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A big fish

2019-11-04 来源: 51Due教员组 类别: Paper范文

下面为大家整理一篇优秀的paper代写范文- A big fish,供大家参考学习,这篇论文讨论了电影《大鱼》。《大鱼》是一部色彩清新、叙事温和的影片。男主角爱德华在生命中不断重复着他那让人难分真假的奇幻旅程,直到生命终结。在影片的最开始,爱德华在儿子的婚礼上重复讲述着神秘的大马哈鱼,儿子作为主角却被忽视。后来他与父亲断绝了联系,直到父亲病危之际才重新回到家中,通过数日的沟通与整理,他曾经想要弄清的事实都得到了解答。儿子一直在以局外听众的身份和普通的思维方式去分辨真实与虚幻,如果我们放下对这条明确界限的执念,或许我们可以更多维度地理解生命的多样性。

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Tim burton is a famous director of fairy tales. He often combines fantasy and memory in his films to reflect on the value of people, the relationship between people and society and the philosophical level. "Big fish" focuses on the hero Edward's self-described life, which reveals and explains the above thoughts.

Tim burton is one of the most distinctive directors in the contemporary American film industry. His early experience as an animator at Disney made "fairy tale" a major part of his later films. He is good at explaining philosophy and enlightening people in fairy tales, so that viewers can go further into the story on the basis of fantasy and reality. This paper will take "big fish" as an example to analyze the above views.

"Big fish" is a film of fresh color and mild narration. The hero Edward in life repeatedly repeated his hard to tell the truth of the fantasy journey, until the end of life. At the beginning of the film, Edward repeats the story of the mysterious salmon at his son's wedding, while his son is ignored as the main character. He cut off contact with his father until he was critically ill and returned home. Through days of communication and collation, all the facts he had wanted to find out were answered. If we let go of our obsession with the boundary between the real and the unreal, perhaps we can understand the diversity of life in more dimensions. Just like Edward's experience, he knew how he died at the very beginning, so the rest of his life was full of trial, exploration and subversion. The value of life brought by these unscrupulous carnival is undeniable to us.

Memory is deceiving, and in this statement, memory dominates. But if we make memories active and editable, we have the ability to reconstruct the past. As the owner of memory, we can tamper with it at will. As time goes on endlessly, the past without trace can disappear forever, and the unexperienced experience can appear out of nowhere. Such a memory is not a documentary, but it is a person's own choice, and only it will affect the present and the future. Edward sees his own death in the witch's glass eye, but this passage is not shown in the film, not only making it impossible for the audience to know, but also for Edward himself. But his "belief" in death kept him alive, and "this is not how I died" became his strength again and again to escape danger. He negotiates courageously with giants, calmly escapes from dark woods, tactfully escapes from wartime Korean barracks and does his best to win over blondes without fear. It didn't matter whether the witch's glass eye was real or not. It had been there throughout Edward's life, allowing him to talk about it at the end of his lingering sickbed. Such insistence touched his closest, but also the most unfamiliar people, the son in his father's funeral witnessed his oral legend, but in fact, the giant is not beyond the ordinary people tall, Hong Kong sisters are twins rather than conjoined. Father's imagination changed their form, but such a change is understandable, because it is only the embellishment of the story, is a reasonable change of memory.

Complex reality can inhibit people's thinking, but fantasy can build a pure world, so as to intuitively show the appeal of the spirit. Why do people exist? What do people want? What should a man do? One answer may be found in the bizarre fantasies of big fish. Edward felt that he did not belong in this small place, and he wanted to get out, even though he had nothing and knew nothing about the larger world. In Edward's view, the purpose of his existence is to save the world, and god makes him different, so he should do what no one else will do. He entered fengdu, a utopia with a clear choice, where the grass was soft and the protective shoes lost their meaning, where there were poems and bonfires, and goddesses bathing in the water. But Edward left, knowing that he was "too early" and that he had not yet reached the point in life where he should stop. What he wanted was a heartstring tugging in return for three years of unpaid labor. What he wanted was daffodils stained with blood shed for love. What he wanted was a white fence house in return for a long separation from his wife. In Edward's mind, not everything has a definite reason, but his understanding of the value of people allows him to maximize the possibilities of people.

Everything has two poles. Samsara, always, stillness and movement, like Edward's true and false stories, make the dividing line unnecessary. When Edward was a boy, the witch was old; But when Edward grew old, Jennie, ten years his junior, became the witch of the ruined town of fengdu. The deranged timeline connects the beginning and the end of the story, as if twisting a straight line into a circle, realizing the definition of the cycle of rebirth. The salmon in the river are always swimming and can always slip away from the fisherman. Edward catches the salmon no one else can catch, but in the end he turns into a salmon himself. The salmon is in motion for the fisherman, but still for the running river, just as Edward passed by everyone who appeared in his life, but remained in the long river of time. So the salmon and Edward are in a static relationship. Edward needed water and was obsessed with it, for breath, for the salmon, and for the water goddess he had met twice. The townspeople said it was not a girl, but a fish. Different people will see different scenes. The beautiful girl is Edward's understanding and expectation of the world. The two different moods also reflect his growth. Young Edward in the chase, in the exploration of the unknown, the first entry to the capital, in the face of the girl disappeared in the water, he was full of confusion; In middle age, many mysteries had been solved. He was no longer obsessed with where the girl out the window had gone.

Fengdu is the paradise in big fish, but the town, which stands aloof from worldly affairs, is finally invaded by the bubble economy, with closed shops, messy streets and no symbolic green grass. Although people do not actively pursue the train of the industrial age, the train's hurricane will also carry people blindly. But when people have no strength to walk, can only lie on the ground, do not know the direction. The final salvation of the town came from the power of Edward and the poet's capital, which was destroyed by the economy's eagerness for success and restored and maintained with a powerful force. It seems that big fish has no better answer to the question of how people should treat nature in an industrial society.

Man is the product of society. Had Edward, who had strayed into fengdu at the age of eighteen, remained permanently there, would he have found himself useless and bored one day, and would he have been as helpless and indifferent as all the inhabitants of fengdu to the end of its decline? For them, fengdu is the enjoyment of life and the sustenance of spirit, but only struggle and reality can make people cherish the beauty of utopia more. When Edward left, he did not expect to find a better place than fengdu, but after decades of experience and training, fengdu was still in his heart, and in reality, he also had his own fengdu -- a happy family living in a white fence house.

Lu xun in middle age wrote "chaohuaxishi", by the time of sunset to pick up the opportunity to look back on the past life of the flower, although no longer with dew folding flowers, but can see the sunset flowers another warm color. Edward has found his true self in the reconstructed space and time. When he looks back at his life with memories in his later years, he can leave no regrets for himself, his family or the society.

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