Neo Realism In Italian Cinema

Neo Realism In Italian Cinema In complete contrast to the Fascist cinema it superseded, Neo-Realism was committed to representing life as it is lived. With this in mind, analyse the reasons why Neo-Realism as a movement lasted only ten years. Please refer to at least two films. In contrast to the Fascist cinema that it superseded, Neo-Realism was committed to representing life as it is lived; its films are therefore characterised by narratives set amongst Italys poorest, examining the difficult economic and moral conditions experienced during World War Two and in the post-war years. The movement has therefore been labelled a moral and aesthetic cinema (lecture, Heath-Williams, A., 2009). This essay will discuss and examine the reasons why Italian Neo-Realism lasted just ten years, between 1942 and 1952 (Cook, P., 2007: 233). It will focus briefly on Fascist cinema and then examine Neo-Realism and some of its key films, notably those by Rossellini, De Sica and Visconti, and the subsequent moves by these directors away from Neo-Realism to more individual projects. It will then assess the variety of state and Church constraints imposed on Neo-Realism during its ten years, and will discuss changes in the tastes of contemporary audiences, to determine whether it was these changes that ultimately sounded the death-knell for the movement. Italian film production was virtually non-existent after World War One and cinemas were forced to show only foreign films, which was intolerable for the Fascist regime (filmreference.com, 2010). Following intervention by Mussolinis government the industry slowly revived throughout the 1930s, creating an Italian, rather than a specifically Fascist cinema (Cook, P., 2007: 233). Fascist filmmakers did make some films that have been rightly dismissed as propaganda, such as the short newsreels that were made to educate not entertain the public. However, of the seven hundred or so films produced by them, most were not actually propaganda films, but rather were entertaining, patriotic epics, such as Red Passport (dir. Brignone, 1935), which highlights an Italian peasants love for his country, as he returned home from abroad and fought and died for Italy in The Great War (Bondanella, P., 2009: 49). In complete contrast, the same film industry also produced White Telephone films a derogatory name coined by the Italian public (allmovie.com, 2010). These films are big-budget melodramatic productions frequently set in grand hotels, fancy nightclubs or on luxurious ocean-liners, with each film featuring a distinctive white telephone, which was viewed as a symbol of middle-class bourgeois wealth. They portray a false view of Italian life, as the existence led by most Italians was the exact opposite of that being shown onscreen. Indeed, within these films, the simple protagonists always found a simplistic resolution to their equally simplistic and insipid dilemmas (greencine.com, 2010), which was wholly unreflective of Italys reality. These films were intended to distract the Italian public from that reality and to recreate the box office success of the popular Hollywood narratives of the 1930s. Mussolini also encouraged the filming of grand, historical epics that were intended to ma ke Italians proud of their Roman history (greencine.com, 2010) again, another distraction from contemporary problems. Whilst Fascist cinema tended to produce decadent white telephone films, there were calls for filmmakers to develop a film realism that was authentically Italian (filmreference.com, 2010). With the outbreak of war in 1939 and the increasing breakdown of Italian society, a number of screenwriters also began to call for a cinema that resembled the Verismo or reality of 19th century Italian literature (Bordwell, D., Thompson, K., 2008: 459). Italian directors and writers were also influenced by French films of the 1930s and by Calligraphist films of the early 1940s, which were heavily reliant on the finest of detail (Bondanella, P., 2009: 52, 53). This use of fine detail and mise-en-scene would become a major aspect of the Neo-Realist movement. Although philosophical ideas formed the basis of the Neo-Realist movement, the main aim and true goal of the movement was to express societys issues in an entirely new and innovative way. Accordingly, Neo-Realist films may be seen as something o f a reaction against the white telephone dramas and superficial Hollywood imports of the 1930s (cinema-scope.com, 2010). Neo-Realism was therefore a rejection of Fascism and fantasy (criterion.com, 2007) but its realism was also born from absolute necessity. Indeed, the reasons for shooting on location and over-dubbing dialogue were purely practical, as Romes Cinecitta studios were heavily bombed by Allied forces and could not be utilised and sound equipment was of poor quality and in short supply (Bordwell, D., Thompson, K., 