Richard: Archetypes: Week 3

Archetype: The Unhealable Wound

An interesting example for this archetype is the death of Apollonia. The archetype defined as "either a physical or psychological wound that cannot be fully healed. The wound symbolizes a loss of innocence." The death of Apollonia sets a perfect example for this archetype. After Apollonia's death, Michael returned to New York with a far more mature face. He lost his old, innocent face and replaced with a more matured face, physically and psychologically.

Damsel in Distress:

This Archetype defined as "A vulnerable woman who needs to be rescued by the hero. She is often used as a trap to ensnare the unsuspecting hero." This archetype precisely illuminate on Carlo's abuse on Connie. Connie was mad since the prostitute phoned Carlo and Connie discovered about it. Carlo was giving her a heavy beating. Connie phoned to Mama Corleone, then to Sonny. When Sonny heard about it, he was enraged. Without thinking clearly, he drove to Connie's house. When he reached the toll booth, he was massacred by the grunts of the Barzini and the other families. Later on, Carlo admit he betrayed Sonny by telling the families when Sonny was coming to Connie's house.

Richard: Literary Feature Hunt: Week 3

Literary Feature: Dynamic Character

The literary feature dynamic character illuminates effectively on Michael Corleone. Dynamic Character defines as a character that has a change of perpective. In the beginning of the movie, Michael was shown as a person that barely knows anything about the family business, and not so mature compared to later on the movie. After the trip in Sicily, he had encountered many events, such as the wedding and death of Apollonia. The wedding and death of Apollonia gave him a sense of responsibility. When he went back to New York, he seemed to be much more mature than he was a year ago from his departure. For example, at his business trip to Las Vegas, Fredo and Johnny invited girls to give him a warm welcome to LV. After Michael asked Fredo why are they here, he boldly told them to get out. Instead of toying around, he took full responsibility of the trip.

Richard: Week 1 and Week 2 post

Here's the URL for my work for Week 1 and Week 2
http://unrefusableoffer.blogspot.com/

Richard: Comment: Week 3

I had commented on Bhanesha's blog about why did Francis Copolla showed Apollonia's wedding instead of Kay's.

week 2 class act by gabe

I think that Francis Ford Coppola portrays the roles of woman in a very chivilrous way. this, in my mind, is supported by the Quote of Don Corleone " Woman can be careless, but men, can never be careless". I think that the reason that women in the godfather are always portrayed as behind the men is actually that the men are standing in front of the women to give them a life that is more careless and happy than that of the men. Men are shown only ever shown enjoying small pleasures, sex, smoking, drinking, eating chinese food and so on ;however all of their lives are part of their job. woman are shown as having a place much a way from the danger and weeryness of the men; abait still with power as is shown with mama corleone's power at the dinner table. My point is this: the reason that the men close the door on the women and keep them on the outside of the office is so that they can be careless and happy in the world the men provide for them.

literary feature hunt week 2 by gabe

when someone ( I cant remember who, though i think it was Paulie) betrays his the don to Bruno tattaliga (i think), it uses the lighting to indirectly present inner confliction. whenever Paulie is undecided or conflicted the his face is only half lit. and when he makes a statement, he turns his head so that we can see his entire face. This feature is increadably handy in putting a visual que on to the inner confliction of paulie

Archetypes week 2 by gabe

It appears to me as though in the end of the godfather, Micheal is master of both worlds. not only has he mastered the delicate art of whacking all the rival mob bosses, but also he seems to have gained the finesse of his father in the way he holds himself and deals with the family business. That is to say that he has mastered both the violent aspect of being a don and the finesse that is needed to run a family.

class disgussion by gab

it is proven through the naming of key and apallonia that mario puzo pays very close attention to how he names his characters. Studying the naming of other characters could also give incite into their characterization. micheal in hebrew means "he who is like god". I believe that this could refer to micheal corleone's amazing quality to make us like him nomatter all his actions. Now, how you define god defines how micheal corleone is like him, but my personal oppinion is that he is like god in the way that he does everything for a reason, such as when he refuses to make revenge killings for the death of sollozo, and when he doesn't tell his sister that he ordered the death of carlos. Even his name adds to his characterization as a purposeful person

archetypes week 1 by gab

while Micheal is in exile in Sicilly, he begins to act like a proper mobster, specifically he uses his fathers favorite line "i'l make him an offer he cannot refuse." while trying to convince Appolonia's father to a meeting with appalonia he begins to use tactics that he will use when he becomes don. This symbolizes him facing his families world and the methods his father uses to to advance and protect the family. This action is a departure from the early outsider micheal to the new leader in the corleone family as he faces his inner daemons about entering the family business in his innermost cave.

week one lit feature hunt

the use of oranges as a metaphor for death is easy to spot as it is used repeatedly whenever vito corleone is in paril. In the assassination attempt on his life he is buying oranges, and later, he dies of heart failure in an orange grove. these are not just coincidences but very clear use of literary features by Francis ford Coppola. this, in my mind, sets him and his directing style apart from modern film becuase i beleive that modern mainstream movies have degenerated from art into somthing more similar to the walls in Fahrenheit 451