✯✯✯ Sample Case Study Report Of Rosie

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Sample Case Study Report Of Rosie



Essay On Dynamic Assessment mentioned this site in my list Sample Case Study Report Of Rosie Amazon Review Sites. Whilst Davidson and McCandless experience different relationships with their immediate family, it is ultimately the concept of Sample Case Study Report Of Rosie that underpins their motivations and Sample Case Study Report Of Rosie them to pursue their journeys — Sample Case Study Report Of Rosie physical and psychological. A year passes, but Dev managed Sample Case Study Report Of Rosie utilize only 50, rupees from the grant. We Sample Case Study Report Of Rosie the Paul Ryans Argumentative Analysis of Sample Case Study Report Of Rosie paper, whether it's an essay or a dissertation. I have never done this I am 77 and Sample Case Study Report Of Rosie like to try without getting scammed Sample Case Study Report Of Rosie u email me at removed by editor. The Australia Day debate is a popular one, and this is because Sample Case Study Report Of Rosie is rich in cultural, social, ethical and political stances within itself.

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The feminine figure and roles are depicted in contrasting ways between the texts, but both show how the construction of characters who either adhere to or reject the social constructs of femininity during their era are forced to grapple with the harsh realities of being a woman in both ancient and modern times. One of the biggest examples of femininity shown within each text is the value the patriarchal system places on motherhood and the high expectations they have for mothers and mother figures.

Eurycleia is presented as benevolent and dedicated to the mother figure ideal as she is shown to snatch Penelope's newborn son and invision him as her own. In contrast, Penelope's mother an elusive and neglectful Naiad leaves her child to swim around unsupervised. In Photograph 51 mothers are depicted as primarily concerned with the needs of their children and husbands as they are shown to identify themselves with their attributes and successes. It can be seen that such characters as Goslings mother's interest in his PhD suggests that like Penelope she judge's her own worth by her child's success. Indeed, while these mothers are shown to be nurturing and caring most of it emphasises their need to control and guide their child's life.

Not only mothers, but wives become another primary source of femininity that is examined within both texts. Regardless of class and social standing every woman on some level is shown to be oppressed by this traditional and conventional idea of womanhood. Penelope is encouraged to be a doting wife to her husband Odysseus, while in contrast, the Maids remain unmarried yet still subjects of oppressive mistreatment. Unlike the The Penelopiad, wives have little to no significance within Photograph 51, a text heavily focused on the scientific discovery of DNA, Indeed, the woman or the wife is seen as irrelevant in the scientific field while any mention of women outside of Rosalind is confined to the wives of men contained within the domestic sphere.

The notion of storytelling and the power of narrative becomes closely linked to such ideas as femininity and womanhood within each text as each closely revolves around women taking back control of their own narratives and stories. The The Penelopiad is a story about other stories as it is based off retelling an already famous story. The Odyssey becomes a vessel for Penelope to share her own insights and feelings while her actions of retelling the well known work is a source of empowerment for her as she is able to negate stories about herself that she would prefer not to hear.

This frees her from the burden of being a legend or a myth as she urges women not to follow her example of keeping their mouths shut. In contrast, Rosalind Franklin does speak out initially but gained an unfortunate reputation as a difficult woman in stories about her that are circulated by men. Through this it can be said that the aims of both Ziegler and Attwood is to challenge the historical invisibility of women throughout time. While Ziegler's play attempts to highlight the ways in which stories told by men have worked to minimise or downplay the roles and contributions of women, The Penelopiad attempts to offer new perspective of already well known stories that intend to give insight into the woman's understanding of life. While the DNA double helix structure is common knowledge now, in the s many scientists were racing to claim its discovery.

Ziegler's title, Photograph 51 is simply named after the X-ray photograph taken of the hydrated B form of DNA, which was crucial in the consequent events that eventually led to the identification of DNA's structure. However, much controversy has surrounded exactly who deserves credit for the discovery, particularly because the Nobel Prize was awarded to James Watson, Francis Crick, and Maurice Wilkins - 3 people who did not actually take Photograph 51 itself. Instead, people have argued that Rosalind Franklin should have been one to be award the prize, or at least share the prize as it was her work that led to Photograph 51 and without it, Watson, Crick and Wilkins may not have discovered the DNA structure.

