Compare And Contrast Essay

The fascination of Marilyn Monroe and Audrey Hepburn still stays strong to this day. We often find ourselves loving the idea of these two flawless icons. Everyone wanted to be them then, and it is still true today. They were two major icons in the 1950’s. They were two beautiful, inspirational women. Marilyn Monroe and Audrey Hepburn really did live the lifestyles of the rich and the famous. Most people only see the similarities, but in fact, they are more different than some may think.

Young men who are sent to a war learn the reality in a very harsh and brutal way. Both the stories, ‘The Red Convertible’ and ‘The Things They Carried’ portray the life of a young soldier and how he psychologically gets affected from all the things he had seen in the war. Tim O’Brien’s ‘The Things They Carried,’ is more specific on the experiences of a soldier during a war where as Karen Louise Erdrich focuses more on describing the post war traumatic stress in her short story ‘The Red Convertible’. One thing similar in both the narrations is the Vietnam War and its consequences on the soldiers. From the background of both the authors it’s easy to conclude that Tim O’Brien being a war veteran emphasizes more on the

The most favorite pass time of any Indian is watching a TV set or catching up the show of their desired interest in the local cinema hall. As people are investing a major chunk of their time in the reel world it is, but natural to affect their real world. But does it always happen that way? “Cinema has only been around for a 100 years; men have been treating women badly for much longer than that,” argues filmmaker and choreographer Farah Khan. “So how can one blame cinema for what is going wrong in our country today?”

By definition; love is a profoundly tender, passionate affection for another person. Love can be interrupted in many ways. Were we ever taught love or is it just a natural feeling towards a person? Some say you'll know the meaning of love when you fall in love, yet some don't believe in love at all.

The film is explains the context choice and consequences. Moss makes a choice to take money, to keep the money and furthermore a choice to not surrender even when his wife might die because of that decision. Such moral choices we do make and we as a result must suffer and accept consequences of these decisions. Chigurh allows people to make a choice using a coin: heads or tails. These choices surround more on the fate or luck of person. These choices, unluckily, have consequences. However, even Chigurh has the choices too: let an individual live or die. It is about our moral responsibility, making rightful choices in a world where previous answers are no director and evil done is overwhelming. Do we surrender to those evil or do our best to uphold integrity even if we lose everything? This kind of moral direction is the heart of the

Bollywood is one of the striving industry in India and its film is widely accepted all over the world. However, even though its been able to appeal a variety of audience rather than just the norm of the Indian population. Through this paper I would like to explore how censorship has affected what is presented in the Bollywood media.

This paper deals with thePain, Torture and Humiliation in Tamil versatile director Vetrimaran’s film Visaranai(Interrogation)which is based on M. Chandra Kumar’s autobiographical novel Lock Up. The film narrates bitter and painful experiences of the Tamils who work in Andra Pradesh.How the immigrants are treated as aliens in other state even in the same country.The law maker should not be law breaker but it is true sometimes the law maker is a law breaker for their own concerns. The film is a cruelly honest portrayal of what goes on behind the closed doors of a police lock up under the guise of an interrogation. The arrogance of those in power and the utter helplessness of those caught in the web of the justice system is unthinkable. Once in custody, the nightmare never ends. What makes it truly terrifying is the knowledge that the plot is not the result of someone’s imagination but is based on true incidents. It also brings out the torture and humiliation for four friends of low class people.

The novel is divided into two sections, referred to as part one and part two. the first section of the novel portrays the everyday life of an Indian family with their daughter Uma as the main character of the section. Throughout part one of the novel, the author tries to take the reader into a journey across the Indian social practices and family relationship. She does this through the way she portrays different members of the Indian family and other individuals who are depicted as different members of the Indian society. In this section, the reader can see the family structure, family members responsibilities, and expectations from other members of the family and the society in general. Apart from showing the reader the family life, she also tries to present situations and topics that show the reader some important issues regarding the Indian educational system and the society attitudes

Mulk Raj Anand, despite a genius writer, is a critic, an educationist and a social worker. He is interested in human beings despite his critics described him a Marxist, a propagandist. His fiction revolves around the human being. Humanitarian ground becomes the nucleus of all his thinking and writing. He does not believe in ‘art for art’s sake’ but he believes in ‘art for the sake of man’. His main attempt in his work has been to expose the values of a man in a society by which he may gain real foundations for moral behavior and realize a just social order. His novels divulge a realistic sensibility which is capable to measure the depth of human personality and social structure. His commitment to his humanistic dogma and obsession with the downtrodden could be well explained inter alia his fictional experimentation. This paper presents a teenage boy who is the role model of all teenage coolies who suffer by the capitalism of the society.

