Characterisation

Host: Welcome to the Final Cut. We are here today with special guest, Ray Lawrence who is the director of the 2001 film Lantana. We hope to ask him a few questions that our viewers have sent us on twitter and get some answers to these highly requested queries. Question 1 Host: How did you convey the absence of passion and intimacy in Leon and Sonja’s relationship and what techniques do you adopt to support this idea? Lawrence: Dance is a motif used within Lantana and [Chapter 2 – 4:28] plays a…

Caswell explores how social norms and stereotypes isolate and ostracise people who don’t fit societal standards, through false preconceptions that prevent communication and the immense pressure to conform to societal conventions. Through his characterisation of the think-tank children and his depiction of their treatment from those outside the facility, Caswell successfully communicates the importance of listening to others and overcoming preconceptions to connect with others, and sends a…

Harper Lee used characterisation to develop the understanding of discrimination in the novel, To Kill a Mockingbird. Lee demonstrated discrimination by developing the character, Arthur “Boo” Radley who was discriminated against for being different. Many people in Maycomb County believed that Boo was a bad person. Boo was described as “dining on raw squirrels…with blood stained hands” through rumours Boo was thought to have a “…long jagged scar across his face.” The image of Boo and his life set…

Hey, are you Filo? Are you Vietnamese? Are you Australian? Well, Australia is known for their diverse multi-cultural aspect, but was it always an inclusive country? Good morning everyone and welcome to the Australia Day Film Festival, which I am very thrilled to commence today in sunny Brisbane. Australia is a major heritage site for the aboriginals due to them being the traditional owners of the land, where they formed their traditional culture along with developing a contemporary culture of…

The representation of acts mould the political outcomes and beliefs in order to position audiences in a state to favour their perspective.The play, is a dramatic allegory ‘The Crucible’ (1953), by Arthur Miller is set in late 17th century, and uses a myriad of language and theatrical techniques in order to represent the corruptive nature of power in order to save the reputation of the Puritan Church, and prove the power of politics over the motivations of individuals. Likewise explores the…

In The Tempest, by William Shakespeare, a gendered reading and a contextual reading of social class can be applied to the text to explore the assumptions of women and the Divine Right Of Kings in Jacobean England. The play describes the story of Prospero, the Duke Of Milan, who is banished from Milan to an island with his daughter Miranda, which is only inhabited by a creature named Caliban and an airy sprite named Aries. When the Kings ship returns back from a wedding close to their island,…

Conflict within texts builds tension and acts as a vehicle for dramatic development. Shakespeare’s revenge tragedy Hamlet explores the tension between the philosophical and academic concerns of the Elizabethan era including the inherent conflict between modern humanism and archaic values. Hamlet himself is constructed as a deeply conflicted individual, lost in caverns of introspection as he contemplates issues of life, death, morality, duty, and the women in his life. It is these inner conflicts…

In both plays there are clear divisions between the middle and working classes, this is shown through characterisation. Sherriff exposes the class system through the use of his characterisation of the officers and serving soldiers, he portrays the officers as being from the middle-class, public school section of society. For example, Raleigh is a public schoolboy who is, ”just out from England”.…

being judged for a crime, will always be subject to prejudice and discrimination. These ideas are portrayed by both texts predominantly through setting, symbols, and characterisation. The setting of each narrative gives an obvious indication as to the kind of oppression faced by the protagonists, and the point view and characterisation helps the audience to sympathise with this. However, despite this common thread in the narrative structure, symbols display that each account of such…

Company’s (RSC) interpretation of Act 2, Scene 4, directed by Gregory Doran. Doran’s representation of this scene serves to present a dramatic, visual performance, but also to demonstrate his shared perspective of Shakespeare’s political views. The characterisation of Falstaff as a static character is a foil to King Henry, where the juxtaposition is apparent between the honourable and utilitarian yet politically ambiguous figures, versus the vulgar yet honest ‘human’. Moreover, Falstaff…