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The beauty of symbolism in a film is its ability to take the ordinary and mundane and transform it into something meaningful. This makes it one of the most powerful and significant tools at a film-makers disposal. In __Eternal Sunshine of the Spotless Mind__, through the symbolic use Clementine’s flamboyant and ever-changing hair, Michel Gondry explores the ever-changing nature of relationships by comparing the different phases of Joel and Clementine’s relationship to the four seasons. When Joel first meets Clementine her hair is a very bright and unmistakable shade of green. This colour evokes different ideas, the first of which being spring. The green colour of Clementine’s hair marks the first phase of her and Joel’s relationship by likening it to spring. Spring is a time of birth and new life; an apt metaphor for the beginning (or birth) of Clem and Joel’s relationship, which inevitably changes their lives and marks the onset of their “new lives” together. Clementine acknowledges after they have broken up that she has been “changed” by their relationship. The second idea the colour green symbolises is that of inexperience as it connotes the common saying “to be green” meaning to be new or inexperienced at something. Both Joel and Clementine show evidence of being inexperienced with serious relationships. Joel, who had been in a relationship and living with a woman for two years, can think of no better adjective to describe her with than “nice,” showing a clear lack of passion or higher emotions. Also, when Clem and Joel first meet he says that he “sorta” lives with somebody. Again, this indicates a lack of emotion and sense of detachment from this woman and seems to suggest that Joel stays with her only because it is comfortable. This idea is strengthened when he contemplates getting back with her because “she loved me,” not because he loved her. This relationship lacked the obvious passion that Joel and Clementine share almost immediately. Clementine’s problem with relationships is that she attracts the wrong type of men. She explains this to Joel, saying “too many guys think I’m a concept or I complete them or I’m going to make them alive,” This statement suggests that the men she has had relationships with in the past see the bright hair and flamboyant clothes and are more attracted to the //idea// of her than they are of her, hence preventing any kind of true relationship. The lack of experience that either of them possesses in serious relationships, as highlighted by Clementine’s green hair, is a significant factor in the eventual end of their relationship. The next phase in Joel and Clementine’s relationship is marked by Clementine dying her hair “tangerine” orange. It is at this point where we see that Clem and Joel are past their initial infatuation phase and are truly in love with each other. In other words, they have entered the “summer” of their relationship, a time full of warmth where both seem genuinely happy and are enjoying their time together. This is evident in the scene where Clem is pretending to choke Joel to death. To an outsider this act may seem extremely strange but it is truly indicative of how close the two of them have grown; they are completely at home with each other and feel they are able to be themselves. The shortness of the orange hair phase is significant in explaining the demise of their relationship; the truly warm times, like summer, seem to end too quickly and are soon replaced by the cold, bad times (represented by her red and blue hair) which seem more prevalent in the film. Both Joel and Clementine seem unable to make these good times last as they each start to become fixated on the others faults which is clear in each of their tapes explaining why each wants to have their memories of the other erased. Joel describes Clementine’s concept of applying her “personality in a paste” as “sad” and Clem describes Joel as “boring.” The pettiness of their reasons is indicative of why their “summer” couldn’t last. Clementine dying her hair red is highly significant as it represents a transitional phase in her and Joel’s relationship. Red represents the autumn of their relationship, or more significantly the transition from summer to winter and it is in this transition that we see the greatest extremes of their emotions towards each other. Red is symbolic of passion in these scenes, but in two entirely different ways. At first, red symbolises passionate love, as it is in the scenes where Clem has red hair that she and Joel share their most tender and intimate moments, such as the scene in which Joel and Clementine are lying beneath a quilt, golden light pouring across both of them and Clementine asks “am I ugly?” To which Joel replies between kisses “you’re pretty... you’re pretty.” In fact, it is in reliving this scene during the memory erasure that Joel decides he no longer wants to have Clem erased; he begs the erasers to “let me keep this memory, just this one.” Here we see how much love the two of them shared at the height of their relationship and how these were later overshadowed by the hard times I their relationship. A second scene in which the passionate love shared by them is clear is when they are lying on the frozen Charles River and Joel says “I could die right now, Clem. I’m just... happy. I’ve never felt that before. I’m just exactly where I want to be.” This scene is juxtaposed against a similar scene in which Patrick, the man who is stealing Joel’s identity repeats the same dialogue. However, when it is said by Patrick it terrifies Clementine into leaving. This stark contrast in Clementine’s reactions to both men highlights the deep love and understanding that is present between Joel and Clementine at this time. However, over time Clementine’s red hair comes to symbolise something completely different. Rather than a passionate love, it comes to symbolise a passionate hate. This is most evident in the scene where Joel last sees Clementine before she has all memory of him erased. Clementine stumbles into Joel’s apartment “drunk and stupid” and Joel, out of spite, says “I assume you fucked someone. Isn’t that how you get people to like you?” The two have slowly descended into a couple that is argumentative and resentful of each other. The way in which Clementine wears her hair while it is red is highly significant in showing the transition from passionate love to passionate hate. Up until this point in their relationship she has worn her hair free-flowing, reflecting her care-free personality. As her and Joel’s relationship starts to deteriorate she wears her hair in more binding styles; pinned to her head, in plaits. This reflects her growing feeling at being “trapped” by her and Joel’s relationship which eventually leads to her resenting him which in turn leads to their eventual breakup. This is evident when Clementine plays the tape explaining why she wants her memory of Joel erased, reasoning that “I feel trapped.” This feeling of being trapped seems to go against what we learn of her nature in earlier scenes when she wears her hair free-flowing and it is apparent to the audience why she could no longer pursue a relationship which seems to trap her very spirit. The last colour Clementine dies her hair is blue. This occurs after she has had her memory of Joel erased. The blue colour of her hair seems to represent winter, the final stage of their relationship (breakup), as it makes her look as cold and desolate as the snowy beach which she walks alone in Montauk. The colour blue is seemingly omnipresent after Clementine and Joel have their memories of each other erased and is highly symbolic of their subsequent loss and loneliness at being separated. It is present in Joel’s almost monochromatic apartment, most of the clothes the two wear and even the “two blue ruins” they drink on their second first date. “Blue ruin” is also the name of Clementine’s hair colour and is highly resonant of the truth of the consequences of what their memory erasures have done; they themselves have become “two blue ruins,” doomed to repeat the same pattern of their past relationship because they have had it erased. Once again the season metaphor Gondry creates through Clementine’s different hair colours throughout the film is significant in highlighting this central idea, as with the seasons that go through their constant cycle Clementine and Joel seem doomed to go through their own seasonal phases and inevitably end up back in winter as “two blue ruins,” desolate and lonely. Michel Gondry has truly utilised symbolism to achieve deep insights into the nature of relationships throughout this film. He has taken something as simple and mundane as a women’s hair colour and given it a much deeper and relevant meaning to a modern audience. As Clementine and Joel go through their pattern of breaking up and getting back together though they both acknowledge that there is a good chance of it not working out the audience is reminded of too many real-life couples who have followed the same self-destructive pattern. As George Santayana once said “those who cannot remember the past are condemned to repeat it.” Michel Gondry’s __Eternal Sunshine of the Spotless Mind__ gives a truly convincing insight into this.
 * Symbolism, narrative structure, and special effects are significant features of films. Focusing on one or more of these features, discuss the extent to which you agree with this view.**

