) starts to act out and feel a loss of control. We see this in his quote in act 1 scene 2: â€Å"O, that this too too solid flesh would melt Thaw and resolve itself into a dew! Or that the Everlasting had not fix’d His canon ‘gainst self-slaughter! O God! God! How weary, stale, flat and unprofitable, Seem to me all the uses of this world! (128) Here, Hamlet talks about how he wishes God had not declared suicide a sin, and how pointless life is to him now. This is huge because we get to see how the loss of his mother is affecting his sanity. He needs his mother to support and protect him, yet she is nowhere to be found. Rather, she is with the man that he needs to be protected from. This affects his sense of values and rules of conduct- leaving him in a state of normlessness. This is just another push from Gertrude to Hamlet towards his death (failure) in the end of the play. Meanwhile, Hamlet’s uncle and new step father Claudius is being a â€Å"villain, villain, smiling, damned villain!† (107) as Hamlet describes him in act 1 scene 5, because he feels that Claudius has been deceitful and betrayed his own brother. Which he in fact has. In act 3 scene 3, Claudius says he feels guilty for murdering Old Hamlet, yet he states, â€Å"That cannot be [Claudius cannot ask God to accept his apology), since I am still possessed Of those effects for which I did the murder: My crown, mine own ambition, and my queen.† (56) Revealing that he knows that he cannot as for forgiveness when he is still in possession of his brother’s belongings and is not ready to let them go. This whole affair leaves Hamlet very clearly bitter and upset with him. In act 3 scene 4, Hamlet’s mother says to him, â€Å"Hamlet, thou hast thy father much offended.† (9) And he replies with a snarky remark claiming that Claudius is not his father at all, and that the one doing the real offending is her (Gertrude) to his father (Old Hamlet). â€Å"Mother, you have my father much offended.† (3.4.10) This quote proves to us how betrayed he feels by his uncle. Three scenes before these quotes, Hamlet presents his â€Å"to be, or not to be† soliloquy about suicide. â€Å"To be, or not to be: that is the question: Whether ’tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles.† (3.1.57) He, again, is debating whether or not he should kill himself. This validates the theory that he is losing his mind due to his uncle’s actions, and essentially the robbing of his uncle entirely as a person that he once put his trust into. It affects Hamlet’s sense of values and rules of conduct- leaving him in a state of normlessness, pushing him even more off of the edge towards failure. Hamlet’s inability to remain mentally stable throughout the play is in the fault of the unfortunate death of one parental figure, the betrayal of the other, and the people that he invested into emotionally whom ultimately took advantage of his trust. When a kid is faced with such instability it becomes ridiculously difficult for them to continue on as fully functioning, emotionally stable human beings. When the most important people in Hamlet’s life disappeared, he started to go into normlessness, like we would if we were to lose a vital component in our society, such as the government. He fell into anomie, losing his sense of values and rules of conduct, creating multiple problems within himself. We see this as he overthinks throughout the entire play. He cannot make conscious decisions, think, or function properly. In conclusion, Emile Durkheim’s theory on structural functionalism does in fact directly correlate to Hamlet’s family and their part in his f ailure.

Things Fall Apart Culture Research Paper

Maduena 1 Thomas Maduena Mrs. Aisola English 4 December 16, 2012 Unconventional Culture of the Ibo People in Nigeria The Ibo people, traditionally known as Igbo, are one of the largest and most significant ethnic groups of Southern Nigeria (Igboland). Their culture and traditions are so diverse because their group is fragmented into subgroups. Chinua Achebe explains the tough and cultural ways of the Ibo people in his novel Things Fall Apart.Their customs can be compared but, nevertheless they have kept their traditions stayed the same throughout their history. Origin; Ibo people originated in the Kingdom of Nri. â€Å"Nri Kingdom in the Awka area is the cradle of Igbo civilization and culture† (destee. com) It is also one of the most oldest Nigerian kingdoms. Although Nri people were a different group, they influenced the traditional Igbo people with their customs and practices. â€Å"There is a little bit of Nri in all of us†¦ Igbo is Nri and Nri is Igbo†¦ you ar e Nri and Nri is you†¦ † (destee. om) The orgin of the Igbo people can be argued about, but no doubt the originated from the Nri People. Traditional Society; Although some ill-informed people would only see that the Ibo people are very primitive and barbaric, they had their own form of government, leadership, and economy. â€Å"The basic unit of Igbo life was the village group†¦family head† (qub. ac. uk) The â€Å"family head† or modern colloquial, the man of the house, would be the older male, In most cases the father. He settled all issues within and outside his family, and was the one to Maduena 2 talk to higher members of the clan or in the village. Social status is based on wealth, regardless of occupation. The Igbo distinguish between obgenye or mbi (the poor), dinkpa (the moderately prosperous), and nnukwu madu or ogaranya (the rich). â€Å" (everyculture. com) Titles were a major role in every Nigerian tribe whether it be the Ibos, Yorubas, or Hausas. A title gave respect and honor to their family. â€Å"Okonkwo was well known throughout the nine villages†¦ fame rested on solid personal achievements. † (Things Fall Apart P. 1, Chinua Achebe) His title was earned throughout his life and solely on himself, which gave him a god reputation and being respected. There was a hierarchy of ascending