Memories And The Formation Of Reality - 1666 Words

In cinema, flashbacks are interruptions that take the narrative back in time from the current point in the story. They are often used to provide background and context to recount current events of a narrative filling in crucial backstories. In its basic form, the flashback is introduced when a presented image dissolves to another image of the past, which can be either as â€Å"a story-being-told or a subjective memory.† (Turim) For example, dream sequences and memories are methods used to present flashbacks. They become a visual representation to the audience as an act of remembering past experiences of reality. Imagination also plays an important role in shaping the mind and the story, similar to memories and the formation of reality. Imagination is usually integrated into animation as an artistic creation to express the artists’ ideas or memory. But where does the use of imagination and memories stop? By examining memory represented in animation and film, through Bart lett’s theory of schema, we can see how the film develops an active organized method to distinguish reality from memory. This paper examines five films based on memory, thus arguing that imagination does not distort memory in animation, but create a role as a form of embellishment for the film to help memory. Fredrick Bartlett is a British psychologist from Cambridge University, based on his book, Remembering (1932) that focused on how people comprehend what was being remembered. The concept of schema orShow MoreRelatedMemories And The Formation Of Reality1688 Words   |  7 Pagesstory-being-told or a subjective memory.† (Turim, pg. 1) For example, dream sequences and memories are methods used to present flashbacks. They become visual representation to the audience as an act of remembering past experiences of reality. Imagination also plays an important role in shaping the mind and the story similar to memories and the formation of reality. Imagination is usually int egrated into animation as an artistic creation to express the artists’ ideas or memory. But where does the use ofRead MoreMemory Of Memory And Memory966 Words   |  4 PagesOne of the common issues today is if people can rely on their memories. It is not mutual knowledge for people to know how memories are formed or where they are stored. A prodigious example of how memories are constructed is in the article â€Å"Distinguishing the Neutral Correlates of Episodic Memory Encoding and Semantic Memory Retrieval† Steven Prince and the other authors report, â€Å"The way a memory is formed is by neurons in one’s brain retaining information from a certain event and delivering it toRead MoreThe Secret Window And Dissociative Identity Disorder1096 Words   |  5 Pagesof Dissociative Identity Disorder, however, is the presence of two or more distinct identities that alternately take control of the individual and this symptom is the main basis and plot of The Secret Window. In addition, the person is plagued by memory losses that cannot be explained by ordinary forgetfulness and may even find items that he or she doesn’t remember buying. (â€Å"Dissociative Identity Disorder (Multiple Personality Disorder)†, 2014). Also, the individual may experience unexplained changesRead MoreThe Effects Of Social Priming On Memory Formation1627 Words   |  7 Pages The Effect of Social Priming on Memory Formation Isabel Rauchle Psy 110 - McCoy Nov. 30, 2016 In today’s society, and many generations before us, stereotypes have overrun how we think as a collective group. From the way we act around others to the way we perceive the actions and conversations around us, they are all influenced by stereotypes. Whether these stereotypes are taught to us from our parents, our peers, or through media influencesRead MoreDefense Mechanisms Are The Way Someone Distances Themselves From A Full Awareness Of Unpleasant Thoughts, Feeling, And1213 Words   |  5 Pagesregression, acting out, dissociation, compartmentalization, projection, reaction formation, repression, displacement, intellectualization, rationalization, undoing, sublimation, compensation, and assertiveness. The last few are known as mature defense mechanisms. They are the most constructive and helpful for most adults, however they require practice and effort to use in daily use. Denial is the refusal to accept a fact or reality. It is the most common of defense mechanisms because it’s a characteristicRead MoreThe Ego as a Defense Mechanism Essay730 Words   |  3 Pagesrealistic dangers. Anna Freud lists nine defence : REGRESSION, repression, REACTION FORMATION, ISOLATION, UNDOING, PROJECTION, INTROJECTION, TURNING AGAINST THE SELF, and REVERSAL - plus tenth SUBLIMATION. SPLITTING and DENIAL are also usually listed as defence. It is usually assumed that defence belong to specific stages of development, e.g. INTROJECTION , projection, denial , splitting to the ORAL phase; reaction-formation , isolation and undoing to the ANAL phase. Defence MechanismsRead MoreGlobalization : Identity Formation And Globalization906 Words   |  4 PagesAaron Altier Dr. Eleanor Latham Writing 121 2 March 2016 Globalization: Identity Formation Globalization can be defined as the â€Å"process by which different parts of the world become interconnected by economic, social, cultural, and political means† (Globalization 2015). It affects every aspect of our lives, and we experience globalization daily when we go to the grocery store and view products and produce from other countries, when in coffee shops we are surrounded by faces and languages from otherRead MoreDefense Mechanisms, Freud1600 Words   |  7 Pagesmechanisms include repression and denial, which serve to prevent unacceptable ideas or impulses from entering the conscience. Secondary defense mechanisms-generally appearing as an outgrowth of the primary defense mechanisms-include projection, reaction formation, displacement, sublimation, and isolation(AllPsych). Freud introduced the idea that the mind is divided into multiple parts, including the irrational and impulsive Id (a representation of primal animal desires), the judgmental super-ego (a representationRead MoreThe Nothingness Of Personality By Jorge Luis Borges1309 Words   |  6 Pagesas the private possession of some depository of memories is mistaken† (1). However, I would argue that memories do in fact play a substantial role in developing human personalities, and that without memories, our self and personality is incomplete. While Borges is correct in stating that our memories are fleeting and that one never completely remembers an event in its entirety, the feelings and emotions accompanying such event impact the formation of our identities. While life events certainly areRead MoreThe Life And Works Of Sigmund Freud Essay1679 Words   |  7 Pageswas born in Moravia hamlet of Freiberg, Germany on May 06, 1856 and died in London, England on September23, 1939. He was bor n in the era of â€Å"logic and reason† (Love and the formations of family) when sciences was all that mattered and rational analysis was perceived as being the answer to all â€Å"mysteries† (Love and the formation of family). At the age of three his family relocated to Austria where he lived until the last year of his life (World of health, 2007). He was admitted into the medical school