Excellence. This essay has well thought out points, clearly answers the question and provides insight throughout. Note how it looks at themes as well as the purpose of the film.

** __To what extent do you agree that novels use a clash of opposites to present ideas? Discuss your views with reference to a novel (or novels) you have studied.__ ** Written in 1847, Emily Bronte’s dramatic and compelling novel //Wuthering Heights// is an accurate portrayal of human nature and the inherent traits we all seem to posses. Using the juxtaposition presented to us between both Wuthering Heights and Thrushcross Grange, and also through the personalities of Catherine and Cathy, Bronte reveals the inherently savage nature of humanity when raised in an environment of little moral limits and patriarchal brutality. Set in the harsh, desolate landscape of the Yorkshire Moors, we are revealed the extremities of human nature and are exposed to extreme acts of hatred and anger, yet also passionate displays of love. It is the presentation of the conflict between these two emotions which force us to question our own lives, and if we too act is such savage, brutal ways merely to satisfy our own hunger for affection from certain individuals in our lives. Rather than our actions being determined by a wholesome and moral purpose, Bronte argues that all actions are inherently corrupt and selfish. Humans always think of themselves before others and it is not until we work at the flaws in our own nature, that we begin to become valuable members of society.

Bronte uses the juxtaposition between Wuthering Heights and Thrushcross Grange to portray and enhance the temperaments and traits of individual characters, and essentially individuals of society today. The morals, upbringing and values of individual characters are constructed to reflect those of the settings in which they are placed, and to further enhance the messages Bronte sends us. The inhabitants of Wuthering Heights are generally angry, ill-tempered, immoral and altogether undesirable. The house is always locked, lacks any ‘introductory lobby or passage,’ and above the chimney ‘are a few sundry villainous old guns’ portraying it to be an unwelcome and hostile environment. Altogether they are not as sophisticated as those at Thrushcross Grange, and also seem to contaminate their innocence when they begin to get involved with their affairs. Thrushcross Grange is the exact opposite of Wuthering Heights; the two settings being an accurate portrayal of the conflict between savagery and civilisation, with Thrushcross Grange symbolising civility and love. Through the contrast presented by the two locations, we are sent a clear message that our surroundings essentially determine who we are. Heathcliff only ever lives in the savage, hostile environment of Wuthering Heights, and as a result, grows into a savage and cruel adult. He knows no other way of living, and so knows no other aspects of human nature through which to live by. Catherine, on the other hand, lives briefly at Thrushcross Grange, and although being just as wild as Heathcliff, knows how to act so that she is acceptable to other members of society. In a way this only makes her more despicable, as she uses her status as a lady to manipulate Edgar in order to gain for herself and Heathcliff.

The isolated, wild and barren landscape of the Yorkshire Moors, juxtaposes with the stereotypical image of England of green, peaceful and idyllic. Described as a dark and morbid place with ‘bleak’ landscapes and only ‘a few stunted trees at the end of the house, Wuthering Heights is typically Gothic; with the windows ‘deeply set in the wall and the corners defended with large jutting stones.’ Being a setting that is so dominant and powerful, it becomes easier for us as readers to accept the evil happenings which take place, and so accustom ourselves to them as they become more and more prolific throughout the novel. As Heathcliff becomes more heartless, cruel, and vindictive; so to do his actions and because the setting makes it easier to imagine dark and evil happenings, our senses are dulled to his acts of revenge. Acts which once seemed revolting and heartless become rather mundane. These acts also become an increasing intrusion into the peace and tranquillity of Thrushcross Grange, a setting which we typically associate with a normal rural lifestyle of that era. Although we are initially horrified by the events which take place, we soon come to accept them with mild recognition, just as we do when they occur in the savagery of Wuthering Heights. Through this Bronte unleashes the savagery she believes to be present in all human beings, and brings it to the forefront of our minds. We emerge from the novel questioning how these aspects are present in our own lives; why we often regard some as a normal part of society, yet are horrified and disgusted by others. As these acts of violence occur not only in the morbid setting of Wuthering Heights, but also in the peace of Thrushcross Grange, we are shown how selfishness and savagery are natural aspects of human nature. As they occur in everyday life, we begin to simply pass them off as normal and acceptable, just as we do in the novel. If there were people as savage as Heathcliff everywhere, would we too dismiss their actions as normal simply because we were accustomed to them?