If Watson and Crick had not seen Photograph 51 , would they have gone on to discover the structure of DNA on their own? The Penelopiad is similar to Photograph 51 in that it is written from a women's perspective previously never explored in literature. Misogyny is widespread in both Photograph 51 and The Penelopiad, and both writers explore the ways in which females deal with such an environment. Penelope is more graceful in her response, as she is acceptance of her place as a women, as poignantly expressed: "I kept my mouth shut; or, if I opened it, I sang [Odysseus] praises. In The Penelopiad, even Telemachus shows a lack of understanding and empathy for his own mother, and wants her to find a Suitor quickly because she is "responsible for the fact that his inheritance was being literally gobbled up.

Like Telemachus, the men in Photograph 51 has NO sense of what it means to be a woman. They is frustratingly presumptuous in the female psyche, as seen when Crick boasts: "See, women expect men to fall upon them like unrestrained beasts. Her fellow male scientists dismiss her credentials. Moreover, her methodical approach to her work drives the frustrated Wilkins to share her confidential research to Crick and Watson, displaying males inherent distrust and disrespect of women.

At Year 12 level, and particularly in Reading and Comparing, your assessor expects you to not only understand the text itself, but to understand the real-life implications explored. So when you start comparing Photograph 51 and The Penelopiad think about the human condition. Why is the way she deals with misogyny so different to that of Penelope? Now if we zoom out and look at the bigger picture, you need to start asking yourself: What do these texts say about us as people? What can we learn from these stories? This is particularly important when it comes to essay writing, because you want to know that you're coming up with unique comparative points compared to the rest of the Victorian cohort!

I don't discuss this strategy in detail here, but if you're interested, check out my How To Write A Killer Comparative. I use this strategy throughout my discussion of themes above and in the next section, Essay Topic Breakdown. While Rosalind and Penelope are examples of strong female characters, they are both severely flawed. What structural elements help convey the strength of women within The Penelopiad and Photograph 51? We were dirty. Dirt was our concern, dirt was our business, dirt was our specialty, dirt was our fault. We were the dirty girls. Make sure you watch the video below for extra tips and advice on how to break down this essay prompt! It recollects the final few months of the life of Christopher McCandless as he departs from society in both an act of resistance as well as a means of self-discovery.

A bright young college student in the s, McCandless abandons his family and affluent lifestyle to embark on a frontier-style journey into the Alaskan wilderness. Troubled by a dysfunctional family and disenchanted with the materialistic excesses of s America, McCandless seeks a radical engagement with nature, in the style of his literary heroes Henry David Thoreau and Jack London. After days in the wilderness, he suffers from starvation and dies. Whilst the film is of a biographical nature, it is important to understand that it is heavily subject to the interpretations and opinions of Penn.

The events of the story begin in , when a young Robyn Davidson arrives in Alice Springs with an outlandish plan to train wild camels to accompany her through the Australian desert. When, after two years of gruelling training, she receives a sponsorship from National Geographic, her journey can finally go ahead- on the condition that a photographer accompany her and document parts of the journey. This compromise weighs heavily on Robyn, as photographer Rick Smolan intrudes on her solitude and compromises everything the trip means to her. As Robyn delves deeper into the journey, each day brings new discoveries about the camels, the landscape, the people of Australia, and ultimately, her self.

Both Robyn Davidson and Christopher McCandless are products of the time period in which they live, and reject the concept of adhering to a predetermined notion of who they should be and how they should behave. Both embark on their journey because they reject the expectations of their class and gender. Tracks is set in the late s, an era of intense social and political change in Australia. The second wave feminist movements of the s and 70s were enormously influential in Australia, as women began to dismantle the sexist structures inherent in Australian society at this time. She rejects the archetype of the passive, docile woman. There are many explicit examples of Robyn facing misogyny and embodying feminist principles. This statement reveals the position of a woman in this misogynistic society, wherein a single woman travelling alone through the bush was synonymous with danger and irresponsibility.

Davidson rejects this ideology and refuses to succumb to the violent sexism she encounters, or compromise her journey. Tracks is not an explicitly feminist text, but it clearly echoes the philosophies of feminism. In the years since the trek, Robyn Davidson has become a feminist symbol of defiance, endurance and strength. The s saw the first attempts to improve the lives and rights of indigenous Australians. In Indigenous people were counted in the census, and in , the Aboriginal Land Rights Act was established. Davidson is frustrated with the mistreatment of Indigenous people in Australia, and feels ambivalent about her status as a white, privileged, outsider in their community.

