¶ … Beautiful Mind
The movie brought the reality of schizophrenia closer to personal experience, not only because the film is adapted from the true story of John Forbes Nash, Jr., a Mathematics genius. It is also because the sight-and-sound properties of the cinema have that distinct capability of connecting the audience to the innermost chamber of the characters' personalities and vicariously revealing their frank thoughts and feelings. One could almost feel and think what John Jr. did as he struggled against the disorder.
The movie also tells us that being exemplary or being on top can take its toll. The rest of us who belong to "normal" levels may admire geniuses, but have no idea how excruciating it actually is to be different. Being different is not necessarily being better or happier, just because the world needs hard and accurate thinkers like John Jr. In order to continue developing and coping with "progress." His being "immensely strange and arrogant" and preference for solving only unsolvable Math problems were his ways of coping with the awesome and awful expectation and self-expectation to do more than others. The heavy weight of expectation led him to deviate and imagine crypto-Communists everywhere, as well as see himself as someone of huge religious significance. Voices all around and telephone calls pounded in his head and pushed him to do more and strain more beyond his mind's limits. He was condemned to achieve and praises or honors did not relieve him. His marriage suffered because his focus was out of it and entirely in pursuit of the ever-heightening expectations not only of his professors, the community, his parents and, but also and most of all,...
Beautiful Mind by Silvia Nasar: The Real Story Of Schizophrenia For anyone who has seen the film A Beautiful Mind John Nash comes across as a man troubled by schizophrenia, yet able to achieve success in his life. While his illness does cause him significant problems, he is still able to achieve greatness via his game theory, to manage a long-lasting relationship where his wife loves him unconditionally, to achieve social
He also has hallucinations about being followed by a federal agent, in keeping with his academic world where the government seeks on the one hand to employ mathematicians and scientists and on the other hand mistrusts them. Many of the encounters he has in his mind with this agent and others have the aura of a detective movie, showing that Nash is replaying films he has seen and that
Cain (afterward coupled by Mickey Spillane, Horace McCoy, and Jim Thompson) -- whose books were also recurrently tailored in films noir. In the vein of the novels, these films were set apart by a subdued atmosphere and realistic violence, and they presented postwar American cynicism to the extent of nihilism by presuming the total and hopeless corruption of society and of everyone in it. Billy Wilder's acidic Double Indemnity
Film Noir Among the various styles of producing films, it has been observed the noir style is one that has come to be recognized for its uniqueness in characterization, camera work and striking dialogue. Film Noir of the 1940s and 50s were quite well-known for their feminine characters that were the protagonists, the femme fatale. This was most common with the French, later accepted in the United States. There might have
These blows come in the form of beatings and disappointments encountered by Antoine while he is a student at a prison-like school. Truffaut paints the starkness of his reality effectively in his use of black and white hues. The boys are dressed mainly in dark formal clothes and their surroundings are also dark. This is contrasted with the brightness of the outside world in which Antoine is constantly looking
In this area, meanings with their endless referrals evolve. These include meanings form discourses, as well as cultural systems of knowledge which structure beliefs, feelings, and values, i.e., ideologies. Language, in turn, produces these temporal "products." During the next section of this thesis, the researcher relates a number of products (terminology) the film/TV industry produced, in answer to the question: What components contribute to the linguistic aspect of a sublanguage
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