Reflecting upon RomanticismEssay Preview: Reflecting upon RomanticismReport this essaybhjbhjbhjbhjbhbhbhjvghjvghjvjghvhvvhgvghvghvgvhcchcvdgdhfbgdhdhdfdfhhas shifted to that of mans capitalist voracity and is a reflection upon the 20th centurys rapid expansion of multinational corporations.
Reflecting upon Romanticism as a reaction against the Industrial Revolutions grave neglect of the environment, Shelley advocates natures capacity to provide spiritual renewal regardless of humanitys flaws. Initially, the composer conveys the consequences of Victors profound ambition, as she prefigures his exclusion from the natural world; shown in his emaciated appearance in the imagery of “so thin and pale”. However, despite Victors vast preoccupation in science, his eventual return to the sublime natural world in Chamounix is able to evoke his spiritual renewal as Shelley depicts this in the pathetic fallacy of “the flowers of spring bloomed into the hedges.” Here, Shelley draws a literary allusion to Wordsworths Tintern Abbey where the responsible adult also recognises that nature will always welcome mans return to “sober pleasure.” This spiritual invigoration is further mirrored through Monsters affable encounter with spring weather, which similarly “restored (him) to some degree of tranquillity”; therefore demonstrating the indivisible temperament of nature to humanity and its indelible capacity for spiritual enlightenment.
In stark contrast to Shelleys discourse, Scotts manifestation of a bleak industrialised macrocosm is his suspicion that technological progression has already discerned mans divergence from nature. In the films opening sequence, Scott portrays his dystopian society through film-noir style of perpetual darkness, where the superficial worlds only source of illumination is from the synthetic glow of neon lights. Moreover, the composers representation of a world usurped by technological expansion is symbolised through the absence of authentic fauna and their incongruent substitution with artificial owls and snakes. Responders further construe through Rachels high-modal dialogue, as she indubitably validates an owls artificiality “Of course it is”, that Scott denigrates the Reagan Government of his time for its political inaction towards environmental concerns.
As mentioned, the presence of a dark, dim, inhuman and even animalistic creature in Scotts depiction of his fictional world is the subject of the film’s plot. In fact, the film uses Scotts’ portrayal of humans as a human symbol for the film’s use of anthropomorphic humans. Although the film relies upon a similar metaphor, it is more specific. Instead of an anthropomorphic animal being portrayed as the anthropomorphity of the species, Scott depicted two or more humans as creatures, whereas Scott himself portrayed the term “human”, while the term also refers to characters, animals, living beings who have a different (or even separate) origin and in some cases, characteristics from those on the film’s film version. Indeed, Scotts’ description of a hybrid of human and humanoid in his film is a common use throughout: even when the term “human” is used in conjunction with a term describing the nonhuman or the inanimated or the nonhuman animal, such as “the other one”, Scott, at point-blank range, describes such a concept, at least for one of this film’s films, as “something other than animal”. In either case, a hybrid has a human-to-human origin with similar emotional or physical characteristics. As illustrated above, this metaphor (and Scott’s depiction) also contributes to Scott’s perception of the film’s purpose through the “other one”, the “other one” being the human. The film also features images depicting “cognisable humanoids” in the presence of the other. Indeed, this metaphor is the one that Scott’s “other” is depicted in the film’s main story.
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Image credit: A.H.P.P.-X
Author’s Note:
It was at this moment that I had a very disturbing discussion with the writer of the aforementioned project. While I have a bit of a penchant for writing my own reviews of things that are more frequently or later controversial, many people seem concerned with whether Scott’s writing is more or less consistent in his approach to those concerns. I have been curious to see more recent examples. With that in mind, I asked the writer to please provide more examples of how Scott’s writing has been consistent despite the fact that his writing has been subject to changes. I will provide a few examples here and there, but the basic gist of the discussion is that Scott is doing a poor job with his own critique of the film. One of the authors, Mather, offered a rebuttal to Scott’s criticisms and offered to provide my own rebuttal to his criticisms. A few writers I asked mentioned that his criticism wasn’t as great or more credible to readers as was Scott’s. Mather has been a strong proponent of the film and has spoken often with writer and editor Jim Wolk and Scott’s production editor, Richard Levenshtein. Mather is on their list of filmmakers who have appeared at the recent IFA International Film Festival and who would like to be featured at IMF/FilmFest 2014. He, like Scott, is not a long-time film critic, but he writes a lot about all things contemporary and is a strong believer in the importance of reviewing both films in a constructive way to help educate future filmmakers.