India is said to be the largest democracy in the world with its population of over one billion people. When coining the term democracy, one would think of a society characterized by formal equality of rights and privileges. The largest gap of equality in Indian society is the inequality between Indian women and Indian men. India is ranked 87th out of 144 in the Global Gender Gap Index, illuminating the need for change in Indian culture. India has an immense way to go for its citizens to be given a true democracy. People of other countries would view India’s mistreatment of women worse in comparison to the rest of the world. Many films and works play on this notion, appealing to the West’s view on India. Many westerners view Indian women as slaves subjected to obey any command from the patriarchy. Many Hollywoodesque films and documentaries on India portray India as lawless, with Indian women turning into vigilantes to achieve justice. Although these films do present truth on the issues of separation between gender in India, they don’t touch on the progression India has made towards gender equality. Films such as Bandit Queen and Born Into Brothels focus on this idea that India’s gender issue is unresolvable unless foreign intervention occurs, however India is making progression through the collective efforts of many women, like Sampat Pal, and those involved in the Gulabi Gang illuminated in Pink Sari Revolution. India is not doomed to remain 87th in the Global Gender Gap,

Anita Desai, a noteworthy woman novelist, is a modern Indo-English writer, widely acclaimed not only in India but also in the world of fiction writing. She emerged after independence, deliberating on the highly debatable contemporary issues. Anita Desai is a keen observer of the society and the position of the women in the contemporary society draws her special attention. The novels of Anita Desai are noted for the profound probing into the inner life and feelings of the women, bounded by the shackles of the middle class. They are the explorations of the family problems, which perhaps is the chief cause behind the estrangement of the women from their family. Literature for her is not a means of escaping reality but an exploration and an inquiry. She prefers the private to the public world and avoids the traditional grooves of external reality and physical world. In fact, her real concern is the thorough investigation of human psyche, inner climate, and she unravels the mystery of the inner life of her characters. Her main engagement is to study human existence and human predicament, her exploration being a quest for self. Anita’s main focus, in this way, is to depict the psychic states of her protagonists at some crucial juncture of their lives.

When we talk about history, we start with firsts. The first ever life form, the first man to walk the moon, the first ever film. Indian Cinema, in the past 70 years, has seen films in about 30 languages. So, it is safe to say that The Indian Cinema has seen many firsts. Let’s start with Marathi; because the first ever Indian film and a silent one at that was made in Marathi. Raja Harishchandra produced by Dadasaheb Phalke ,known as the Father of Indian Cinema, was made in the year 1913 and was the first ever full length motion picture.

The term Bollywood is relatively new title that congregates various types of films that stem from all around India and sadly get put into one single category, often times the films being underestimated by U.S. pop culture. The films’ subject matter and themes have continued to evolve, as does the country of India, and the change is all seen reflecting from the films social and political themes and concerns. When the industry began the films plots spanned from all across the map, in order to compensate for language differences almost key terms were created which would set the staple for the themes and motives. These phrases or words were about lust and love, revenge or justice for wrong doings, good and bad as well as killing. With these themes people all across the nation were united, one way or another people related to the films that were being viewed. It was at this point and time that Hindi cinema became a voice for those who could not be heard in politics, but actions would be glorified or exaggerated to appease all status of the caste system. Throughout pivotal moments in history, new themes would be expressed throughout film.

In this paper I am interested to analyse AnjanDutta’sThe Bong Connection (2006), a representative, popular Bangla cinema on the Bengali diaspora in North America. This film, I argue, attempts to demystify the aura of homeland and nostalgia as idolised in Bollywood cinema. The liberalisation of Indian economy and socio-cultural growth of the Indian middle class in the nineties, prompted Bollywood film makers such as Yash Chopra and Karan Johar to import and recreate glitzy versions of the Non Resident Indian for the Indian masses. Hindi films began narrating to the nation, a new community of Indians who were to be taken as role models of success and glory. However, The Bong Connection reads the Bengali diaspora in the US and the reception of NRIs’ in Bengal, in a new way. The film seems to act as afoil to the starry life of the NRI as depicted by popular production camps in Bollywood. Here, I have attempted to critically read to the manner in which the film has represented new notions of homeland, nation and diasporic dualities, in the context of contemporary global culture. The following section studies the representation of the idea of homeland and nostalgia by Bollywood films and The Bong Connection.

This portrayal has different, interrelated dimensions – namely, lack of modernity, prejudice, and dependency. Throughout the film, India is portrayed as unmodernised. This links to the colonial fantasy of a traditional India. As previously mentioned, the original setting was changed from the ‘modern IT-hub’ Bangalore to the more traditional Jaipur. By using a more traditional Indian location over a modernised, technology-based one, the film chooses to portray India as ‘backward’. Thus, Bell’s argument that the film envisages India as ‘traditional’, ‘regressive’ and ‘unmodernised’ while ignoring its ‘economic development’ is convincing (2016, p.1979). This establishes further distance between India and western ‘first-world’ countries like Britain, thus fuelling colonial Orientalism’s idea of ‘European superiority over Oriental backwardness’ (Said, 2004, p.7). Indeed, Bell goes on to argue that this presentation “reinforces the colonialist values” of superiority within “these new settlers” and “the film overall.” (2016,