titles that were to be taken in order, accompanied by an ascending scale of payments. † (qub. ac. uk) Titles were not easy to come by and had an extensive process. Rituals were acquired and having a title gave the person a sense of success. Their villages are very dependent on one another. Any interference with their village would be taken up to the leader of the clan and if necessary brought up to the elders. Decisions would affect their entire village or town and need to be thoroughly checked with. Oracles played a key role for Ibo villages because of their consistency of being dependable.In â€Å"Things Fall Apart † the Oracle was an important character in their decisions made. â€Å"And there were indeed occasions when the Oracle had forbidden Umuofia to wage a war. If the clan had disobeyed the Oracle they would surely have been beaten. † (Things Fall Apart P. 11, Chinua Achebe) The Umuofia people are so superstitious that they will not make any major decisions without first consulting the gods through the Oracle. Their thought is that only the Gods can justify when the time to war is right. Government; The Igbo leaders of the village and the common people all work together to form a democracy.They all participate to make their villages such a working Maduena 3 community. â€Å"Perhaps it was the small scale of their political institutions that made Igbo Land such a good example of what a democracy should be. Some of the first European visitors to this region were struck by the extent to which democracy was truly practiced. † (qub. ac. uk) Igbo people are not the barbari ans people think of them to be. They just have an unconventional way of having a stable society. Family and Marriage; Families would live in the village group, but all living in separate segments.Males and elders would receive the outmost respect. The oldest male was usually the leader of the compound and there were many different groups in that compound. The rule of seniority was usually the placement where the person would be in their status. Marriage was ideal for every woman especially. â€Å"When a boy betroths a girl, the matter does not end there. The families of the contracting parties will embark on a series of investigations about the character, home training, lineage, health, clan relationship They needed a man to provide for them and their future children. (kwenu. com) Marriage was not as simple as it is modern days. Marriage requires thoroughly planning to get the best for their child, presumably their daughter. Polygamy was common and looked upon. If they were a succe ssful man, they had as much wives as they could marry. Men would have multiple wives and several children. Wives were ranked according to the order in which they married the common husband. Seniority was also important in children. The first male and female children of the domestic group were more important than the next children to be born.First-born children were given specific and responsible positions in their family. Rite of Passage; Children are normally the ones to have significant events happen to them. Circumcision is common in present day around the world. Ibo people too believe in this. â€Å"The difference is they also circumcise girls. The rite of Circumcision, whereby a child Maduena 4 is initiated into his culture, occurs on the eighth day after birth, when he or she is circumcised. † (kenwu. com) Another rite in Igbo culture would be Iru-mgbede (fattening of a girl before marriage).Igbo people believed that if the mother were physically healthy, the child woul d be born healthy and able to survive. Igba Mgba (wrestling) was how one became a warrior or well known throughout the community. This was the way Okonkwo first started to build his reputation as a fine skilled warrior. â€Å"As a young man of eighteen he had brought honor to his village by throwing Amalizine the Cat. † (Things Fall Apart P. 3 Chinua Achebe) Amalizine the Cat was an amazing wrestler whose back would never touch the ground, Okonkwo defeated him and with that gained his honor and respect. Every man wanted to be respected.Culture and beliefs; Spirits, gods and the unknown were not something to be interfered with and the Igbo people greatly feared the supernatural. † The darkness held a vague terror for these people†¦children were warned not to whistle at night for fear of evil spirits. † (Things Fall Apart P. 9 Chinua Achebe) Night was deeply feared. Animals were thought to become more vicious at night. Moonlight however would bring tranquility. People would go out for walks and children would be playing. Most marriages and festivities would be held in the evening leading on to the night. One of the biggest celebrations was the Feast of New Yam.Most West African countries celebrate this. The Feast of New Yam symbolized the end of a harvest and the beginning of the next work cycle. â€Å"†¦To honor the earth goddess and the ancestral spirits of the clan. New yams could not be eaten until some head first been offered to these powers. † (Things Fall Apart P. 32 Chinua Achebe) They strongly believed in sacrifice and giving the their higher beings. Although beating their wives and children is looked upon as strength to keep things in order, many Maduena 5 African tribes including the Igbo culture practiced the Week of Peace.Any disrespect towards traditions was dealt with the elders of the elders of the tribe. No work or violence should happen during to week of peace in order to pray for his or her future crop to gr ow. â€Å"Okonkwo broke the peace, and was punished†¦ † (Things Fall Apart P. 25 Chinua Achebe) His punishment was to sacrifice a female goat, a hen, a length of cloth, and one hundred cowries in order to keep from harvest turning out bad. Respect to their culture is mandatory for everyone in the tribe. Modern Igbo culture; Today, there are as many churches as well as mosques and traditional religion worship centers in Enugu State.The