Melville uses the color gray to depict the atmosphere as blurry and unclear: "The sky seemed a grey mantle. Flights of troubled grey fowl, kith and kin with flights of troubled grey vapors among which they were mixed, skimmed low and fitfully over the waters, as swallows over meadows before storms" ( Melville 1). The sky is colored gray and the sea is a misty gray with gray birds overhead. This grayness foreshadows the uncertainty and haziness that lies ahead as social order changes due to the slave revolt and the impending civil war. It is also prevalent in Captain Delano when he shows how he is unclear in his thinking and his biases affect his perception of blacks. Delano's good nature is clouded in gray and Melville shows how he cannot think clearly to see that which is happening onboard the ship. The gray area lies in the uncertainty of who holds the power and the extent of racial bias and injustice in the world. .
Melville utilizes a shade of gray in his attempt to contradict the belief that white is good and black is evil in "Benito Cereno". Melville uses slavery to demonstrate how the color of a person's skin should be disregarded in favor of looking at the depth of a person's soul. In the literary criticism "Whose Foot on Whose Throat?" Glenn Altschuler states "Melville realized the mask on every individual prevented full knowledge of his motivation"(Altschuler). This statement depicts how Melville realized that a person should not be judged for evil in the color of black or good in the color of white. People have a grayness that goes beyond the black and white lines drawn by society. Delano refuses to recognize that a black slave can establish a threat in a white man's domain, even after seeing a black slave hit a white boy on the ship. Delano refuses to see the evil that is in the harsh realities of slavery and that not all individuals may be as they appear.
Grey out into the open. ... Grey dies. ... In a flash of light, it is revealed that Duddits is an alien and is able to use his alien powers to kill Mr. ... Grey dies. ... Once you sort out the differences between the book and film and judge how accurate of an adaptation it is, there is one final question: can the movie stand on its own. ...
It seems as if he uses the book to create the movie based on every word that the author has set (Nuwer 1). ... The film takes any hint of combat or action from the books as an opportunity to flesh out a full-on battle sequence, and stories the book covers briefly or offscreen (Robinson 1). ... Book: Quite a merry gathering Movie: Oh, they're quite a merry gathering, once you get used to them. Immediately it becomes clear how much the film coincides with the book. ... Approached by his friend wizard Gandalf the Grey, Bilbo finds himself joining a company of thirteen dwarves led by the leg...
It gets right everything that the previous film had trouble with. ... If you"re going to see X2, you need to either be familiar with the comic book series on which it's based or have seen the original film. ... It doesn't help that his own son is a telepathic mutant, and one of the film's most disturbing undercurrents is the way Stryker uses him as a captive weapon against other mutants. ... Jean Grey (Famke Janssen), Storm (Halle Berry), Cyclops (James Marsden), and Rogue (Anna Paquin), to save the day. ... While the first film often felt sudden and restricted, X2 works on a...
The film takes a dark turn as a supernatural being from a horror story she read to her son, 'The Babadook,' begins to plague her. ... The only contact the two have within the first few minutes of the film is within a sequence where Samuel is terrified of 'monsters' in his bedroom and therefore Amelia has to check in the closet and under the bed for them, he is shown to be clinging to her, however she does not touch him back. ... To add to the overall negative feeling of the pair's relationship extreme close up shots of Amelia's face are frequently used, emphas...
The film is hilarious, unlike the book, which I find rather dry. ... However, even with all the cuts, the film is aptly dramatic, with poignant arguments based on emotion and playing on desires and humour. ... In order to fit the movie into the time frame of a film, the director had to cut many lines and speeches as well. ... However, he has a habit of using exactly the wrong word to convey his meaning. ... In the film, Benedict, not Don Pedro, addresses the camera. ...
This is of supreme importance to any argument on the film, as it implies that all of the themes which can be drawn from the film are intentional, and there was very little in regards to "grey areas" created in the process of adapting book, to script, to film. ... Details the intensity of their discussion's regarding important themes of the film, and states that they believed the strength of the book was primarily its plot. ... The intended use of a scrapbook in particular is interesting, as it highlights the significance of The Overlook Hotels past, more fully than does the ending in th...
The story in the movie is almost identical to that in the book. ... Nick, being close to Daisy, is used by Gatsby to reunite himself with Daisy. ... Jordan in the book is slender, erect posture, small breasted with grey eyes. ... Fitzgerald and Coppola use symbols throughout the book and film. ... The characters use them to brag about their wealth. ...
In the film Basquiat, nineteen-year-old Jean-Michel Basquiat is a street artist living in the cold runt streets of Brooklyn, New York. ... While recovering from his injuries, his mother brought him Grey's Anatomy just to keep his attention. The reading of this book seemed to be dominant in his future of becoming an artist. ... Basquiat had many people to inspire him; such as, Cy Twombly because just like Jean he used words and symbols as well. ... He repeats the main color yellow on each panel, but he also uses colors like black, blue, and red. ...
Richter's earlier abstract works are more colorful than his more recent works, in which grey and white tones often dominate. ... " "Like Manet and Goya before him, he makes skillful use of this 'color' that is in fact none.... Large oil-on-canvas pieces, these show latticed rows of light- and dark-grey blobs whose shapes repeat as they race across the frame. When angled horizontally, they suggest strips of film bearing identical sequences but running at different speeds, all of them too fast for any image-content to be made out. ... Since 1972, Richter has exhibited, ...
