英国论文抄袭率:电影人物解析

英国论文抄袭率:电影人物解析

喀山本人并不是一个虔诚的教徒,他理解贯穿整部电影的宗教象征的力量。电影中使用的就业令牌,类似于罗马硬币,分散在塑造的边缘灵魂中。这部电影有一个双重情节,从圣经的模式中进行了深刻的修改,将背叛或双重交叉作为一种虔诚的行为来表现。除此之外,还有特里的苦难和开垦,从他的加略山码头再次长途跋涉。只是碰碰运气,卡尔马登的父亲巴里偶尔响起一个自以为是的注意到特里的故事,这是电影的伦理审查为由让他讨论宗教相似的意义:在海滨的哲学占领,证明一个正常的普通工人的生活可以变成好事的好影响,实现没有他顽固的祈祷。一些评论家认为这部电影是喀山导演的,目的是为了为自己在众议院非美活动委员会面前的行为辩护,他指名正姓地说出了自己的朋友,这些朋友都曾是共产党的活跃分子。


英国论文抄袭率:电影人物解析
根据影评人的评论,影片中那些在知道事情不对的情况下选择成为警察线人的人的热情反抗,是喀山支持自己特殊活动的一种方式。虽然这不能作为喀山案件的完美类比,因为喀山案件的性质有很大的不同,他的案件并不是针对罪犯或职业杀手,但这部电影在某种程度上与之相关。喀山作为一个人,总是要求他的信念和策略的正确性,为他,也为每个人。在滨水区,这种正直和信念的持久性带来了巨大的优势。布德·舒尔伯格(Budd Schulberg)受过良好教育、全面参与创作的剧本作为大纲,马龙·白兰度(Marlon Brando)饰演的特里·马洛伊(Terry Malloy)富有同情心的执行力为他指明了方向,喀山在这部电影中为追求最高独立的道路所做的奉献可能是持久的。

英国论文抄袭率:电影人物解析

Kazan, not being a very religious individual in himself, comprehends the force of religious symbolism throughout the movie. Employment tokens were used in the film, similar to Roman coins, scattered among the edgy souls at the shape-up. There is the film’s double-crossing plot, keenly modified from its scriptural model to show betrayal or double cross as a pious activity. Apart from all these, there is Terry’s affliction and reclamation, the long stroll again from his dockside Calvary. On the off chance that Karl Malden’s Father Barry once in a while rings a self-righteous note into Terry’s story, it is on the grounds that the ethical examination of the film makes his discussion of religious parallels pointless: the philosophical occupation of On the Waterfront, to demonstrate that the life of a normal regular worker can turn into something good with extraordinary good ramifications, is achieved without his obstinate devotions.Some critics thought that this film was directed by Kazan in order to defend himself for the actions which he took in front of the House Un-American Activities Committee by naming his friends who had been the active members of the Communist party.


英国论文抄袭率:电影人物解析
According to the critic reviews, the film’s enthusiastic resistance of the individuals who choose to become a police informer when they know something isn’t right was Kazan’s method for supporting his own particular activities. Although this can’t be treated as the perfect analogy of Kazan’s case as his case of much different nature and he was not dealing against criminals or professional killers in his case, but the movie relates to it in some manner of self-belief. Kazan as a human always demanded the rightness of his convictions and strategies, for him, as well as for everybody. On the Waterfront advantages enormously from this uprightness and this durability of conviction. With Budd Schulberg’s educated and all around built screenplay as an outline, and Marlon Brando’s sympathetic execution as Terry Malloy to light his direction, Kazan’s dedication in this film to a course of supreme independence is as enduring as it may be.

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