Davidson confronts the racist and discriminatory stereotypes and attitudes towards Indigenous Australians, and experiences first hand the realities of the issues these people face. Davidson encounters intense generosity and friendship in the Indigenous community that she admires and presents as a stark contrast to the intolerant attitudes of white Australians in Alice Springs. This traumatic past informs his extreme actions and outlook.

Inspired by Thoreau and London, Chris seeks enlightenment in the wild. Despite a philosophical understanding of the power of nature, Chris believes he can survive the untamed wilderness of Alaska. Although nature is the locus for self-realisation and growth for Chris, it is also what destroys him. Anthropomorphism is defined as the attribution of human characteristics or behaviour to a god, animal, or object. Robyn repeatedly personifies the animals she encounters. The camels in particular take on their own human personalities in her life. This technique, called anthropomorphism, can be used to complement a discussion of the theme of isolation. Robyn attributes distinct characteristics to each camel, suggesting her need for companionship and the powerful absence of human connection in prolonged periods of isolation.

Prompt: Discuss the ways in which the environment assists the protagonists in their journey for self-discovery. Introduction: In forging connections with the environment and people around us, humans end up inadvertently discovering themselves. Both Davidson and McCandless seek knowledge and guidance through both the individuals they meet and, specifically to McCandless, the books he reads, citing it as a means of grappling with the fundamental stages of self-discovery. Whilst Davidson and McCandless experience different relationships with their immediate family, it is ultimately the concept of family that underpins their motivations and inspires them to pursue their journeys — both physical and psychological.

Further, the respective temporal environments in which both protagonists are immersed in emerge as a distinct theme that facilitates each stage of self- discovery in the climatic lead up to the ultimate self-realisation. Body Paragraph 1: Both Into the Wild and Tracks endorse the guiding power of influential figures on both protagonists, as a catalyst for their growth. Kurt is abusive to both Davidson and his wife, but his eccentric and impulsive ways expose her to the harsh realities of bush living. Davidson becomes more grounded and connected to her environment; the knowledge that she derives from key characters contributes to a distinct conformational change in her personality and thus critically assists her in developing a strong sense of one self.

In doing so, Penn illustrates the importance that Chris places upon the words of such idealists to the stage where he acts upon their advice without giving them proper consideration within his literal, temporal context. The protagonists of both Into the Wild and Tracks , both rely upon the knowledge and guidance of individuals, be they physical or via literature, as a means of grappling with their fundamental understanding of the human spirit and in doing so their intricate understanding of themselves.

Body Paragraph 2: Both texts demonstrate a degree of discontentment and resent towards the institutionalized, '20th century convention' of family. Similarly, Christopher McCandless articulates a powerful contempt for family. Conclusion: Both Tracks and Into the Wild explore the inextricable link between ones environment and their personal growth. Nature is emphasised as a world removed from the materialistic excess of modern urban life, in which one can engage with an alternative, radical set of values.

Both Davidson and McCandless escape from the confinements of their lives and experience profound transformations over the course of their journeys. Thus, both Davidson and Penn comment on the omniscient, multifaceted nature of the environment around a person being instrumental in moulding each stage of the journey of self-discovery and transformation. And of course, it gets trickier from there: Lahiri and Szubanski tell the stories of families, yes, but they also tell stories of migration, trauma, and heritage. In both texts, these ideas colour the experiences of the central families and are thus just as crucial for our analysis.

By the time it finishes, both Gogol and his younger sister have grown up, and Ashoke has passed away. Thus, this story traces the development of this fictional family over time, illustrating how their relationships with one another change over time. There is some exposition of his family, including his parents Jadwiga and Mieczyslaw, his sister Danuta, and her family as well.

Zbigniew would eventually fight as an assassin the Polish resistance, and Reckoning reflects on how that impacted and shaped his relationship with Magda. In the process, we learn about his migration, moving to Scotland after the war where he met Margaret , then to England, then to Australia, with Magda their youngest child aged 5. The memoir covers her life from there onwards, including a journey back to Europe to reconnect with the rest of her family.

I don't discuss this strategy in detail here, but if you're interested, check out my How To Write A Killer Comparative ebook. I use this strategy throughout my discussion of themes below and techniques in the next section. Evidently, this theme largely underpins the stories of both texts. In particular, The Namesake and Reckoning both show that relationships between family members—whether that be parents, children or siblings—can be really complicated. This scene demonstrates how there can be miscommunications between parents and children that make it difficult for them to understand each other. Parents and children may want to understand each other better, but this is evidently not always possible. Still, familial love perseveres over time, though it sometimes shifts and changes along the way.