2008: 459). However, the use of exterior locations rather than studio sets lends the films a great deal of authenticity, because they show the actual physical destruction of the Italian landscape. This destruction as shown in various scenes of bombed-out shells of buildings throughout Rome, Open City (dir. Rossellini, 1945), and Germany, Year Zero (dir. Rossellini, 1947) could not easily be recreated in the studio. Similarly, in Obsession (dir. Visconti, 1943) the director uses the natural degradation of a typical farming community to set his film, and this too is difficult to re create in the studio. Filmmakers were also allowed much more freedom on location with sound and dialogue because everything could be carefully re-recorded later in the studio (Bordwell, D., Thompson, K., 2008: 459). This is evident in the scene from Obsession where the characters are walking back from a singing contest and are filmed chatting together from some distance away; their conversation is obviously over-dubbed, as it could not be recorded naturally during filming with the poor sound equipment available. The use of conversational speech and non-literary dialogue also lends Neo-Realist films an authentic air because it makes characters more realistic, to which audiences can relate. Neo-Realist filmmakers also use many non-professional actors for supporting roles, which adds realism and depth to their characters. Professional actors usually portray the principle characters but sometimes non-professionals are also utilised. The reason for the use of amateurs is because many professional actors perished during the Allied bombings or were exterminated by the Nazis (lecture, Heath-Williams, A., 2009). The use of non-professionals in principle roles gives the films added realism, especially in critical scenes. For example, when Vittorio De Sica was casting actors to play the main character in his iconic film Bicycle Thieves (dir. De Sica, 1948) he chose an ordinary factory worker to play him because, according to De Sica, everything about him was perfect (Bordwell, D., Thompson, K., 2008: 460) for the working class character he had envisioned. A professional actor would simply not have had the life experiences to draw upon to accurately portray him. Neo-Realist films are divided into two distinct categories, that is, Ideology and Style (facstaff.gpc.edu, 2010). Ideologically, Neo-Realist films portray Italy with a new, revitalised democratic spirit, strongly emphasising the value of ordinary, working class people. The films also show a compassionate viewpoint and refused to make superficial moral judgements (lecture, Heath-Williams, A., 2009). Many films are pre-occupied with Italys Fascist past and others deal with the difficult economic and moral conditions faced by Italians throughout the war and during its aftermath. There is one particular scene in Rome, Open City where a mob raids a bakery, stealing everything, including the weighing scales, which perfectly portrays the fear and desperation prevalent in contemporary Rome. Neo-Realist films also have a tendency to emphasise strong emotions rather than abstract ideas to convey their ideas, thereby inviting audiences to empathise with the plots and characters, whose experienc es mirror their own. Stylistically, Neo-Realist films avoid neatly plotted stories in favour of a loose and episodic structure, whilst mixing in a documentary-like visual style (facstaff.gpc.edu, 2010). Obsession is a prime example of the use of this loose structure, with the plot revealing itself like the chapters of a book. Its documentary-like style is shown through its use of real-time long shots, which convey the natural coming-and-goings of the characters, capturing life as it happens. This is perfectly illustrated by the infamous scene in Obsession where Giovanna eats a bowl of pasta and falls asleep at the table in her ramshackle kitchen, which confirms her exhaustion and carefully matches film-time with real-time. It is this style that gives Neo-Realist films their unique perspective, because real life is loose and episodic, it is not neatly plotted or clearly defined, sometimes literally nothing happens as in the pasta eating scene and it often ends unhappily or uncertainly. One of the first directors to focus the attention of international film critics onto Neo-Realism was Roberto Rossellini, a close friend of Mussolinis son, Vittorio. Despite his Fascist background, one of the most notable examples of Neo-Realism can be found in Rossellinis highly acclaimed film, Rome, Open City (lecture, Heath-Williams, A., 2009). The film is centred on the unlikely collaboration between Catholics and Communists fighting the Nazi occupation of Rome, shortly before the Americans liberated the city. Some footage was allegedly shot during the Nazi occupation and subsequent retreat out of Rome because of its accurate portrayal of