Audrey Hepbrun A Hollywood Fairytale Essay - 1446 Words

nbsp;nbsp;nbsp;nbsp;nbsp;Outline I.nbsp;nbsp;nbsp;nbsp;nbsp;Intro: nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;Thesis- Audrey Hepburn took a difficult childhood and turned it into a gilded fairytale effortlessly. II.nbsp;nbsp;nbsp;nbsp;nbsp;Family Life/Growing up: nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;A-Shyness nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;B-Turbulent family III.nbsp;nbsp;nbsp;nbsp;nbsp;Suffering in Holland: nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;A-Reasoning to return nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;1. Childhood in Holland†¦show more content†¦But, listed separately I have a few good features.quot;(Woodward 45). Who would have thought this quot;ugly ducklingquot; would blossom into such a beautiful and talented actress. Audrey Hepburn took a difficult childhood and effortlessly turned it into a gilded fairytale. nbsp;nbsp;nbsp;nbsp;nbsp;Early in life Audrey was faced with both social and family oriented conflicts. Her parents fought and in 1938 her father left Audrey and her mother. Audrey recalls the leaving of her father as quot;‘the most traumatic event in my life.quot; As a young child it is difficult to cope with parents arguing and even more emotional damage was brought upon Audrey with the leaving of her father. As a result of her fathers absence Audrey had problems socially. Audrey was teased for her size, the way she spoke, andher shyness. She drowned her emotions in food and as a result she was larger than most children.(quot;Audrey Hepburn Biographyquot; 1). Many would see Audreys emotional problems as Bremmerman 2 weaknesses which would prevent her from fulfilling her dreams or making anything out of her difficult life. Soon Audrey would face even more difficulties and strengthen her emotional self even more. As a child Audrey was put through emotional challenges that would later help her in her career. nbsp;nbsp;nbsp;nbsp;nbsp;Soon after Audreys father left her suffering worsened. In order to understand her suffering one must understand what the world

The Definition of Organic Foods Should Be Redefined Essay

Organic versus non-organic foods are always being debated to whether they are worth the extra cost. This seems to be an easy question, at first, but begs a more in-depth analysis to come to a conclusion. Organic definitions can vary by government, company and even individuals. Many people have their own ideas of what organic means. My personal definition, before this research assignment, was that organic products were grown with no pesticides, chemical additives, or preservatives and grown in a humane way. Meaning that if it said 100% organic, that is what was meant. This however, is not the case when it comes to the government’s definition of organic, according to T. A. Niewold who wrote, â€Å"Organic More Healthy; Green Shoots in a†¦show more content†¦If these claims prove to be true, as some research suggests, then this may be well worth the cost if one can afford them. In the case of the meat we eat, how do we know that it is truly organic (hence the nec essity for a more strict definition), and why do we even need it to be? There are several reasons for us to eat organic meat, depending on what the definition ultimately ends up being. One reason to eat organic meat is the fact of the spread of Bovine spongiform encephalopathy or what is more commonly known as Mad Cow Disease. There is a human form of this disease called New Variant Creutzfeldt - Jakob disease (NCJD). This disease was first brought to light in the 1990’s in Europe by the discovery of link between these two diseases (Freudenrich, 3). If one had lived in Europe in the early 90’s, for at least six months, (as my family and I did) they may have been exposed to this disease. In the past, cows (who are naturally herbivores) were fed remnants of dead and dying sheep. Sheep that possibly had the disease called, â€Å"Scrapie† which is similar to BSE, and could explain the reason for the infection to have started in cows, eventually jumping to hum ans (Freudenrich, 6). The theory of how this disease came about varies, but one of the most prevalent relates to a protein called a â€Å"prion†. These prions are allowed access to theShow MoreRelatedEssay on The Environment, Bell Hooks, and Feminist Spirituality993 Words   |  4 PagesThe Environment, Bell Hooks, and Feminist Spirituality The Environment: The environment is constantly being sacrificed for food production, toxic dumps, wood distribution, military testing, and other things such as these. And as usual, the root lies in profit. The corporations can’t afford to be concerned with the future well being of the earth and it’s dwellers. 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The Road to Perdition Free Essays