Culture also plays a role here, which we will explore more in the next section. Indeed, similar themes flow through both texts. The texts are similar in that both of them illustrate how parents and children often struggle with barriers in communication despite their love for each other. As I was about to leave they both put their arms around me. Additionally, both texts deal with parent-child relationships that are affected by experiences of trauma that parents attempt to suppress. So, while it is true in both texts that traumatic memories impact how parents relate to their children, Reckoning is a deeper and broader exploration of intergenerational trauma.

This is the final piece of the puzzle in terms of major themes and how they fit together. With how characters relate to culture and heritage, we also see both texts evince some rich, intergenerational differences. Gogol is desperate to escape his ethnicity, and his status as a second-generation migrant means he is well-assimilated into American culture—he wears his shoes in the house, addresses his parents in English, and dresses like an American.

It also means that she becomes a part of the life from which Gogol is so desperate to escape. In Reckoning however, this generational gap is reversed. Trauma is also relevant, as Zbigniew is trying to escape it, while Magda is simply working towards understanding her father. Put this way, we can understand how familial relationships can be complicated by migration, trauma, and the different attitudes it can engender. Reckoning and The Namesake are two texts that explore many similar themes—family, migration, trauma, heritage, identity—over the span of decades.

I would probably argue that family is the central theme that grounds many of the others; it shapes the identity of children—migrant children—and brings out traumatic memories in spite of your best efforts to suppress them. Hopefully, this gives you a good overview of the themes across these two texts, how they fit together, and how they are similar or different. And how might it compare with The Namesake? It might include things like how parents want you to behave, what career choices they might want you to make, whether or not they approve of your friends or romantic partners.

So firstly, let's establish that parent-child relationships are often laden with expectations. What Ashoke might not realise is that this has caused Gogol even more distress of his own. So, parental expectations can be distorted by their traumatic experiences, which only serves to pass that trauma on. I think the bottom line is that parent-child relationships are already complex, and can be further complicated by a number of factors. This post will take you through some definitions , give you some examples and show you how you can use them in essays too. A theme is an idea or a subject that an author wants to explore.

Themes usually appear in interactions: for example, a parent reuniting with a child might evoke the theme of parenthood or family, an experience of discrimination might evoke the theme of prejudice or racism, a character facing a difficult choice might evoke the theme of morality or conflict, and so on. As you might be able to see, themes can require us to read between the lines because they are usually implied. A motif is something a bit more specific. This repetition of motifs helps to create structure for a text - it can tether parts of the story to or around a central image. You can think of symbols as motifs minus the repetition.

They can simply tell us more about a character or situation in that instant, at that specific time, rather than being a parallel or recurring throughout a text. Themes usually come across in interactions , and a possible first step to identifying them is thinking about if an interaction is good or bad, and why. For example:. The theme we might identify here is duty.

The film might suggest that we have a duty to look out for our neighbours without sacrificing their privacy or to do our part to keep the neighbourhood safe from potential criminals. The themes here might be society, wealth and class. This interaction shows us where these characters really stand with regard to these categories or ideas. Try to identify the themes as you go , or maintain lists of interactions and events for different themes. They also provide a great foundation for essay planning since you can draw on events across the text to explore a certain theme.

While themes can generally appear in texts without the author needing to make too much of an effort, motifs and symbols have to be used really consciously. A lot of interactions might just be natural to the plot, but the author has to take extra care to insert a symbol or motif into the story. Symbols in particular often appear at turning points : the relationship between two characters might take a turn, an important sacrifice might be made or perhaps someone crosses a point of no return - all of these are potential plot points for the author to include symbols.

For motifs , look more for repetition. Symbols and motifs can be more subtle than themes, but they will also help to set your essay apart if you find a way to include them. To learn more about text construction, have a read of What Is Metalanguage? Maddened by grief at the murder of his friend Patroclus, Achilles desecrates the body of Hector as revenge. To learn more, head over to our Ransom Study Guide which covers themes, characters, and more. Set in the weeks leading up to and after the infamous death of Princess Diana in , The Queen captures the private moments of the monarchy's grief and loss , and Queen Elizabeth II's inner conflict as she attempts to keep her private and public affairs separate.