society at the time. Indeed, Rossellini wanted to convey the cruel atmosphere that existed during the Nazi occupation, and the scene wherein Romes socio-political reality is vividly demonstrated, is when Pina is mercilessly gunned down by German soldiers as she chases the vehicle that takes her lover, Francesco, away. Perhaps, more importantly, f or a director with links to Mussolinis regime, the film with Romes resistance movement at its core has a very real anti-Fascist message. The box-office success of Rome, Open City hinted that a film revolution (ccat.sas.upenn.edu, 1996) was underway, and Rossellini remains true to Neo-Realism in his next two films, Paisan (dir. Rossellini, 1946) and Germany, Year Zero. Paisan is another example of Neo-Realisms use of an episodic structure, as its six sections loosely capturing the Allied defeat of Italy are edited together by authentic newsreel footage. The film further revolutionised filmmaking when Rossellini chose much of his cast from people who simply gathered around when his film crew set up in a town square (ccat.sas.upenn.edu, 1996). His next film, Germany, Year Zero, is set in the ruins of Berlin and shows a German viewpoint of the war and its aftermath. This film, however, was criticised by some Marxist Neo-Realists, who sensed something of a moralistic, less objective tone in this work and a distinct change of direction from Rome, Open City (archive.sensesofcinema.com). Indeed, Rossellini establishes his m oral perspective at the outset of the film when a brief written quotation and accompanying voice-over, appears to suggest that a society that strays from a decent, moral and religious path will undoubtedly plunge into chaos (Bondanella, P., 2009: 80). This is a damning indictment of Germany and its recent experiences under Hitler, but it strays a long way from Neo-Realism and its supposed reluctance to make moral judgements of this nature. Rossellini seems to suggest that German society may have broken down irretrievably because of Hitler, as Germany, Year Zero is full of relentless, bleak imagery, which illustrates its downfall, such as in the scene where desperate Berliners are reduced to eating a horse that has died in the street because they are starving (Bondanella, P., 2009: 81). In contrast, Rome, Open City differs in that Rossellini shows some vestige of hope for Italy, most notably in the scene where a group of young children even though they witness the execution of Don Pietro still find the courage to return to Rome and continue their resistance efforts. However, Rossellinis change of direction is more apparent in his films of the late 1940s and early 1950s as he moves from attempts to capture social realism to the investigation of more complex issues, such as marriage, emotional alienation, and personal despair (Bondanella, P., 2009: 130). Indeed, Rossellinis exploration of these subjects requires the exp ertise of professional actors rather than the gritty amateurs who worked on his Neo-Realist films, which is perhaps his most blatant change of style. Whilst Rossellini brought Neo-Realism to international attention, it was Vittorio De Sica who maintained its impetus (facstaff.gpc.edu, 2010). De Sica was an established film and theatre actor when he turned to filmmaking in 1939, but his films lacked any renown until he began to examine the harsh realities faced by Italians during the war (starpulse.com, 2010). Elements of Neo-Realism can therefore be found in The Children Are Watching Us (dir. De Sica, 1942) with its simple plot, social problems and use of children in key roles. However, it was during the post-war era that De Sica became one of the key figures of Neo-Realism with such classics as Shoeshine (dir. De Sica, 1946) a tragic account of the lives of two children during Americas occupation of Italy and Bicycle Thieves (biography.com, 2010). The latter is undoubtedly his greatest film and, in true Neo-Realist style, is acted mostly by non-professionals, is shot on location and deals with various social issues, including t he impact of long-term unemployment and familial relationships, in this case, between father and son. Shot on the streets of Rome, the films protagonist is Antonio, who finally secures work putting up film posters, but to keep the job he has to have his own bicycle; Antonio and his wife are therefore forced to pawn their bed sheets to secure one. The scene in the pawnshop is poignant, as the shop is overflowing with household goods that have been exchanged for money or alternative goods, which highlights Italys desperate poverty. However, the bike is stolen and the film deals with Antonio and his sons attempts to recover it (facstaff.gpc.edu, 2010). Antonio ultimately steals someone elses bicycle and is apprehended by angry locals, becoming the very person that drove him to where he is now a bicycle thief! There are clearly depths to which