The most appealing thing about Road to Perdition is its over-arching theme of redemption. Michael Sullivan (Tom Hanks), an Irish mafia heavy, wants more than anything to keep his son from following in his criminal footsteps. Even though father and son will eventually drive to a place called Perdition to lay low, the story’s title suggests that Michael has for many years been traveling the road to hell. We will write a custom essay sample on The Road to Perdition or any similar topic only for you Order Now He understands as much, and wants his son to avoid the same highway, a road with no off ramps. Then there is John Rooney (Paul Newman in his last feature film role) who is the embodiment of Satan in the film, the pitiless head of an Irish crime family. If his actions weren’t clear enough, he includes the devil in a toast, and late in the film in a conference with Michael below a church tells his younger protege, â€Å"there are only murderers in this room,† and â€Å"there is only one guarantee, none of us will see heaven. † Early in the movie, at a wake in his home for Danny McGovern, a foot soldier he has had killed, Rooney ominously acts the charming father to the Sullivan boys, Michael and Peter, one his son will soon murder, and the other he will personally order a contact on. He playfully tosses dice with the boys in a kind of gangster pastoral, in reality gambling with their very lives. With a disarming charm, reminiscent of the Prince of Darkness, he establishes an early connection with the youngsters, so that later when they are older they’ll feel taken care of by the family. By the time they learn the truth about the business, they will be less horrified, and will be drawn into the web of sin just like their father. Rooney also functions as the surrogate parent to Michael Sr. (Hanks), but whereas it’s usual or a father to protect his child from sin and danger, Rooney has molded Michael into the ruthless enforcer for his evil organization. The story heads in another direction when Rooney’s son Conner (Daniel Craig) slaughter’s Michael’s wife (Jennifer Jason Leigh) and his youngest son Peter to hide his own corruption within the corrupt world he inhabits. But if there is any good in Rooney, it’s his refusal to give up Connor, even though the son has betrayed his father and put him in a mortally precarious position. Thus, the plot becomes increasingly parallel as the two fathers face each other and certain death to protect their offspring like so many lionesses. With the Rooney’s demonic hit man (Jude Law) on their trail, Sullivan goes to see the powerful Frank Nitti with the vain hope of obtaining mafia justice. But when Nitti tells Michael that he will not give up Conner because of the crime connections with Rooney, Michael realizes that his only recourse now is to eliminate his boss before Rooney kills his remaining son. In the great scene when Michael guns down Rooney and his intimates with a Thompson sub-machine gun that lights up the dark, it is a toss up of whether Michael is revenging himself, giving into his darkest, most vengeful lust, or that he is redeeming himself by saving Michael Jr. the only way he can. The interweaving stories of the two fathers, combined with the closure of the main plot in which Michael Jr. abandons the mafia road to be raised on a farm and never hold a gun again, leaves the viewer with a sense of hope: amazing considering the film’s dark themes. This spirit of hope is brought home by the film’s musical score, the most appealing aspect of the movie for me. Thomas Newman—my favorite film composer—wrote the soundtrack, and the one for this film is my favorite work of his. Newman’s patented swelling strings and simple but central piano motifs drive every important scene in the film. The despair of the Midwest’s great depression era, the tension of carrying out a job accomplished with guns, the absolute peace of completing life’s final task, these along with every shot in the movie are underscored by beautiful music, which itself functions as an actor in the film, every bit as important as Tom Hanks or Paul Newman. My favorite example of the music’s effectiveness is the scene when Rooney nd his gang leave a pub one evening and walk out into the rain to their car, only to find that the car’s driver is dead. For me, it is the most powerful scene in any movie I have ever seen. The song that plays at this moment is called â€Å"Ghosts. † Sam Mendes, the film’s brilliant director, decided that even though what we are seeing is an action scene, he was not going to make it about action. For Mendes, it is a scene about emotion, and so we hear no sound other than Newman’s score, save for a couple of transitions where the rain can be lightly heard. The five gangsters are looking around when one of their cronies gets shot up from behind. They all turn and start firing hopelessly into the darkness, at the end of the street where the muzzle flash is coming from. Only Rooney remains rooted, with his hand on the car door and his back to the mysterious gunman. The camera then moves into a mid shot of Rooney looking downward, and the mostly ambient score now adds a low string that slowly increases in volume as recognition dawns on Rooney’s face. He now realizes the killer is Sullivan, and he knows he is going to die. He remains frozen as his henchmen are picked off one by one, but not one sound of gunfire is heard, no cries, no footsteps, no shouts. As the last body falls to the street, some sparse piano notes are heard traveling down the scale, which seems to echo the ease in which Sullivan drops Rooney’s bodyguards, like fingers traveling down the piano, ending a life on every key. The sound impresses on us how alone Rooney is now, standing in the rain before his final judgment. Next, we see a long shot of the dark end of the street, and after a time a figure appears out of the darkness walking towards Rooney’s back next to the car. At this moment, the sound of the rain drifts back in. Now a similar shot from a reverse angle, then an over the shoulder shot where we see Rooney beside the car, facing away from Sullivan, and over his shoulder, Sullivan moves towards him. As Rooney lifts his head and his gaze from the ground to camera level, every element in the soundtrack fades