The film opens with Tony Blair's "landslide victory" in the election as the "youngest Prime Minister in almost two hundred years", preempting viewers of the "radical modernisation" that's to come as he takes the reign. Juxtaposed with Blair's introduction is the stoic Queen Elizabeth II, residing in Buckingham Palace serenaded by bagpipes, in a ritual unchanged since Queen Victoria, immediately establishing the entrenched traditional values she represents. As days ensue with no public response from the Royal Family, the British people grow in disdain towards the authority , demanding a more empathetic response.

Despite heavy resistance from the Queen, he eventually encourages her to surrender old royal protocols and adopt a more modern approach to meet public expectation: to fly the flag at half-mast, hold a public funeral, and publicly grieve for the loss of Princess Diana — all in all, to show the people that the monarchy cares. Together, Ransom and The Queen showcase the challenges involved in leadership roles : the inner conflict that leaves these individuals torn between their private and public demands.

More on this in the next section. In Ransom , we learn of the familial sacrifice Priam has needed to make as a leader. It is only when Priam and the Queen detach themselves from their traditional roles that we see a change for the better in both of their personal journeys. Both texts show how parenthood can lead to a more enriched human experience. Malouf finally portrays Priam as a happy man when he has the vision to be remembered in his legacy for his role as a father first, then as a king.

Both texts explore the challenging tug and pull between upholding traditions and making way for the new. As humans, we cherish traditions because they are customs or beliefs that have been passed on from generation to generation. They have sentimental value, and by continuing on these traditions, our actions show that we respect the path our elders have laid for us. Tradition is not necessarily depicted in a negative light in either texts, but rather, shown to have its place. However, Frears and Malouf both assert that adaptability in upholding tradition is also needed in order for us to grow and develop as humans.

The new is not depicted as an experience one should fear, but rather, an experience one should approach with curiosity. To be meta, Ransom is the retelling of the Trojan events, but Malouf adds to this tradition with a fresh perspective on the story. Frears and Malouf both demonstrate that change is often propelled into possibility through the support and urging of others. His consequential journey is supported by Somax, whose ordinary everyday experiences teach Priam more about fatherhood than he had learnt as a father himself.

Both texts highlight the influence those surrounding us can have on our personal change. I use this strategy throughout my discussion of themes above and techniques in the next section. To help you get started, here are some questions to get you thinking about the similarities and differences between the two texts:. Her face half-covered by the shadows stresses how her familial experience only occurs from afar as she prioritises her role as her highness. Internal change, at least at this point in the film, has yet to begin. The finite space he has become accustomed to now almost represents and this may be an intense interpretation a jail cell in which he as a father, as a human being, has been incarcerated in. He is ready to pursue a new identity beyond just that as a king.

Both Ransom and The Queen showcase the sacrifices made by both leaders, and the rigid, almost-dehumanising expectations that are set upon them when they take reign. Both texts encourage their audience to empathise with the leaders , for the challenges they face in their unique positions. I created an in-depth video on the first 20 or so minutes of The Queen you'd might find helpful. Have a watch and see whether you missed out on any film techniques:. So, the Part II gives me an indication that this is a quote from some way in Shakespeare's texts. So, I'm telling you these things because this is actually how I would go on to learn information about the film. I don't just automatically know for sure that it is from this particular text that Shakespeare wrote up.

So, I want to ensure that I'm right by going and having a look at Google. Quotes at the start of any film, at the start of any book, usually have importance to them and they usually should give you an insight as to what's to come. And, for me, I find when I look at this particular quote, it definitely links to the themes of leadership, of motherhood, parenthood, and of perhaps the sacrifices that the queen has needed to make in order to lead her nation.

So, with this particular quote, I would write it down somewhere and keep it in mind as you're watching the remainder of the film, because you'll see those themes come to life and have a better understanding of what this quote is talking about. So, immediately, this film opens up with a news presenter talking about Tony Blair going to the election polls. It's displayed as footage on a TV screen.

This gives us insight into a couple of different things. Firstly, it gives us context. The second thing is that it's displayed on a TV and it's broadcasted by a news channel. And, as you probably know, the media, the paparazzi, and just the entire culture of representing news during this time is something that will be heavily explored throughout this film. Especially because it may or may not have led to the death of Princess Diana. So, again, contextually, it gives us an idea that around this time, the news media was quite overwhelming and omnipresent, which means that it was sort of just everywhere. It was always around. It's sort of no different from today, but there's a reason why they establish it as an opening shot. And that's just sort of give us as viewers an understanding that the news has a big play in what's going to happen in the remainder of this film.