even desperate Italians must not descend. Bicycle Thieves successfully highlights Italys bleak situation during the post-war years, and it is this accurate, heartbreaking portrayal that makes it such an achievement. The film is not, however, witho ut controversy, as it exposes societys problems but does not offer solutions to them. Certainly Bicycle Thieves does not have a satisfying happy ending, so perhaps De Sica simply intends that society find its own solutions to the problems he reveals in Bicycle Thieves. His next Neo-Realist production was Miracle In Milan (dir. De Sica, 1951) a comic parable about the clash between Milans rich and poor followed a year later by Umberto D. (dir. De Sica, 1952), which is now accepted as a film masterpiece. However, Umberto D. was a contemporary box-office disaster (starpulse.com), as Italian audiences appeared to prefer Hollywood escapism to De Sicas themes of loneliness, poverty, suffering and the plight of the elderly in society. De Sica was therefore forced to return to more lightweight and commercial films, such as It Happened In The Park (dir. De Sica, 1953). When subsequent films also failed commercially, De Sicas career as a director stalled and, struggling to secure funding for further projects, he returned to acting and did not direct again until 1960 (starpulse.com). Neo-Realists struggled to find funding because the Italian film industry was effectively under state control by the early 1950s (Bordwell, D., Thompson, K., 2008: 460). Indeed, Giulio Andreotti, the Under-secretary of Public Entertainment, introduced a law that limited foreign imports and provided loans for domestic film production, as long as these films were not overtly critical of post-war Italy (Bondanella, P., 2009: 112). Unfortunately, Neo-Realist films clearly fell outside this strict funding criterion. A government committee was actually established to read prospective film scripts and to deny finance to openly political productions (matthewhunt.com). The Catholic Church also began to censor films according to their suitability for screening in its parish cinemas, which had been opened to combat the supposed menace of immorality and Communism as portrayed in Cinema Paradiso (dir. Tornatore, 1989) many years later. And, in 1949, the Vatican actually excommunicated Communist v oters, sympathizers, and their allies (Bondanella, P., 2009: 112), which made producing and watching Neo-Realism films extremely risky in an era when any form of social criticism seemingly equalled Communism. Similarly, as economic prosperity returned to post-war Italy, Neo-Realist films no longer felt as relevant and they started to become obsolete. Italians had recently lived through a very dark time in their history and did not appear to want it continually replayed on the big screen. Perhaps the realism of these films was just a little too accurate and a reminder of times sooner forgotten. Consequently, many Italians turned to the glamorous escapism of imported Hollywood productions and whilst Rome, Open City was the highest grossing domestic film of 1945 (cinema-scope.com, 2010) by 1952 Umberto D. was the aforementioned disaster at the Italian box-office. Indeed, historians date the end of the Neo-Realist movement with the public attacks onà ¢Ã¢â€š ¬Ã‚ ¦ Umberto D. (Bordwell, D., Thompson, K., 2008: 461). The Neo-Realist movement therefore had to adapt and a modicum of escapist comedy was introduced to dilute the realism and make the films more socially acceptable. The resulting new film style is known as Pink Neo-Realism (matthewhunt.com) that eventually gave way to the distinctive Comedia AllItaliana (matthewhunt.com). The Neo-Realism movement was therefore effectively at an end. During the occupation years the message of the Neo-Realist movement led to a social revolution amongst Italys people and government. However, as Italys post-war resurgence gained strength this message faded, as audiences preferred to forget issues like mass unemployment, extreme poverty, social decay and politics. Realism therefore became the antithesis of social change and filmmakers and audiences ironically gravitated towards the types of films made by the Fascist cinema popular taste had come full circle. With hindsight, however, it is apparent that no other film movement has achieved such an accurate portrayal of real life and won such recognition as the Italian Neo-Realist movement. Its impact on contemporary filmmaking was enormous, establishing the reputations of its key directors and offering audiences some of the outstanding films of the post-war era. And while Italian Neo-Realism lasted just ten brief years, its influence was felt immediately amongst filmmakers of the 1950 s (Bordwell, D., Thompson, K., 2008: 461), and it is still felt amongst filmmakers of today. Bibliography Bondanella, P., 2009, A HeatHistory of Italian Cinema, New York: The Continuum