away and we understand why Thomas Newman owns this scene, for we are presented with five of the most powerful chords that a string section has ever played. They can’t be described in words so I won’t try. As the 5th chord fades, Rooney turns to face Sullivan, whose face is set in unhappy determination, which we see in an over the shoulder shot from behind Rooney. Again, there is no sound except the rain falling around them and the water dripping from their drenched fedoras. Now the camera moves in on Rooney’s face as he delivers his signature line, â€Å"I’m glad it’s you. † Then the camera cuts to a close up of Sullivan, and we see he is shaken by Rooney’s statement; he is near on the verge of tears, but in spite of his emotions raises his Thompson to the firing position in steady resolve. After Rooney’s coda, the chords play again but end on a different, more conclusive chord, which adds closure to Sullivan’s act before it even happens. This scene was Paul Newman’s final theatrical screen appearance, and I think it does justice to him. It is uncanny how many fine actors died in life not long after they died on screen. This is the scene that proved to me that Thomas Newman was the master. In many ways, Road to Perdition is the coming together of many film masters. Tom Hanks and Paul Newman, two of the most highly acclaimed actors of the last 2 generations, Thomas Newman, a 10 time academy award nominee, and Cinematographer Conrad L. Hall, who won an Oscar for his moody and contrasted lighting. Road to Perdition was also Hall’s last film before his death, and Mendes dedicated this, perhaps his greatest film, to him. A long time ago, I gave up on the gangster film. I just didn’t like the subject matter. And although Perdition is one of the greatest examples of the genre, surpassing in my mind the celebrated Godfather films, it is arguably much more than a mob picture. It is a film whose writer and director were tantalized less by the sensationalized lives of the thieves and murderers of organized crime, and more with the idea of how one conducts and makes meaning of life under extraordinary conditions. Like Hamlet, Shakespeare’s greatest hero, Michael Sullivan is also turned into a scourge who might have cried, â€Å"Oh cursed spite, that ever I was born to set it right. † How to cite The Road to Perdition, Papers

Responsibility of the Creator free essay sample

Responsibility of the Creator Elizabeth Shute May 11, 2011 Literature Mrs. O’Kelly I believe Victor Frankenstein was responsible for his creature’s actions. He had many chances to help but he was a too much of a coward. For example, Frankenstein could have helped Justine but he was too scared to speak up. It was his fault she was in jail and it was his fault she died. She was accused of killing William because Victor’s Monster put the necklace in her pocket. Frankenstein felt responsible for his younger brother’s death when he realized that the monster he created murdered William.Frankenstein started to feel as if he himself had committed the murder because of his role in the monster’s existence. Everything the monster did was Frankenstein‘s fault because he was the creator. Rather then he blaming the monster for his downfall, Frankenstein blamed himself because he created the monster’s life. Victor also felt as if he, himself, murdered Justine because she was executed for a crime the monster committed. Elizabeth was altered by the injustice of Justine’s death, and Frankenstein felt responsible for that alteration as well.The chain of events that the monster set off with William’s murder began not with the monster, but with Frankenstein’s desire to create life. He shows his obsession with creating life when he says, â€Å"†¦I paid no visit to Geneva, but was engaged, heart and soul, in the pursuit of some discoveries which I hoped to make. †1 When the creature was complete he rejected it. He could barely look at the disgusting face which he had brought to life. He even says, â€Å"†¦Breathless horror and disgust filled my heart. †2 The  weight  of remorse about his role in the deaths of William and Justine adversely affected Frankensteins mental and physical health.His responsibility for their deaths and whatever other destruction the monster may have wreaked on humanity overwhelmed him. When the monster came to Frankenstein to plead his case and tell his story, Frankenstein realized that he had some obligation to the monster because he created it, in the same way that he bore responsibility for the monsters actions. Frankenstein was no  longer  simply responsible to humanity for the monsters actions, but he was also responsible to the monster for his happiness. Being the creator of a life was more responsibility than Frankenstein planned for.The monster called upon Frankenstein to fulfill his obligation of providing for his happiness by creating a  female companion  to keep him company. Out of his  sense of  obligation to his creation and out of fear for his family, Frankenstein agreed to make the female monster. His responsibility to humanity carried greater  weight  than the idea of his responsibility to his creature for the actions of the original monster and the new one he agreed to create. He hadnt yet realized the full  weight  of responsibility he would bear for the actions of both monsters.Before Frankenstein could marry  Elizabeth, he had to complete his obligation to the monster so that he could be completely rid of him and the responsibility for his actions. As a result, Frankenstein postponed the wedding and took a  trip to