This, again, sort of establishes that idea of change immediately at the beginning of the film, or should I say, resistance to change. So, it's already sort of outlining the path that this film is about to take. So, from the onset with the queen, I think it's important to understand that we don't villainise her, or at least the director doesn't villainise her. He portrays her as a human being, as somebody who is in this position of the queen, which has a lot of weight upon it.

And you can tell that she's all glammed up and she's fulfilling her role as the queen, but she's admitting that she envies us as everyday citizens being able to vote, to be able to have an opinion, and just go to the booths. To me, this establishes her as somebody who I empathise with, or sympathise with even. I think this part with the music in the background and how the queen breaks the fourth wall. So, the fourth wall is basically when any character inside a film actually looks directly at the camera, at you, as the audience.

And, to me, this gives me a sense of joy. It makes me feel like it's quite funny, the way that she's looking at us, especially with the So, in the next scene, we have a wide shot of Buckingham Palace, and in the background, you can hear bagpipes playing. This is something called diegetic sound. Diegetic sound is when you have sounds that come directly from the world in the film.

So, the bagpipes sort of establish this sense of tradition. Everything in the scene represents tradition. Buckingham, Palace, the flag, the bagpipes, and that as an early shot of this film sort of shows us the entrenched tradition that exists. That nothing has changed as of yet, and things as sort of going on as they've always had. Again, Frears is trying to show us the human side of the queen. And so that's why we've got the shot of her waking up in bed. She's all cuddled up and snuggled up in warm and comfy bedding.

And it shows that she's vulnerable, in a way. And this is important for us as viewers, as we come to understand her inner thoughts and feelings later on. So, immediately when the queen wakes up, she has a pile of newspapers in front of her. That adds, again, to that sense of omnipresent media. It's all around us, at least in that period of time. This time, we have archival footage. So, archival footage is footage that has been taken from that period of time and placed into this film. It adds to the film's sense of authenticity, the fact that it's based off historical offense.

I really like this shot as the queen and Robin walking down the hallway to meet Tony Blair. This is a great snapshot and a great mise-en-scene. And mise-en-scenes, basically, to me anyway, it's when you pause the screen and it's everything that's inside that shot from props, in the foreground, in the background, what the person is wearing, or what the characters are wearing.

So, with this particular art, we can not only see the two characters, but we can also see everything that's in the background. And again, this really adds that sense of tradition because you've got all these paintings from probably famous people back in the day, or ancestors of the monarchy, and then you've got Robin saying he's promising a constitutional shake up, the first one in years, and the queen saying, "Oh, you mean he's going to try and modernise us? When Robin makes the joke about Tony Blair's wife having a curtsy that's described as shallow, it's humorous, it's funny, and the queen laughs as a result.

The humor that's speckled throughout this film, I think really helps to lighten up the situation, but also to again, show us that the queen is human and that she can enjoy a joke. I think this is a great snapshot as well. So, we've got the camera looking down at Tony Blair and his wife. When a camera does look down at an object or character, it gives us, as the audience, a sense that that person or character is inferior or they're not in a position of control.

And it ties in with the fact that this is Tony Blair's first day in Buckingham Palace as a prime minister and he's only just onboarding the role. So, in terms of him versus the queen or the monarchy, which is symbolised by everything around him, the setting that he is encompassed in, it shows that he really isn't the one who's playing the field here. He's not the one who is in charge. I love that we've got one of the queen's men giving them rules on what they need to do. So, we're slowly walking up the stairs towards the queen who is in position of power. So, the staircase is quite symbolic. Another important thing to know is that Mrs. Blair is actually accompanying the prime minister this first time round that he goes to Buckingham Palace.

It shows that he is nervous, he said it himself, but he's not entirely comfortable with his role yet. So he needs the support of his wife. This is in comparison with later in the film at the very end, actually, where Tony Blair goes to Buckingham Palace himself and conducts a meeting with the queen, very similar to the one that he's doing now. This shot where we've got Mrs. Blair sitting opposite the guard at quite a distance adds to the sense of awkwardness, and it's paralleled with the sense of openness between the queen and the prime minister as well. So, it shows that we've got the old and the new sort of coming together and sort of not really gelling. Something to keep an eye on is parallels in the film.