International Publishing Group Ltd. Bondanella, P., 2007, Italian Cinema: From Neorealism To The Present, 3rd edition, New York: The Continuum International Publishing Group Ltd. Bordwell, D., Thompson, K., 2008, Film Art: An Introduction, 8th edition, New York: McGraw-Hill. Cook, P., 2007, The Cinema Book, 3rd edition, London: Palgrave Macmillan. Heath-Williams, A. (2009) Introduction to Italian Neorealism, FV2S13 [Lecture] Italian Cinema, Bridgend College, School of Creative Arts, Seminar Room, Queens Road Campus, 24th September. Heath-Williams, A. (2009) Neorealism: Wartime Resistance, FV2S13 [Lecture] Italian Cinema, Bridgend College, School of Creative Arts, Seminar Room, Queens Road Campus, 8th October. Web Resources Allmovie.com (2010) History of Italian Cinema [online] Available from: http://www.allmovie.com/essays/Italian-cinema-41 [23/06/10] Senses of Cinema (2010) Roberto Rossellini [online] Available from: http://archive.sesnseofcinema.com/contents/directors/02/rossellini.html [25/06/10] Film Drama (2009) Rome, Open City (Roma, Citta Aperta) [online] Available from: http://www.bbc.co.uk/bbcfour/cinema/features/rome-open-city.shtml [23/06/10] Biography.com (2010) Vittorio de Sica Biography [online] Available from: http://www.biography.com/articles/Vittorio-de-Sica-9272724 [25/06/10] University of Pennsylvania (1996) The Cinema Under Mussolini [online] Available from: http://ccat.sas.upenn.edu/italians/resources/Amiciprize/1996/mussolini.html [23/06/10] Cinema Scope (2010) Rome, Open City: Neorealism Wasnt Built in a Day [online] Available from: http://www.cinema-scope.com/cs24/spo_kaltsounakis_rome.htm [23/06/10] Criterion Collection Online Cinematheque (2007) Bicycle Thieves: A Passionate Commitment to the Real By Godfrey Cheshire [online] Available from: http://www.criterion.com/current/posts/467 [23/06/10] Facstaff.gcp.edu (2010) Film 1301, Notes 10, Italian Neorealism [online] Available from: http://facstaff.gcp.edu/njriggs/film1301/notes10.htm [3/07/10] Filmcritic.com (2007) Bicycle Thieves [online] Available from: http://www.filmcritic.com/reviews/1948/bicycle-thieves/ [23/06/10] Filmreference.com (2010) Cinema Under Fascism: The Advent of Sound and The Increase of National Production [online] Available from: http://www.filmreference.com/Independent-Film-Road-Movies/Italy-CINEMA-UNDER-FASCISM-THE-ADVENTOF-SOUND-AND-THE-INCREASE-OF-NATIONAL-PRODUCTION.html [23/06/10] Filmreference.com (2010) Historical Origins Of Italian Neorealism [online] Available from: http://filmreference.com/encyclopedia/Independent-Film-Road-Movies/Neorealism.html [23/06/10] Greencine.com (2010) Italian Neo-Realism by Megan Ratner [online] Available from: http://greencine.com/static/primers/neorealism1.jsp [24/6/10] Matthewhunt.com (2010) Neo-Realism [online] Available from: http://www.matthewhunt.com/cinema/worldcinema.html [30/06/10] The New York Times (2009) Open City (1945) [online] Available from: http://movies.nytimes.com/movie/36504/Open-City/overview [23/06/10] Starpulse.com (2010) Vittorio de Sica Biography [online] Available from: http://starpulse.com/Actors/De_Sica,_Vittorio/Biography [25/06/10]

King George Vi: the Real Kings Speech

Kimberly Wooten Professor Kathy Kile Speech 1010 November 6, 2012 The Real King’s Speech One man in history who gave a speech when the public’s faith was at an all-time low was King George VI. He had to step up and take the spot as king when it was not what he originally thought would happen. He suffered through hardship and troubles through his rein which some affected the way he was able to talk to his people. The speech he gave was not just given to a small audience but to his entire country. King George VI’s life was very interesting life which gave him the opportunity to give a very famous speech that affected the entire world.King George was born on December 14, 1895 in Norfolk, England. His full name is Albert Frederick Arthur Saxe-Coburg-Gotha. King George VI was often called Bertie or Albert by his family. He was the second son of King George V and the Duchess of York, Victoria May. King George VI did not have an easy childhood because of his mother†™s lack of affection and his father’s criticism. He developed a stammer at age 8 and also had to wear leg braces because of his knocked knees when he was young. He was a very shy and easily frighten child which also affected the rest of his life.He graduated from the Royal Naval Academy and went on to be a midshipman in the Royal Navy. After fighting in WWI he joined the Royal air force and became a pilot. He then went on to Trinity College but only stayed for one year because he then needed to fulfill his duties as the Duke of York. In 1923 he went on to marry Lady Elizabeth Bowes-Lyon, which had been a family friend since they were young. They had two children, Elizabeth, the oldest, and Margaret, the youngest. They were a close and happy