state is predominantly made up of Christians, but also had many catholic and protestant churches in Enugu State. Much of the Igbo’s traditions are still celebrated, but things like abusing your children and wife is not kept. Monogamous relationships are much more common and they celebrate holidays because they are converted into Christians. † One of the most important events in Igboland is Christmas and it signifies home return in the village†¦Igbo families consider their one and only real home their house in the village. It is the two weeks around Christmas which bring families back together to the village. (igboguide. org) Modern Ibo people are more focused in unity within their family and their villages. Unlike in Things Fall Apart, masculinity is not a major attribute, peace and affection has replaced it. Although the Ibo culture and religion has changed, the tough and rigidness is something they will always have. Ibo people are very spiritual, as shown in Things Fall Apart. Ibo people in nature show respect, if respect is shown towards them. Their customs have changed, but that will never change who they are at heart. Maduena 6 Figure 1 http://www. globalsecurity. rg/military/world/nigeria/maps. htm Figure 2 http://amaigboyouth. wordpress. com/maps/ Maduena 7 Work Cited Achebe, Chinua. Things Fall Apart. London: William Heinemann Limited, part of Reed Consumer Books, 1959. Print. Advameg Inc. â€Å"Countries and Their Cultures. † Economy. n. d. Web. 12 Dec. 2012. Akbondu. â€Å"Black Pe ople : Nri Kingdom†¦ the Cradle of Igbo Civilization. † Black People Meet. . n. d. , 11 Jan. 2011. Web. 12 Dec. 012. . Froiland, Andrew. â€Å"African Tribes – Ibo – Igbo Culture. † African Tribes – Ibo – Igbo Culture. Minnesota State University Mankato, n. d. Web. 13 Dec. 2012. . Onyemaechi, Uzoma, and Ann Arboy. â€Å"Igbo Culture and Socialization. † Igbo Culture. University of Michigan, n. d. Web. 11 Dec. 2012. .

Analysis Of The Movie Black Swan - 1048 Words

Black Swan is a psychological thriller film that revolves around, Nina Sayers, a ballerina in a prestigious New York City ballet company who desperately aspires to get the part of the Swan Queen in the production of Swan Lake. The part requires a ballerina to perform both the Black and White Swan, however, Nina does not possess the dark, seductive quality needed for the Black Swan. She strives for perfection in every dance step, chastising herself when she makes a minor flaw, and it gets in the way with the careless, loose characteristics of the Black Swan. With the pressures of her mother, director, and competitors, Nina withdraws from reality and gets in touch with her dark side. She begins to get hallucinations, delusions, and paranoia†¦show more content†¦One could argue that Nina has symptoms of dissociative identity disorder, â€Å"in which there is the occurrence in the same individual of two or more personalities, each of which is able, for an interval in the person ’s life, to live a stable life and to take control of the person’s life, although not necessarily in a mentally healthy way† (Sifers, 2006, p. 131). Nina seems to have two distinct personalities; one is her innocent, fragile side that strives for perfection, and the other is her bolder, darker side that inflicts self-harm, injures her mother, and stabs herself in the end of the movie. Nina desperately wants to perfect the version of the Black Swan with the overbearing weight of her director to become more like Lily. She begins to inflict self-harm by scratching her back, which ultimately she pulled out black feathers underneath her scars and forms webbed feet, and towards the end she sprouts feathers transforming into the Black Swan in one of her performances. To be diagnosed with schizophrenia, one must have at least two symptoms of the disorder. Delusions are set theories that are not open to change in the presence of contradictory evidence (American Psychiatric Association, 2016). Nina possesses characteristics of Persecutory delusions, which the American Psychiatric Association defines as, â€Å"belief that one is going to be harmed, harassed, and so forth by an individual, organization, or other group† (2013, p. 87).Show MoreRelatedAnalysis Of The Movie Black Swan 3393 Words   |  14 PagesAbstract This paper, broken into two sections, includes a mock case study of a young woman, from the movie Black Swan, who meets criteria for a Schizophrenia spectrum disorder, followed by current research on schizophrenia and recommended treatment. Because specific temporal information is unavailable and the key difference between schizophreniform disorder and schizophrenia is duration, the diagnosis made for the purpose of this paper is schizophrenia. The research portion will cover current researchRead MoreAnalysis Of The Movie The Black Swan 954 Words   |  4 Pages The Black Swan is a movie about a woman named Nina Sayers, who was a ballerina at an esteemed ballet company. 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This movie stared by Natalie Portman as Nina Sayers, Mila Kunis as Lily, VincentRead MoreThe Black Swan and Human Perfectionism Essay4892 Words   |  20 Pageswhat extend the need of being perfect leads man to its own destruction? Perfection seen through the film â€Å"The Black Swan†. Claudia Patricia Villacà ­s Galarza IB Code: 001421-054 Words: 3980 Abstract The research question of this extended essay is: To what extend the need of being perfect leads man to its own destruction? It is an analysis of perfection through the film The Black Swan. In the film the main character, Nina, is an obsessed ballerina who at the end destroyed her own life. I beganRead MoreBlack swan: Madness of swan queen:2327 Words   |  9 PagesNina Sayers: [weakly] I felt it. Thomas Leroy: What? Nina Sayers: Perfect. I was perfect. The movie â€Å"black swan† ends up with the conversation between the Nina and Leroy. 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