Chola by K. Kvashay-Boyle, and the film The Killing Fields directed by Roland Joffe. Specifically, it will compare the film and the short story and discuss the issues and themes dramatized in the two works. Both of these works are studies of people in difficult situations, and they illustrate what can happen when cultures clash and people misunderstand or hate each other. While the two works may seem very different at first, they actually have many commonalities, including characters that make the reader feel their emotions and needs. They show that two different works might not seem to have much in common at first, but that a thorough examination can bring out commonalties that are important and even striking. "St. Chola" is an amusing short story that tells the story of one young Muslim girl's struggle with her identity as a Muslim and a woman. She is just like all the other girls in her junior high school, until she adopts the headdress Muslim women wear, and then, she becomes a target for abuse and hatred. The author writes about her with understanding and emotion, and clearly shows how difficult it is for her to deal with the abuse she suddenly gets from the kids around her. Kvashay-Boyle writes, "Your dignity gathers and mounts as you readjust the scarf and re-pin the pins. You can't see anyone pass germs, you can't hear anyone say your name. You are stone. You are cool. You will not cry. Those are not tears. The bell rings" (Kvashay-Boyle 170). The reader can feel Shala's pain, and her sadness that simply because...
The characters are caught up in a horrible time when the Khmer Rouge and Pol Pot were executing thousands of Cambodians that were "enemies" of the Communist regime. The area where they executed thousands of people was called "the killing fields." One of the characters in the film is captured and tortured by the Khmer Rouge, and his story is more horrible than Shala's, because he faces death, but he also faces hatred and prejudice, just as Shala does. During his imprisonment, Dith Pran writes, "The wind whispers of fear and hate. The war has killed love. And those that confess to the Angka are punished, and no one dare ask where they go. Here, only the silent survive" (The Killing Fields). Just as in the short story, this character is not afraid to show his emotions and his needs, and it is easy for the viewer to feel has pain and fear.
Silent films were caught in the cross-hairs of all this. Buster Keaton: Silent Film Visionary -- Too Much Imagination Yet, that sort of nightmare world of industrialization both inspired and was depicted in silent film. The Lumiere brothers were innovative geniuses who devised a portable camera, better equipped for transfer than Edison's bulky machine, and photographed technological marvels (like that train engine) to entertain audiences. One of the great comics of
Silent Film And How Critical Reception Shifts Over Time The objective of this study is to examine the film Das Cabinet Des Dr. Caligari or 'The Cabinet of Dr. Caligari" and to examine silent film and how critical reception shifts over time. The film Das Cabinet Des Dr. Caligari or 'The Cabinet of Dr. Caligari" echoed the German psychological warfare that had been waged against the people by Hitler and throughout the
Silent Film: Robert Flaherty and Nanook of the North Robert Flaherty is one of the most renowned filmmakers of all time. He was born in 1883 and died in 1951, so that his life and work encompassed what is frequently referred to as the Golden Age of cinema. Although Flaherty was an American, he lived near the U.S./Canadian border, and went to Toronto for his schooling. His early work experience was
The first scene of The Great Train Robbery takes place inside the railroad telegraph office when two masked bandits are able to force the telegraph operator stop a train that is approaching the station so that they can climb aboard. After getting the telegraph operator to lie about a water stop, the next scene finds the train at the water tower by the station where the bandits will sneak onto
For approximately three quarters of the film it is without dialogue but, "It was for the clink of plates, the rattle of ice cubes, the sound of a man singing, of two people talking, that silent films died." (Eyman 76). The lively exuberance of Al Jolson was truly what made this film an instant classic and demanded the continuation of Warner Brothers and the talkies. For the first time,
Silent Film Melodrama, Race, and the Oppression of Missionary Idealism: "Broken Blossoms" (1919) and "The Color Purple" (1985) Both Steven Spielberg's rendition of Alice Walker's novel "The Color Purple" and the 1919 silent film directed by D.W. Griffith entitled "Broken Blossoms" function as melodramas of racial misunderstandings. This silent film tells the story of an opium-addicted Chinese man who fosters an illegitimate Cockney waif, played by Lillian Gish. The young
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