It may be further classified as external, since its conflict lies in the realm of reality and is developed by natural rather than supernatural means. Its time relation falls in the palmy days of Venetian greatness, before the enterprise of Da Gama had made the front door of Europe to open on the Atlantic ocean, leaving the Mediterranean seaports to be only unimportant side-entrances. From busy Venice the scene shifts to Belmont, whose name in literal derivation, beautiful mountain is strikingly suggestive.
November 1, A close reading points to the latter. For those who see popular film as capable of providing more than cheap visceral thrills, the dismal nature of recent writing on Attack of the Clones is disheartening. While most critics have lauded the film for pushing the boundaries of digital filmmaking, few seem willing to treat it as serious cinema.
Their skepticism is reasonable: Yet Attack of the Clones is quite sophisticated cinema, being an intricately constructed allegorical and symbolic tale with a powerful moral message: Drawing on the monomythic theories of the late anthropologist Joseph Campbell, Attack of the Clones is a remarkably literate film.
In retrospect, some aspects in the original trilogy are so obviously making these points that few will claim to have missed them. Other elements of the first trilogy made this same point more subtly. In that case, the allusion to the Rebel victory as a quasi-fascist one suggested the moral hollowness of their victory achieved by military force, while setting the stage for their defeat at the start of the second film.
The only enduring victories in these films are those built on love, understanding, and mutual self-sacrifice. In giving into violence, Luke would become the very person he set out to destroy. Evil lurked within good — but good also within evil. The failure of many critics to understand this point — the interior rather than exterior nature of moral conflict in the Star Wars saga — probably explains why so many seem oblivious to the extremely literate qualities of the latest film.
Yet once these are recognized, it becomes hard not to admire Lucas for his audacity in building such a complex six-part drama, and his willingness to face critical and popular scorn for pushing it through to its logical end.
From its opening shots of Coruscant wreathed in fog, Attack plunges its audience immediately into the thematic uncertainty appropriate for a film where nothing is what it seems.
Viewers must struggle to follow the plot, asking who is responsible for the assassination attempt on Senator Amidala; who has ordered the clone army; and who is fighting whom anyway, and why? This recurring emphasis on clouds, fog, and blindness is of course symbolic: Lacking knowledge of their own potential for evil, what the characters in this film fail to understand is that their most dangerous impulses are often their most noble ones.
Both cases were explicit moral traps. The latter was even more dangerous: As a cliff-dwelling diplomat, Amidala is as logically bound to oppose the creation of an Army of the Republic as the amphibious Jar Jar is thematically fated to support it: Lucas appropriately places the romance and marriage of Anakin and Amidala at a lakeside retreat, while he situates the Army of the Clones on the watery planet Kamino.
Among the most interesting qualities of this film is the way this symbolism reinforces itself on multiple levels. And if the use of cave symbolism was occasionally overbearing in The Phantom Menace, its treatment in the new film is more unobtrusive.
The droid factory is located quite naturally in an underground maze, while the closing confrontation between the Jedi and Count Dooku occurs in a cavern carved into the face of a cliff.
Dream imagery also resurfaces. The second assassination attempt on Amidala occurs appropriately enough while she sleeps. As the title of the film suggests, the Republic is the aggressor in the final battle, not the separatists.
Obi Wan charges at the bounty hunter Jango Fett on Kamino, while he and Anakin are the aggressive ones in their final clash with Dooku, rushing into his cave with lightsabers drawn. Even Yoda ignores the dictates of his own Zen-like counsel when commanding troops at the climax and targeting firepower on the evacuating ships of the Trade Federation.
For those attentive to how Lucas manipulates this type of logic, Attack of the Clones is a fascinating film with many rich and rewarding layers, and also many intriguing suggestions. The arrogance of the librarian at the Jedi Archives is equally striking.
Oddly enough, Amidala is the only character who seems to recognize the problematic nature of uncontrolled passion. Her rejection of temptation in the seduction scene set naturally enough to fire and moonlight marks her shift into white costume from the progressively dark tones of her dress during her pastoral romance with Anakin her costume shifts during these scenes from white to yellowish-red to black.
And so lurking in Attack of the Clones is a far from simple commentary on the dangers of passion untempered by reason, and of reason untempered by passion. By the end of the film, the protagonists have lost the delicate balance between the two associated with moral virtue and self-awareness.
Only Yoda views the outbreak of War as a defeat for the Republic at the finale, yet Lucas invites us to concur through the parallels he deliberately constructs across films.
Many of these points should be obvious to even casual viewers. Catching others requires more familiarity with the saga, and often with the language of cinema itself.
Deliberately reversing the logic of the opening Hoth sequence from Empire, the closing battle in Attack is filled with cross-cutting visuals of an evacuating rebel base and an invading army of proto-stormtroopers.
The presence of such early Imperial technologies as squat walkers invites further doubt as to the moral virtue of the Republican assault, as does the generally right-to-left direction of their attack the positive direction in film being of course left-to-right and the reddish-brown haze that masks the battlescape.
Clouds are symbols of moral ambiguity and blindness:In his essay “Self-Reliance,” how does Ralph Waldo Emerson define individualism, and how, in his view, can it affect society? Understanding. Originally delivered in January as a lecture to an audience at the Masonic Temple in Boston, "The Transcendentalist" was first printed in The Dial, the literary magazine devoted to the transcendentalist skybox2008.com was then included in Emerson's Nature; Addresses, and Lectures..
In the essay, Emerson offers a definition of the transcendentalist, describing the follower of this. Free article analysis papers, essays, and research papers.
“Revolution of the Ordinary is a milestone in literary studies.
In lucid and invigorating prose, Moi shows how a certain picture of ‘literary theory’ has held us captive and offers a brilliant and devastating analysis of its weaknesses. Summary and Analysis of Self-Reliance About Self-Reliance Bookmark this page Manage My Reading List Published first in in Essays and then in the revised edition of Essays, "Self-Reliance" took shape over a long period of time.
Read Full Text and Annotations on Self-Reliance Self-Reliance at Owl Eyes.