Catherine’s wild, unruly behaviour is used to clash against the stereotypical image of women during that time, and to some extent, the way it still is today. Set in the late 17th century, Bronte effectively makes a number of realistic comments about the conventional images of women as submissive, pious, gentle and loving. Of all of these traits, Catherine Earnshaw conforms to none; she does have the ability to love, but only in a fierce and unnatural way. Catherine’s willful behavior is, in a way, made believable and acceptable, because of the fact that she was unable to achieve anything significant in a male dominated society. Although she must still obey her brother and marry Edgar to increase her status and wealth, she is never actually dominated by any males. Catherine remains her haughty, willful self and refuses to let Edgar stop her from getting her own way; he ‘had a deep rooted fear of ruffling her humour.’ This contrast effectively sends us the message that women should never have to undergo oppression of the spirit just because a male demands it. Women have the same right to own land, to marry who they want and to decide the ways in which their children are raised, just as men do. Although this is allowed in Western society today, there are still parts of the world which give men the right to beat their wives and to marry off their daughters. Catherine was lucky in the fact that she married a weak man. She could use him to do what she willed yet still appear to be a good and faithful wife to the wider community.

Bronte uses the differences in the personalities of Edgar and Heathcliff to portray how free-will and individuality, can often lead to the oppression of others and how they express themselves. Heathcliff is savage, violent and selfish; like the Moors and their inability to be cultivated, Heathcliff refuses to be restrained by conformities and society’s expectations. He lacks, from about the age of eight, the steadying influence of a mother and hence grows up without moral restraints, and in an atmosphere of patriarchal brutality. Heathcliff is, in part, a victim of a cruel upbringing and so sees no reason not to continue this cruelty into adulthood. This contrasts with Edgar, a pampered and spoilt child who grows into an equally weak and effeminate man. He was enchanted by Catherine from their first meeting merely because of the fact that she could find the strength in herself to overcome society’s conventions and limitations. It is his own inability to do so that allows Heathcliff to bully and torment him the way he does; to manipulate his weaknesses to gain for himself, as Heathcliff was a man who assumed direct correlation between his desires and their fulfilment, without the usual filters of convention and compromise. It is through these opposites in personality and temperament which Bronte sends us the message that, although it is better to be individual than to conform to society, there comes a stage where one must restrain themselves and what they do in order to obtain this individuality. Heathcliff has no moral and ethical restraints, and so feels no remorse when he openly intrudes into Edgar’s life and his family. Bronte sends us the message that at times, these forms of individuality need social constraints so one does not turn so selfish and savage that they begin to oppress others.

Using the opposites of setting, personality and conventions in society, Bronte effectively sends us several messages about humanity and its inherent traits. We are shown how savagery and selfishness are aspects of human nature that have always been present in society, but we have been exposed so much to them that we have been desensitised to the effects they have on individuals and society as a whole. Bronte’s manipulation of the setting, and our eventual acceptance of the events which take place, bring us to question how much savagery is present in our own lives. Is it constantly under the surface of our society present in education and civility? Although it may not be obvious, it seems that cruelty and revenge are natural aspects of our nature as a result of our own desire to express our individuality.

__Passage Question on Act Two Scene Three__ Briefly explain what is happening here. Then relate this passage to any THREE important thematic ideas in the play as a whole.

=** Mark Twain said “Life does not consist mainly, or even largely, of facts and happenings. It consists mainly of the storm of thought that is forever flowing through one's head.” This quote is particularly relevant to Shakespeare’s __King Lear__ as he uses the storm in to reflect the disruption and chaos in King Lear’s mind. Act Three Scene Two in __King Lear__ by William Shakespeare is set during a storm. The storm is the turning point of the play and is necessary to bring about an abrupt change. The change of scenery from the court to the wild heath with its raging storm frees the characters from the court setting; and brings out raw emotions which allow Shakespeare to focus on themes and messages within the play. The storm highlights the thematic idea of insanity and hidden wisdom. The raw emotions Lear experiences emphasize his value of appearance over reality and it resulting in the disruption of justice. **=

Prior to Act three Scene two in __King Lear__ Kent has been put in the stocks by Reegan. This has come about because Kent has recognized Oswald and challenged him to a fight because of his purpose against the King. Oswald refused to fight so Kent began to beat him anyway. Reegan appeared and decides to put Kent into the stocks because she sees similarities between Kent and the King’s men whom Goneril was complaining about. Lear later arrives to discoverKent has been put in the stocks by Reegan; this news deeply insults him. Reegan then refuses to house Lear and tells him to go back to Goneril and apologize. Lear in a rage leaves the castle and heads off into a storm. During Act Three Scene Two Kent finds Lear and the Fool and leads them into “a hovel” (III,ii,14) to shelter “gainst the tempest”(III,ii,15).