family. His wife saw that he needed help with his stammer and found a great Australian therapist for him to see, Lionel Logue.After being with him and doing his exercises the king began to speak without a stammer. He was not supposed to be the one taking the throne after his father passed away, but it was supposed to be his brother. His brother wanted to marry his mistress and could not marry her if he took the throne so Albert took the throne. This was not the plan he wanted but he was crowned the king of the United Kingdoms and the Dominions of the British Commonwealth in 1937. King George VI was a supporter of the British Prime Minister who signed an agreement with Hitler, which was hoped to make sure there was no war with the Nazi Germany.Hitler then ignored the agreement and took aggressive action that made King George travel and make friends with the President at the time which was Franklin D. Roosevelt. On September 1939 Germany violated the agreement that was made with the Prime Minister and a war was declared. King George made a successful speech that declared the war in 1939. He announced the role that Britain would play in the act of war. After the war started, he and his wife stayed in London at the Buc kingham Palace even though the Germans were bombing (George). The government tried to relocate them to Canada.Queen Elizabeth had stated â€Å"I’m glad we’ve been bombed, now we can look the East End in the face. † (Farndale). King George and Queen Elizabeth went around to the cities that were bombed, visiting the troops and the survivors of the bombs. After the victory of the war the stress caught up with him and he had an arterial blockage which made Princess Elizabeth take on her royal duties. He was then diagnosed with lung cancer and had his left lung removed then he found out he also had arteriosclerosis. King George VI died on February 6, 1952 when he was 56 years old. His daughter then became Queen Elizabeth II.King George VI faced many problems in his life and one that made a very large impact on people was the speech he had to make declaring was with Germany (George). The King had to give a devastating speech on September 3, 1939. Hitler had gone again st an agreement that was made and Germany invaded Poland. After this, it was time to declare war. He had a hard time with his stammer throughout his life so his therapist helped him with it so he could complete this speech. His therapist was the only one in the room with the King while he gave his speech that was broadcasted live on the radio.The picture that shows him sitting at a desk giving the speech was actually staged and he really gave his speech in an anteroom standing (Farndale). His speech sounded great although there are many pauses he had to take to prevent him from stammering. Other than the pauses, he completed a great speech and spoke clear and with confidence. He was delivering a devastating speech and the devastation is able to be heard in his voice. While there is much devastation, he still helps give hope as he is giving his speech. The speech’s effect much more than just his country, it also affected the entire world(Crrisstobal).The speech had affected al l of Great Britain and it also affected the rest of the world. He was declaring war, which meant that his allies had to be with him in this time of devastation. The king told his people to embrace for hard times to come, for his country was at war. The speech gave his people a reason to come together and unite in this time of war. It also inspired them because it showed that they now have a leader they can look upon. The speech had a great effect on the rest of the world as well. As they went into war, the allies of Britain also had to help.As he completed this speech it showed he was a great leader to look upon but it also gave much terror to many people as he said they were going into war. All in all, King George VI went through hard times all his life. From when he was a young stammering boy with an unloving family, to a king leading his people through WWII. Although he gave many speeches being a king, the speech that had the most effect was the one he gave declaring war. He had no stammer and went through it great and ended strong. King George VI was a wonderful leader and did a great job delivering the real king’s speech.Works Cited Crrisstobal. â€Å"The Real King's Speech – King George VI – September 3, 1939. †Ã‚  YouTube. YouTube, 05 Feb. 2011. Web. 07 Nov. 2012. â€Å"Enchanted Serenity of Period Films: King George VI and Queen Elizabeth – a Peek into the past. †Ã‚  Enchanted Serenity of Period Films: King George VI and Queen Elizabeth – a Peek into the past. N. p. , 16 Jan. 2010. Web. 06 Nov. 2012. Farndale, Nigel. â€Å"The King's Speech: The Real Story. †Ã‚  Telegraph. co. uk. N. p. , 5 Jan. 2011. Web. â€Å"George VI Biography. †Ã‚  Bio. com. A&E Networks Television, 20`1. Web. 05 Nov. 2012. .

