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For a dream

2015-08-11 来源: 51due教员组 类别: Report范文

本文从剧情方面描述了巴西土著黑人的传承文化。“狂欢不仅仅是电影的背景,但随着其他非巴西裔人文化的融入,它几乎在每一个场景都很重要。在这里。安东尼奥卡洛斯宾和路易斯邦法以优秀的声音,与贫民窟漫游狂欢,达成共鸣,几乎成为棚户区的精神人物。”

Black Orpheus Black Orpheus, to my surprise, is actually a re-imagining of the Greek myth of Orpheus, son of Apollo and Calliope. The original is a heartbreaking fatalistic tale of two lovers, who shortly after their marriage, were doomed to never be together?at least in this world, Black Orpheus is scarcely any different. Now as far fetched as redoing a Greek myth with the backdrop of Carnival in Rio de Janeiro, Brazil may sound, it is actually quite plausible. When you think of the powerful presence of the Orisha tradition intertwined in Brazilian culture, few places would be as suitable as this retelling, and fewer still would be able to conjure a backdrop as beautiful so that gods indeed may run about. Colors seemed to leap from the screen and the music was at least as effective.

Costumes and color helped set the tone of many scenes, especially when Eurydice is first introduced. She disembarked from the ferry wearing all white, a telltale sign of her ?innocence? so to speak. This is further emphasized by her being seemingly overwhelmed at the atmosphere that she has just into. This is indicated by the appearance of her giving the vibe of being threatened by all of the revelers, musicians and crowds until she is encircled for a time. Things do seem to calm down when she meets Orfeu (tram driver and dancer for the Babilonia School) and his boss, Hermes. Orfeu?s attraction for Eurydice is apparent, and expected after literally every man in Rio looked at least twice, but is surprising given that he and his fiancee, Mira (The Queen of the Day), are in the process of obtaining their marriage license and engagement ring.

This is where single-handedly I am shown the importance of Carnival to the people; Mira will buy her own engagement ring because Orfeu is more concerned with the preparations of his Samba dance. Orfeu is also depicted as a seducer of women, and is reinforced by him bumping into one of his ex-girlfriends that very day. Orfeu and Hermes do, however, manage to help Eurydice with her destination, she is seeking refuge with her cousin Serafina (Queen of the Night) for protection from a mysterious threat. As fate would have it, Orfeu lived near Serafina and this provided the opportunity for an impromptu tryst to occur. Things proceed as expected with any star-crossed lovers, arrangements are made for them to dance with one another and so on and so forth. The most striking part of the film, to me, was after giving glimpses of Eurydice?s pursuer, dressed as Death, Orfeu does face off with him, switchblade in tow. ?Take care of her... I'm in no hurry... we'll meet soon," the words were as prophetic as they are powerful and amongst the Life, Death, and Afterworld imagery that ran rampant through the Carnival sequences, including the dance scenes between Orfeu and the disguised Eurydice, where shortly afterwards, another death?s head costumed character blew a kiss at Eurdice.

After Death finally claims Eurydice through Orfeu?s tragic mistake, Orfeu refuses to let her go, and like the Greek tragic musician, delves into the Afterworld to retrieve her. But also like the heartbroken god, Eurydice gives in to temptation and looks for her when he told not to, and sees that she is not with him after all, but is being spoken through an elderly woman. Orfeu met his end in much the same way as the original myth. You see, Orpheus was able to play his music beautifully and loud enough to even drown out the sirens (who mystified men with their songs). But after losing Eurydice, Orpheus never took interest in any woman again, and scorned Thracian maidens destroyed him by javelins and dismemberment. The muses buried him and a nightingale sung over his grave for all time. 

After Orfeu plummeted to his death with the body of his beloved, his two proteges find Orfeu?s guitar, still believing that it has the power to make the sun rise with it?s music, and the cycle begins anew. Carnival is not just the backdrop of the film, but along with other Afro-Brazilian culture, it is important to nearly every scene. There is an almost constant sound of pandeiros, agogos, rebolos, you name it, it?s in here. The score by Antonio Carlos Jobim and Luis Bonfa is excellent as the sounds, whether from Orfeu?s guitar or from roaming revelers, resonates through the favelas, almost becoming the spirit of the shantytowns. The importance of carnival is also readily apparent in everyone?s last minute touch ups to their costumes, or rushing to rehearse. When it all culminates on carnival day, I even spot a few mulattas. Another aspect of Afro-Brazilian culture that we?re given a glimpse at is when Orfeu finally confronts Death. Being a martial arts fan, I was elated, even though the sequence is much too short. 

Orfeu pounced at Death, and almost seamlessly, Death went into a defensive Capoeira; an Au which is a somersault used to defend for quick retreats and then counterattacking with one, or multiple low kicks. A shocking part of Afro-Brazilian, was when Orfeu is taken by the janitor to a terreiro. From what I could tell they were Oxala/Oshala practicers due to the amount of white present. What also leads me to believe this is that he is the founder of male and female power and also represents great faith in friendship and love. This is fitting to the story, indeed. While there, one lady went into trance, it was refreshing to see this aspect of culture in the film after covering it during the course. Bibliography:

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