Not My Best Side Free Essays

How does the lanuage used create effects? The following paragraphs explore how language is used to create effects in the poem Not my Best Side by U. A. Fanthorpe, an ekphrastic poem that uses the free verse form arranged in three stanzas of nineteen lines each. We will write a custom essay sample on Not My Best Side or any similar topic only for you Order Now It’s purpose is to entertain, which it does through the use of humour, using Standard English in an informal, conversational manner. Dramatic monologues from the characters re-tell from their own perspective, the historical myth of a brave knight that slays a fearsome dragon and rescues a damsel in distress. There are some differences however, and playing with the readers expectations and using modern stereotypes in place of the historically accepted character roles is where much of the humour is derived. the dragon, unlike it’s mythological counterpart has quite a sophisticated vocabulary, use of adjectives like ‘ostentatiously beardless’ and the idiom ‘old chap’ suggests an intelligent, well spoken, stereotypical British, Upper Class gentleman, the antithesis of a ferocious monster. The line ‘Not my best side, I’m afraid. , reveals the dragon’s self conciousness and obsession with appearance, a reocurring theme. The nouns ‘artist’ and ‘pose’ indicate the poem is about a character in a painting and the dragon is highly critical of both the painter, ‘Poor chap, he had this obsession with Triangles, so he left off two of my Feet. ‘ and the other characters, ‘Why should my victim be so Unattrac tive as to be inedible,’. It is the comical and conversational tone that makes the dragon so likeable and lots of rhetorical questions draw the reader in, particularly ‘(What, after all, are two feet To a monster? ‘ which, enclosed in brackets gives the impression the dragon is addressing the reader directly. Continuing the pattern of reversing the stereotypes, the girl is presented as a slightly feminist, with a mind of her own, ‘It’s hard for a girl to be sure if She wants to be rescued. ‘, not the typical damsel in distress and likewise, not the naive maiden expected in this kind of myth, euphemisms such as, ‘He made me feel he was all ready to Eat me. And any girl enjoys that. ‘ and ‘the dragon– Well, you could see all his equipment At a glance. are quite crude sexual innuendo of a sexually aware individual. She is a modern, young woman indicated by the nouns she uses, ‘hardware, acne, blackheads’, and i s just as obsessed by appearance as the dragon, ‘He was So nicely physical, with his claws And lovely green skin, and that sexy tail,’ it is interesting that her opinion of the dragon is much more flattering than his opinion of himself. It is also ironic in view of the dragons opinion of her, she thinks the dragon fancies her ‘And the way he looked at me,’. Perhaps she is still a little naive, and the final lines of the second stanza, ‘Still, what could I do? The dragon got himself beaten by the boy, And a girl’s got to think of her future. ‘ suggests a certain helplessness, as though there really is no escape from the role assigned to her by society, despite her own desires. The final stanza opens with a very funny line, ‘I have diplomas in Dragon Management and Virgin Reclamation. ‘, especially if one takes a moment to consider the training involved in ‘virgin reclamation’. It suggests the knight has recently completed his training and is quite young, perhaps his first day on the job. Despite the humour, he is nothing like the chivalrous knights of legend. He is arrogant, ‘You can’t Do better than me at the moment. ‘ Clearly a ‘product’ of the modern age, and obsessed with gadgets, ‘My horse is the latest model ‘, Much of his language is from a modern lexicon, ‘management, reclamation, prototype’ etc and from the semantic field of modernity, ‘contemporary, latest, and at the moment’ all of which place him in the present rather than the era in which this myth has it’s roots. He seems a little confused when confronted by the girl’s modern, feminist attitude, ‘Don’t You want to carry out the roles That sociology and myth have designed for you? ‘. He repeats the words ‘Don’t you†¦? ‘ three times, deciding chauvinistically, what the girl wants is irrelevant, ‘What, in any case, does it matter what You want? You’re in my way. ‘. How to cite Not My Best Side, Papers