Girls Are Better Than Boys

A Famous Place In Our Country Today, Pangkor Island is a popular island destination for local and Singapore holiday makers. It gets extremely busy during school and public holidays. One operator on the island reported that approximately 2000 holidaymakers were left without a place to stay on the island during the Chinese New Year holiday period. Of course, many people assume that there's plenty of available rooms on the island and that reservations weren't necessary.Having said so, there are indeed quite a number of resorts, motels and inns on Teluk Nipah and Pasir Bogak. In particular, Teluk Nipah. One end of the beach is chock-full with chalets, A-huts, small resorts and and restaurants. The accommodation here is quite affordable for budget travellers although not quite as cheap as what can be found on Tioman. Located about 90km south west from Ipoh and reachable by free from Lumut in only 35mins, Pangkor Island is 8 square km big and inhabited by 25000 people, mainly fishermen.Pan gkor Island Beach Resort is the getaway from the metropolitan life to rest, relax and rejuvenate. Located between Penang and Kuala Lumpur, the journey from the country’s capital takes only about 3 hours to the coastal town of Lumut, either by car or limousine coach, the scenic landscape is an experience by itself. Pangkor Island is an idyllic and beautiful island resort for a free a carefree and relaxing holiday.It’s natural scenery of green hills and palm-fringed beaches of fine white sand lapped by the warm blue waters of the Straits of Malacca is truly magnificent. Therefore I chose the Pangkor island as a place famous in Malaysia because it does not need expensive costly and not wasting my time. We also will be soothed and comforted by natural flora and fauna of the island. Beside that, our mind will be fresh when there.

Maestro Emotion and Paul - Free Essay Example

Sample details Pages: 2 Words: 557 Downloads: 1 Date added: 2017/09/18 Category People Essay Type Argumentative essay Tags: Relationship Essay Did you like this example? There are many different ways that the importance of respect and valuing people is shown by Paul, the main character in Maestro, by Peter Goldsworthy, with each relating to a different aspect of the novel. Paul explores his emotional understanding, his view of family and his values, and also where he stands in relation to the world. He starts out as a young teenager, not knowing much yet naive adolescent and develops to become a mature, respectful and humbled individual, over time realizing that it is more vital to develop and sustain relations than it is to accomplish success. Although music is an integral part of Maestro, the novel is essentially a story about a boy’s journey into adulthood. Maestro shows us that maturity is gained only through suffering as the novel focuses on the coming of age of Paul Crabbe, who is led on a journey of personal discovery. In the beginning of the novel Paul is corrupted by pride and the idea that he is great, he might even think he is almost perfect. This self-satisfaction does wonders to boost his ego, as he predicts instant fame and fortune will come to him. When he first meets Keller, he acts as if he knows everything, but Keller mocks him constantly with such comments as, â€Å"you know so much for your age†¦and so little†, and won’t give in to his superficial ideals. Paul is at the crossroads between childhood and adulthood and draws on his experiences, relationships and interactions with other characters to teach him invaluable lessons. Paul particularly draws on his music teacher Herr Eduard Keller, his parents and their musical influence, and also his peers to determine his direction in life. Paul learns about love in all its forms. Through his relationships with his parents, his girlfriend then wife Rosie and his piano teacher ‘maestro’ Edward Keller, Paul learns what love is. During his life journey because of his relationships, he learns how to give love, rec eive love and how love and all of its attachments shape lives. One of the ways Paul learns about love in all its forms is through his relationships with his parents and their relationship with each other. Paul’s parents, Nancy and John, shared a common thread of music but that was where there similarities ended ‘apart from music they had little in common. ’ Paul’s parents were very diverse in some aspects, and yet how happy they always seemed, in spite, or perhaps because of it. ’ Paul’s parents loved him unconditionally, Even though at times they would push him and make him feel like he was under a lot of pressure to be a successful musician. Emotionally, Paul has had a hard time changing from adolescence into maturity. He travels from being an indulged boy with no real understanding of his emotions, to a state in which he recognizes the need for the emotional part of himself. Realizing along the way the importance of respect and there fore having the burden of regrets on his back. Paul had regrets because his relationships with different people around him weren’t as good as he would’ve liked them to be, therefore wishing he had sacrificed some of his success back then to be able to develop and sustain healthy relationships with the ones he loved. Don’t waste time! Our writers will create an original "Maestro: Emotion and Paul" essay for you Create order