England to work without the danger of being discovered by his family. His obligation to the monster was not only to ensure the monsters happiness, which Frankenstein felt obliged to do as the monsters creator, but also as a way to protect his family from the monsters vengeance.Before he completed the female monster, Frankenstein realized the  weight  of responsibility he would bear if together the two monsters destroyed any other  human life  or reproduced, and the thought was just too much to bear. Rather than  deal  with the responsibility for two hideous, superhuman creatures, Frankenstein would rather  deal  with the wrath of one, so he destroyed his work on the female monster. So began the battle between Frankenstein and the monster. Frankenstein was responsible for Henrys death at the hands of the monster, and this grief rendered him ill for a long time.Frankenstein is once again in the posit ion he found himself with William and Justines deaths. He didnt murder Henry, but his friendship with Frankenstein made Henry susceptible to the monsters wrath because he used Henry to get back at Frankenstein. Although the Irish magistrate acquitted him, Frankenstein knew that he was responsible for Henrys death because he had defied the monsters wishes and the monster repaid him by killing his friend. Frankenstein, feeling responsible for  Elizabeths death as well as his fathers, vowed vengeance.The only way to absolve his responsibility for the monsters actions was to kill him, so thats what Frankenstein set out to do. He was responsible for the monsters creation and its actions, and he planned to be responsible for the monsters destruction as well. Frankenstein never admitted to his family what he had done, never admitted or took responsibility for his actions. He might as well have killed Elizabeth, William, Justine, and Henry with his own hand. The so called â€Å"Monster† only wanted companionship; he did not want to murder those people.The circumstances forced him to commit murder. Frankenstein was the instigator of those circumstances. Victor certainly created something that caused destruction, not only in his own life but in others lives as well. Justine took the fall for Victor, dying for his secret. Elizabeth died because Victor chooses not to create another monster. The monster did not necessarily want another monster-like companion, he just wanted acceptance. Victor brought about his own destruction. Victor’s ability to deal with the real world was almost nonexistent. He had only one friend, Clerval.His choice for a wife was a person he called â€Å"cousin†, but in fact was his adopted sister. Did Victor create this so-called â€Å"monster† to have a friend, the one thing the monster wished for? Victor denied his friendship to the monster, but why? The joy of creating life, the monster, overruled his judgment. He was denying the fact he had committed such a vile act upon humanity. He even says, â€Å"A being whom myself had formed, and eluded with life, had met me at midnight among the precipices of an inaccessible mountain. †3 Victor may have admitted to creating the monster, but he denied that he had driven the monster to commit murder.He needed to admit, not only to himself, but to his family that he was the one responsible for William’s murder. By not admitting this, he allowed his friend Clerval and his wife Elizabeth to be murdered as well. His determination that his secret not be discovered became his downfall. Victor was responsible for every action of his own and for the actions of the monster. Frankenstein’s monster only wanted to be accepted for what he was. The monster needed a friend. Someone he could talk to, someone to love him, and someone to love back. Friendship was not possible.Unfortunately, the human race is very shallow. In the monster’s own words he says, â€Å"†¦they spurn and hate me. †4 We tend to judge the appearances of others, rather than getting to know the person inside. A person’s appearance is only the shell in which they live, it never reflects the person they are. Frankenstein’s monster wanted a friend, not judgment; but even his creator rejected him, not once but multiple times. The second time Victor rejected him he says, â€Å"Devil’, I exclaimed, ‘do you dare approach me? And do not you fear the fierce vengeance of my arm wreaked on your miserable head?Be gone, vile insect†¦Ã¢â‚¬ 5 In the end, Frankenstein didn’t care whether he lived or died. Victor wants the war to end. He has lost every battle he and the monster have fought. I only think that He wished death upon the monster so that the murders will stop. Even in the end Frankenstein was selfish. He did not want anything to stand in the way of science. Had he learned nothing? At least Walton had learned that maybe people should take responsibility for their actions. Walton did let the crew turn the boat around and not face the inevitable, death. Frankenstein made his bed, and now he’s lying in it.In the end, Frankenstein died while the monster survived. So in the end, Frankenstein lost everything. Frankenstein led himself down the path of destruction. He lost his friend, wife, and brother. He was loved by no one. All those whom he had cared about were dead. His experiment had turned him into a shell of hatred and despair. His focus on his creation, led him to a black hole, from which there was no escape. Frankenstein’s ambition did lead to disaster, but he was also the monster with no regard for human life. Now that Frankenstein was in the afterlife, the monster could now end his own life. His quest was over.