| Papers [1-5] of 5 | Search results on "FILM HUMBERTO SOLAS LUCIA": |
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Film: Humberto Solas' "Lucia", 2008.
This paper analyzes the battle sequence in Humberto Solas' 1968 film "Lucia".
845 words (approx. 3.4 pages), 3 sources, MLA, $ 30.95
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Abstract
This paper describes a battle scene, in Humberto Solas' 1968 film "Lucia" in which the clumsiness of the interaction speaks loudly to the process of creation in historical films. The author points out that, by using this interaction, the ways in which "Lucia" attempts to manipulate the past and understand its complex relationship with both the present and future becomes apparent. The paper relates that the chaos and complexity of these epic scenes' vast compositions seem to pulse with the frenetic disorder of reality of a late 1960s movie set rather than the reality of the 1895 revolution. The paper concludes that, as a pro-revolution Cuban filmmaker operating under the dictates of Fidel Castro's communist regime, Solas created a film that says almost nothing about the 1895 revolution but speaks very loudly about 1968.
From the Paper
"As a young man, Humberto Solas participated in Cuba's communist revolution. Although the communist regime waged a fierce purge of gay Cubans, he managed to keep his sexuality off of the government radar and soon became a prominent filmmaker. Considering Solas' support of revolution, and the fact that the government censored the output of Cuban artists, it makes perfect sense that Lucia would have a pro-revolutionary message. This logic is borne out: the Spaniards are portrayed as aggressors, and the only one afforded dialogue is the heartless and conniving Rafael."
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Homer and St. Lucia in "Omeros", 2002.
A study of the references to Homer and to the Island of St. Lucia in Walcott?s "Omeros".
1,570 words (approx. 6.3 pages), 0 sources, MLA, $ 51.95
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Abstract
The paper begins by giving a background on the island of St Lucia, in an attempt to gain an understanding of ?Omeros?s connections to both this island and to Homeric notions. It looks at the clash between the English and the French in the poem, as represented by the fight between Achilles and Hector. This symbolism is explored, as are the parallels between Walcott?s and Homer?s writings. It then looks at additional metaphors introduced by Walcott himself, over and above those based on Homer?s work, and at the evidence in the poem of Walcott?s personal opinions about the changing state of his home island, St. Lucia.
From the Paper
"Omeros, written by Walcott, can be defined as a classical story. Within the epic, there are various references to Homer as well as a display of writing that is reflective of Homer?s style. Furthermore, the use of the Homeric character names from Homer?s epics The Illiad and The Odyssey also serve to prove the distinct ties between Omeros and Homer. While there are similarities, Walcott?s writing displays more than simply classical Homeric notions. Walcott?s masterpiece also displays his own thoughts, although his story is laced with Homeric notions. These thoughts of Walcott?s focus on the island of St Lucia, which helps to distinguish Omeros from classical Homeric writing. St. Lucia happened to be the home of the author Walcott, so his ties to this island are apparent. As a result, Walcott focuses on the history of this island alongside Homeric tradition. In Omeros, Walcott uses classical Homeric methods of storytelling in order to tell a tale of something Homer never wrote about, Walcott?s island of St. Lucia."
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Director's Style and Society, 2005.
A sociological discussion on "Lucia" by Solas and Dash's "Daughters of the Dust".
900 words (approx. 3.6 pages), 2 sources, $ 35.95
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Abstract
This paper looks at two specific films and their subsequent comments upon society. Firstly, it describes "Lucia" by Solas, to analyze the director's comments upon social constructs and identity. Secondly, it examines Dash's "Daughters of the Dust" in comparison to "Lucia" to address similarities in issues between these two directors. "
From the Paper
"Humberto Solas' Lucia is multiple narrative film, detailing the lives of three separate women during revolutions, who all are named Lucia. Solas' commentary regarding social class is clearly evident through his selection of the women in each vignette, as one has an upper-class standing, another middle-class, and finally a working class representative. Clips from each of the three Lucia's highlight various aspects of this director's style, commenting upon the constructs of culture, identity, and belief systems formed by social concepts. In the end of the first scene, there is an unmistakable indication of how society's social construction leads to individual identity. In its close, Lucia stabs Rafael to death, and as her personal self has been conquered by these events, is lost to her madness. Taylor eloquently writes "Lucia's madness at the end symbolizes further the powerful and ..."
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The Council of Trent and Martin Luther, 2002.
An overview of Martin Luther's theology of revelation and the responses of the Council of Trent to the principle of 'sola scriptura'.
2,900 words (approx. 11.6 pages), 12 sources, $ 106.95
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Abstract
This paper investigates the response of the Council of Trent to Martin Luther's questions about revelation and the principle of 'sola scriptura'. It begins by examining the genesis of Luther's theology of revelation, or more specifically, how his theology was rooted in both his personal life and in the historical and theoretical movements of the preceding 250 years. The paper then turns to Trent's response to Luther's theology before discussing the importance of distinctions between ecclesiastical and apostolic traditions.
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Thesmophoria, 2005.
A debate of the traditional and modern critical views of the female festival Thesmophoria in the Greek religion.
1,800 words (approx. 7.2 pages), 3 sources, $ 71.95
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Abstract
The paper analyzes theories presented of the festival of Thesmophoria and Haloa. In many cases the modernity of feminine perspectives has helped to bring about a newer, more pragmatic solution of the status of women had in Greek society. The paper looks at the important studies carried out by Lucia Nixon, which examines the possible medicinal power of plants used in ritual that gave women the power to control fertility even unto the birth of the child.
From the Paper
"This religion study will analyze the ancient Greek female festival of Thesmophoria in relation to the many complex and differential critical views that scholars have crated regarding the Grecian religious right. In this view, the more traditional critical view of the festival as 'fertility' rite has been challenged due to the patriarchal constructs of the Elysian mysteries in relation to the goddess Demeter. Furthermore, the issue theology plays a large role in negating the need for the festival, since the societal construct of women in Greek society seems to negate the positive role of Thesmophoria. In essence, by investigating the primary document of the Haloa, one can realize a modern view of how the Thesmophoria truly portrayed an image of power through femininity within ancient Greek religious traditions. From a more traditional vantage point Lucia Nixon provides the..."
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