It's always a really good idea to compare the start and end of this particular film, because we've got such similar scenarios in meaning at the start of the film and in meaning at the end of the film. What you'll notice in this particular scene is that they don't appear in the same shot. They sit opposite one another and one shot on Tony Blair, one shot on the queen, and it sort of goes back and forth. And that's to heighten that sense of distance between them. That sense of unfamiliarity. This is in comparison with the end of the film when we see the two of them walking down the hallway together, out into the garden as equal.

Here's another great shot. So, to add on the idea of the queen having more power versus prime minister, it's quite clear here as he sits down and asks for her hand. I love the way that Mrs. Blair walks. She's sort of like half I don't know how you would explain her stride, but it's obviously not one that is aligned with how the queen walks, which is quite poised and quite together. Rather, Mrs. Blair's walk is sort of frumpy, it's sort of bouncy, and her arms are sort of flailing around a little bit, and so adds to that sense of new, of change, of difference.

And so that adds to the story of Tony Blair and his family and what he represents as something new and different and probably unwelcome for the queen. So, that's it, that's my analysis of the first 10 minutes or so of this film. In this, I show you film techniques that I pick out throughout watching the film, how to analyze them, and also then go on to show you how they are used in A-plus essays. If you're curious about what's inside the study guide and want to see if it's right for you, head on over and read a free sample to see it for yourself. I hope it gives you something to launch off.

If you have any questions, feel free to leave them in the description box below. I have plenty of resources for you guys down there as well if you needed help for your SAC and exams and I'll catch you guys next time. Frears incorporates these clips to help provide viewers insight on the politics, media culture, and public reaction in Moments of her kissing on a boat are revealed to the world without any respect for her privacy. Likewise, Malouf uses parts of The Iliad as foundations for his novel. By offering a retrospective of this historical story, Malouf invites readers to better understand the Trojan War and Greek mythology, and the impact the gods had on Trojans and Greeks.

I've dropped some sample essay topics below for you to try at home yourselves:. Ransom Study Guide. The following resources are no longer on the study design; however, you might still pick up a few valuable tips nonetheless:. Ransom and Invictus. Ransom and Invictus Prompts. Go Went Gone revolves around an unlikely connection between a retired university professor , Richard, and a group of asylum seekers who come from all over the African continent. Richard initially sets out to learn their stories, but he is very quickly drawn into their histories of tragedy, as well as their dreams for the future. This novel, therefore, bears reflection on our own relationship with the refugees who seek protection and opportunity on our shores - refugees who are virtually imprisoned and cut off from the world.

Richard ultimately realises that these men are simply people , people who have the same complexities and inconsistencies as anyone else. They sometimes betray his trust; at other times, they help him in return despite their socio-economic standing. In one example, a group of asylum seekers in a repurposed nursing home learn to conjugate the verb in German. In another, a retired university professor reflects on this group, about to be relocated to another facility. The various privileges Richard holds shape his identity in this text. Freedom in general is a useful way to think about privilege in this text, and besides freedom to choose how you spend your time, this can also look like the freedom to tell your story.

While Richard helps the men with this to some degree, even he has a limited amount of power here and power can be another useful way of thinking about privilege. He demonstrates a willingness to help them in quite substantial ways sometimes, for example buying a piece of land in Ghana for Karon and his family. In the end, we see him empathising with the refugees enough to offer them housing: though he is not a lawyer, he still finds ways to use his privilege for good and share what he can. He taps into his networks and finds housing for refugees.

This can challenge him, and us, and our assumptions about what is right. When Richard loses his wallet at the store, Rufu offers to pay for him. Erpenbeck challenges us to empathise without dehumanising, condescending or assuming anything in the process. Freedom of movement is sort of a form of privilege, but movement as a theme of its own is substantial enough to need a separate section. There are lots of different forms of movement in the novel, in particular movement between countries.

Through this lens, we can see that this is really more of a luxury that the refugees simply do not have. To yourself and others. Many of the barriers faced by the refugees are reflected in their relationships with language; that is, their experiences learning German mirrors and sheds light on their relationship with other elements of German society. In this sense, the law mirrors and enables the callousness which runs through the halls of power - not to deter you from learning law if you want though! These symbols thus reflect power and privilege. This complex understanding of borders draws on the history of Germany , and in particular of its capital Berlin, after World War II.