How was Tension and Drama created in the Heck

How was Tension and Drama created in the Heck-Tate scene of To Kill A Mockingbird? Essay Tension and Drama is created in this extract using various methods, form body language to the entire situation. To begin, the average sentence length of this has great effect on the tension and drama created in this passage. For example Mr. Tate uncrossed his legs and leaned forward. This sentence is long and descriptive, this gives a relaxed and controlled image of the situation, whereas if the sentence had been short and sharp the pace of the extract would be much quicker, and after a few of this type of sentence the reader would begin to feel that the first person was experiencing a loss of control. Another aspect, which contributes to the tension and drama in the passage, is the situation. The reader knows this because Scout says Atticus could blandly introduce me to Boo Radley at a time like this, the situation being that Boo Radley has appeared for the first time in x-many years, after much fantasy on behalf of Scout and Dill. This is tense because it makes the reader has heard so much about this figure and now they are seeing him, not just seeing him in fact; but the reader are also under the impression that it was he who killed Bob Ewell. Another great participant to the tension in this passage is the pace of the text, when Heck-Tate tries to explain to Atticus that Jem didnt kill Bob the pace increases significantly. A good example of this is the short phrase I wont have it, this increases the pace because it is short. This shows that the pace of the text also shows how tension and drama is created. Body language also plays a significant role in creating the tension and drama in this passage. For example, Mr. Tate spat into the shrubbery, then thrust his hands into his hip pockets, is a good example of how body language effects the tension and drama. After this quote Atticus also mirrors this, the end effect begin not just that Mr. Tate is frustrated, but also that Atticus is trying to say the same, in effect creating a stand-off between the two. Thus, creating the drama through the body language. An additional method the author uses to create tension and drama is the weather, this is dramatic because it is night-time. The reader can tell this because Scout narrates the light from the living room windows was strong on them, the lights in the living room would not be on if it was day time. This is used in such a way that it sets the scene for slow the pace, but more importantly it makes the occasion that Boo Radley does appear seem more usual, as he has only been ever known to surface in the night. Therefore, creating tension. Most probably the best example of methods for creating tension and drama expressed in this passage is the extreme emotion. For example God damn it, Im not  thinking of Jem! This is extreme emotion because Heck-Tate is shouting at Jem, the only time somebody shouts in the book, because Atticus thinks that Jem killed Bob Ewell, when it is obvious to the reader that this is complete fallacy. It is tense because of the way that Heck-Tate is desperately trying to explain to Atticus that Jem is innocent and that Boo killed Bob, even though he cant say this. My conclusion to this is that it is a combination of these factors, which create tension and drama in this passage.