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Paper and A Streetcar Named Desire.
The themes of A streetcar Named Desire are mainly built on conflict, the conflicts between men and women, the conflicts of race, class and attitude to life, and these are especially embodied in Stanley and Blanche.
As in many of Williams's plays, there is much use of symbolism and interesting characters in order to draw in and involve the audience. The plot of A Streetcar Named Desire alone does not captivate the audience. It is Williams's brilliant and intriguing characters that make the reader truly understand the play's meaning. He also presents a continuous flow of raw, realistic moods and events in the play which keeps the reader fascinated in the realistic fantasy Williams has created in A Streetca...
Reilly in "A Streetcar Named Desire"
Streetcar remains one of the great American films with the script and the acting its huge achievements. Unfortunately, though, when people think of Kazan’s films and especially On the Waterfront (1954), they remember Kazan’s shameful capitulation to the House Un-Amercan Activities Committee in 1951. Brando called it “finking“ on his friends, and even when Kazan received a Lifetime Achievement award in 1999 many slammed the Motion Picture Academy for so recognizing him.
In 1951 HUAC was riding high on the crest of the anti-Communism prompted by the start of the Cold War in the late ‘40s. By forcing people in the movie and other industries (including college professors) to confess publicly that they had once belonged to the Communist Party or other left-wing organizations, they savaged careers and ruined lives. It was a shameful and foolish episode in America’s history, culminating in the rise and fall of the conman Joseph McCarthy.
One of his most successful plays is A Streetcar Named Desire.
One of the main themes dealt with in William's A Streetcar Named Desire is that of truth and artifice, reality and illusion, as the main character Blanche Dubois is seen to live in her own imaginary world. Whilst her sister Stella deals with her reality Blanche creates illusions to forget hers.
Stella's reality belongs with Stanley, in their little apartment, with sex as their stronghold. Although Stella was brought up through different surroundings she is happy with her life with Stanley, shown when Blanche first enters and expresses her horror at the appearing situation, Stella replies:
"It's not that bad at all! ?
She is not ashamed to admit that she and Stanley came from two very different worlds, it is even suggested later that it is that that attracted her to the relationship as Stanley tells her:
"I pulled you down off them columns and how you loved it ?,
shows no sign of disagreeing. Stella appears to accept her partner's animal like nature; she realises that he is crude and violent at times but she deals with it and moves on. A prime example of this is the poker night when Stanley confirms to the reader, by his fierce behaviour, the inhumane beast that he is. Images of a monster are created as he
?lurches up and tosses some watermelon rinds to the floor'
Stella a ?loud whack' on the thigh. This type of behaviour was not something Blanche was ?o fait' with and ultimately despised it. Stella however had learned to be a part of it and even after Stanley hits her she returns to him and is even described to join him at his low level as they come together with
Blanche gives Stella the chance of leaving but she declines for she now accepts the life she has with Stanley.
Blanche alternatively deals with her realities by creating illusions. Blanche explains to Mitch that she lies because she refuses to accept the hand fate has dealt her. Lying to herself and to others allows her to make
Williams’s life, to say the least, is not what people would call “picture perfect.” His drama, “A Streetcar Named Desire,” has a direct reference to his life struggles....
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Woman in A Streetcar Named Desire
“He [Williams] continued this study with Blanche Dubois of A Streetcar Named Desire (1947).” Stanley Kowalski in A Streetcar Named Desire is epitome of full-bodied male pulchritude and Williams’ most radiant symbol of viri...
Streetcar named desire: reality Essay Examples
Fitting Gassner’s definition of a tragic character, Blanche DuBois in Tennessee William’s A Streetcar Named Desire caustically leads herself to her own downfall.
Streetcar named desire: reality Essay Example for Free
Elia Kazan’s lasting contribution was to dislodge American movies from the childishly moralistic, sex-free, good-guys-bad-guys characterizations in which they had been locked since the beginning of film in America. Streetcar with its method acting was one film that started the decline. A more decisive move came with The Moon is Blue (1951), an Otto Preminger film. United Artists decided to release it despite the Breen Office and various state bans. Courts, and ultimately the Supreme Court, threw out the bans, and the picture was a success. Once the studios realized they could ignore the Breen Office and the Legion of Decency and the other censors, they substituted their own milder (and pleasantly ineffective) ratings system. Nowadays, you can see virtually anything on American screens, including cable (but not network) tv. So be it.
Streetcar named desire reality essays ..
Kazan had been told by the studio bosses that if he refused to testify he would never make another film in America, and he desperately wanted to make movies. Directing was his life. John Lahr quotes a conversation Kazan had with Arthur Miller before his decision: “If he refused to testify, he told Miller, he would say to himself, “What the hell am I giving all this up for? To defend a secrecy I didn't think right and to defend people who'd already been named or would soon be by someone else?” That is, the committee already knew who had been communists. They just wanted prominent people to confess the error of their previous thinking and conform to what the government now thought they should think. I can understand Kazan’s choice but I cannot approve of it, even though I wonder, if I myself had been faced with the same choice, what I would have done.
Streetcar named desire dreams vs reality essays
Kolin points out this metaphor in his article " 'It's only a paper moon': The Paper Ontology' in Tennessee Williams' A Streetcar Named Desire.'" Kolin has found that Williams has used paper as a metaphor to describe Blanche's and Stanley's faults and desires.
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