majrambles

  In 'Frankenstein,' Shelley uses a plethora of narrators in order to highlight her warning and consequences of science and obsessive ambitions. The transgressive nature of Victor’s scientific pursuits manifests his own punishment and a ‘fall from grace.’ Shelley utilises structure to show how ambitions can spiral out of control, emphasised by her characterisation of Victor. This message is cemented by the mythological allusion to Prometheus. Through this, the punishment of ambitions is tragic and visceral. Whilst both texts use narrators to present the harm of science, with Offred describing the connection between the birth decline and radiation, from nuclear weapons, Atwood depicts a slightly different warning. In THT, Atwood uses the narrator of Offred to depict the transgressions of modern society. Through structure, we see how liberal America spirals into the religious fundamentalists state of Gilead that enforces the abuse and sexual exploitation of women. This notion is ...

  Possibly because of Rossetti's diagnosis of 'religious mania,' the fear of Hell and divine punishment have followed Rossetti throughout her life, causing an extreme urgency to avoid temptation that is reflected in both these poems. In 'Babylon the Great,' written near the end of Rossetti's lifetime, temptation is presented as out rightly menacing with layers of seduction and lust. On the other hand, whilst temptation is presented as equally as horrific in 'The World,' temptation is depicted as having a capricious demeanor, ensnaring innocent with its' unassuming and angelic façade. Thus, not only is Rossetti concerned with her own biblical afterlife, she is also worried about the fate of society, which was already falling prey to these temptations. In 'Babylon the Great,' Rossetti portrays the dangers of temptation as the speaker narrates their perception of Babylon. She presents Babylon as seductive and conniving, encouraging readers to ...

  Animation within the film industry has evolved tremendously; moving from black and white images, manipulation of animation for propaganda, intricately hand drawn frames, to fluid 2D and eventually 3D. However, what is probably unexpected is how live-action films have crossed into the path of evolution in animation. Utilisation of CGI is different to real life actors, speaking on camera and not a voice over. This intense dissimilarity would inherently put people- namely producers-off- by introducing live action elements into animation, you are abandoning everything that appeals to a child. So why are they being constantly pitched and made? Firstly, we must explore how live action movies are different to animation: The form of cameras and CGI will never be able to capture the wander and fun a child likes, doesn't matter how much post-editing a production does. For example, the green in Tarzan (since I've already talked about previously) can never be vivid if it (and it has) b...