The Eastern half of Germany, and the Eastern half of Berlin, fell under Soviet control, and as East Germans started flocking to the West in search of better opportunities sound familiar? The Berlin Wall , built in , became a border of its own, dividing a nation and a city and changing the citizenship of half of Germany overnight. Attempts to escape from the East continued for many years until the wall came down in , changing all those citizenships right back, once again virtually overnight.

This helps to illustrate that national borders are just another arbitrary technicality that divides people, at the expense of these refugees. This has a few layers of meaning. Erpenbeck questions the limits of human empathy - whose deaths are we more affected by, and why - through contrasting these different bodies of water, and those who die within them. Often, that experience ends in death. Erpenbeck asks us to keep looking beneath the surface in order to empathise in full. Here are some questions to think about before diving into essay-writing. You may want to write some answers down, and brainstorm links between your responses and the novel. This prompt alludes to certain assumptions that Richard might make about the world. Then it asks us how the people Richard meets challenges those assumptions.

These experiences could be with language, employment, or personal relationships just to name a few ideas. However, I also think that his interest in the refugees exists because he knows they can challenge his assumptions. I want to use the motif of water surfaces to tie this argument together, particularly in the topic sentences, and this could look as follows:. Paragraph 3 : Richard is more open than most people to looking beneath the surface though, meaning that his assumptions are challenged partly because he is willing for them to be. Lewis is faced with a seemingly impossible task — to bring order to the chaotic world of the asylum — yet in the process of doing so, he develops hugely as a person. This means that setting, structure and stage directions are all crucial, and make for a high-scoring essay.

All of the action takes place inside a burnt-out, derelict theatre. This serves to create an atmosphere of confinement for the audience, encouraging them to reflect on the stifling experience of the patients. Act 1 highlights his uncertainty and distance from the world of the asylum. Whereas by Act 2, we see Lewis become more invested in the patients and the asylum, as his relationships with the other characters grow.

Metatheatre means that the play draws attention to its distance from reality. This contrast also helps Lewis to come to terms with his valuation of love over war, which is at odds with the common opinions of his society. Nowra encourages his audience to accept both the complexity of people and of life, which begins with accepting your own reality. During the time he spends with the patients, however, Lewis experiences a turning point in his understanding and perception of people.

At the beginning of the play, Lewis states that his grandmother was in an asylum. Therefore, he subconsciously allows himself to be influenced by them, just as he influences them. This contradicts the traditional views surrounding the unproductivity of the mentally ill and instead highlights their value and worth. Therefore, Nowra warns against dismissing individuals who are mentally ill, instead highlighting their capacity to garner change and therefore be productive and valuable members of society.

This again further reinforces his role as a bridge between society and the asylum and his connection to its patients , and he ends up embodying the role. Like Fernando, Lewis is unfaithful to his partner. While still in a relationship with his girlfriend Lucy, Lewis becomes intimate with a patient, Julie. Nowra uses his unfaithfulness as evidence of the indiscriminate nature of infidelity — it is not restricted only to women. Girlfriend and roommate of Lewis, Lucy cannot understand why Lewis is directing a play about love when thousands are dying in the war. She has an affair with Nick, who shares similar beliefs — that politics and the Vietnam War protest are more important than anything else.

The flippant nature with which she regards her affair with Nick as purely sexual is also reflective of her lack of value towards love. Thus, Nowra portrays Lucy as a personification of the societal norms of the s — she is political, into free love and challenges traditional notions of femininity. Furthermore, it is ironic that Lucy and Lewis have similar names. An experienced student director, roommate and friend of Lewis who is heavily involved in the moratorium a protest against the Vietnam War. Lewis later discovers that Lucy and Nick are having an affair. He views life as a series of transactions and values activities based on the immediate benefit that they bring him.

By the way, to download a PDF version of this blog for printing or offline use, click here! Everyone swears it exists, but no one has seen it. Meanwhile, Don Alfonso manipulates everyone. Julie later reveals that she has a girlfriend who she would prefer to be with, confirming that both men and women are unfaithful in relationships, despite whatever values they may claim to have. Nowra considers many perspectives of love and fidelity, without offering a definitive opinion. Therefore, Nowra shows that communication and truthfulness are needed for healthy, and reciprocal, relationships. Nowra suggests that love is complex and cannot be fully understood or tamed , instead portraying it as akin to madness. As love is universal, this view ties in nicely with his non-judgmental perspective on madness and insanity.

The line between sanity and insanity is explored through the juxtaposition of the patients and society.

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