The storm mirrors Lear’s inner turmoil and growing madness; it’s a physical natural reflection of Lear’s internal confusion. His emotions are as violent as the “[|tempest] ” (III, ii, 15) raging all around him. During the storm Lear’s “wits begin to turn” (III, ii, 21) and the idea of madness being associated with hidden wisdom emerge. Shakespeare demonstrates that Lear’s position, power and wealth may have led him to believe he could get away with outrageousbehaviour because of his social standing. But because Lear fails when he tries to do so Shakespeare reveals he is still human and at the hands of God, fate and Mother Nature. When Lear witnesses the powerful forces of the natural world he discovers that he, like the rest of humankind is insignificant in the world. This realisation is more powerful than his loss of political control and it compels him to become humble and caring saying to the Fool “I have one part in my heart/ That’s sorry yet for thee” (III, ii, 26-27). Before Lear lost his sanity we did not hear him speak so [|lovingly] to anyone around him. It has taken a lot inner turmoil within Lear for him to feel concern for others. Only now he has lost his position of power does he begin to show signs of [|responsibility], a fact which is deeply [|ironic].

It is during the storm where the idea becomes clear to Lear that appearance should not be valued over reality. Only when Lear is stripped completely of his social standing and reduced down to the most basic needs of survival does it become clear to him that declarations of ones love for him is not an accurate measure of love. Kent demonstrates the filial love repeatedly for Lear saying “Royal Lear, whom I have ever honour’d as my king, lov’d as my father” (I, i). During Act Three Scene Two when Lear is out fending “gainst the tempest” (III, II, 15) it is Kent whom finds him a “hovel” (III, ii, 14) in which Lear can “repose” (III, ii, 16)a after his daughters cast him out into the storm. Kent’s sense of filial duty is only realized by Lear when he is striped down against the overwhelming forces of nature. It is until this point which it becomes clear to Lear that love, warmth and shelter are essential for survival and required in order to keep sane.

What preoccupies Lear's confused mind most throughout the storm scenes is the idea of [|justice]. He is obsessed with his daughters' betrayal, and he thinks constantly of [|revenge]. Lear's [|anger] is voiced in his many grief-stricken speeches, such as in Act Three Scene Two, where he warns, "Tremble, thou wretch That hast within thee undivulgèd crimes Unwhipped of justice" (III, ii, 4-5). He feels himself to be “More sinned against than sinning” (III, ii, 12). Yet at the time, Lear is being punished for his own wrong doings. Where as Gloucester says “As flies to wanton boys we are to the gods; they kill us for their sport.” (IV,I, 37-38) This tells the audience Gloucester realizes it’s foolish for mankind to assume the natural world works in parallel with society or morally convenient notions of justice. This is juxtaposed with Edgar who believes “the gods are just”. He believes individuals get what they deserve. But in the end we are left with a terrifying uncertainty as the image of Lear cradling Cordelia’s body in his arms enters our mind. Although the wicked die, along with them the good also die. Shakespeare creates a world containing goodness but also madness and death. It is difficult to tell which triumphs in the end.

In Act Three Scene Two Lear and the Fool are out in the storm. The Fool begs Lear to return to his daughters to seek shelter but Lear refuses. Kent finds Lear and the Fool and guides them into a hovel in which they can shelter. The storm raging around them reflects the turmoil inside Lear and portrays the idea of madness and hidden wisdom. It takes till Lear is mentally declining and has been completely striped of all power and wealth and is reduced to just a common man before he can see he is at the mercy of nature. At this point it becomes clear to Lear that love, warmth and shelters are key elements necessary in order for sanity and survival. The storm highlights the thematic idea of justice and a world in which the wicked die, but along with them the good die also.