Jungian/Archetypal Interpretation of Charlotte Perkins Gilman's The Yellow Wallpaperor This Yellow Wallpaper with all its archetypes is driving me INSANE!

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Although every culture has its own distinct folklore and mythology, there are certain image patterns that seem to be universal. These image patterns, or archetypes, are closely related to both oral and written storytelling, and strike †'some very deep chord' in human nature (Guerin 158), eliciting a common response, whether conscious or subconscious, from the reader or listener. Archetypes appear time and time again in literature; their presence can determine whether or not a piece of writing is considered a classic. Charlotte Perkins Gilman's short story, †The Yellow Wallpaper, is a voyeuristic examination of the psyche of a woman suffering from †temporary nervous depression â€" a slight hysterical tendency (Gilman 1), who is driven to full-fledged hysteria after being trapped in a yellow-wallpaper-ed prison. Jungian Archetypal theory is an offshoot of psychological analysis, as Jung was one of Freud's students, and therefore the two theories are often closely linked in literary criticism. Archetypal analysis is appropriate for this psychological story because it includes aspects of Freud's theory while giving it a broader scope. †The Yellow Wallpaper contains several reversed or negative archetypes that appear as the narrator furthers her inverted ‘quest' to free her shadow, or her descent into insanity.

As archetypal analysis deals quite often with the conscious and subconscious mind, the two parts of the †Self (Jung ) figure greatly in this critical theory. In †The Yellow Wallpaper, the narrator is trapped in a prison-like room, and sees images in the wallpaper that come to look like a woman trapped behind bars. This †creeping woman is, in Jungian terms, the narrator's shadow,

or a dissociation of her Self. Shadows and dissociations often contain the darker, more aggressive or sexually liberated aspects of the person's psyche (Jung 7) in this instance a sort of freedom of thought as well as escapism. The trapped woman can get out in the daytime, creeping around the garden or †away off in the open country, creeping as fast as a cloud shadow in a high wind (Gilman, 1). The narrator, on the other hand, can only creep behind the locked doors of her prison, when she is completely alone.

The shadow could also be the woman's animus- †the male personification of the unconscious within a woman (Jung 18). Even though she is female, the shadow is more aggressive than the passive, nervous narrator, embodying what are traditionally considered more ‘masculine' traits. And while the animus does not quite represent the Jungian †demon of death (Jung 1), in this story, it does, in a way, herald the death of the narrator's sanity. Just as the woman behind the paper serves as a manifestation of the struggle between the two forces of the narrator's Self, her contradictory monologues and the swings in her mental state as shown through her journal entries are a written expression of her internal conflict that eventually leads to her losing her mind.

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These two forces of the narrator's Self come together in a very symbolic scene, where the two women meet at the bars and work together to get †the poor thing out (Gilman 1). From then on the narrator says †I and not †she, having completely identified with her woman behind the wallpaper, and declined into complete madness. With this, Gilman suggests that a person can release the

dark recesses of his or her psyche and combine the different aspects of the self, but not retain stability, as an imbalance is created.

One of the most important and commonly seen Jungian Archetypes is the Hero archetype of transformation or redemption, who comes in three stages Quest, Initiation and Sacrifice (Guerin 167). The narrator in Gilman's story falls into the latter Hero archetype (transformation), going through her own personal quest, initiation and sacrifice, although not as a scapegoat or atonement. Her

quest is inverted, more of a descent, really, as she spends the summer in the room with the hideous yellow wallpaper and becomes increasingly ill despite her physician husband John's protestations of †Really dear you are better (Gilman ). At first the narrator finds the paper †repellent, almost revolting; a smouldering unclean yellow (Gilman ), but gradually feels that she is the only one who can understand it and not be affected by it. Her quest changes as she sees the image of a trapped woman in the paper, and she devotes her attentions to getting this woman out, eventually realizing that she herself is trapped. Her impossible initiation tasks are not epic or mythological in the conventional literary sense, but her internal struggle is no small feat. The sacrifice at the end is of her mind. She has been driven to this hysterical state by the repressive nature of her husband's care and the sheer pressure and intensity of her physical and psychological prison. Unlike the typical Jungian Heroic sacrifice, however, nothing is achieved at the end of the story; the land is not restored to fruitfulness by her sacrifice.

Gilman, Charlotte Perkins. †The Yellow Wallpaper and Other Stories.

Mineola, New York Dover Trift Editions, 17.

Guerin, Wilfred L., et al. A Handbook of Critical Approaches to Literature.

New York Oxford University Press, 1.

Jung, Carl G. Man and His Symbols. New York Dell Publishing Co. Inc., 164.

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Loot by Joe OrtonThe Central Concerns of the Play and How they are Dramatised

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Loot by Joe Orton

The Central Concerns of the Play and How they are Dramatised

Loot is a satire the normal moral conventions of behaviour in civilised, Western, society are turned upside down and the rules are broken down. This is epitomised by Truscott as a symbol of law and authority doing what he should not do. He does not uphold the law and he breaks the law in his investigation by deception, violence and dishonesty and corruption. Orton wrote the Play in the 160's which was a time of social re-evaluation and he attacks all the bastions of the Western world religion, law and order, love and marriage, and respect for the dead. He relies on dramatic irony and the collusion of the audience to understand the moral message hidden in the comedy of the Play.

The structure of the Play mirrors a detective story in many respects. A crime has been committed and a detective has to solve it. Truscott is a parody of the detective novel detective with his pipe and magnifying glass and pedantic language. In Act One the exchange between Truscott and Fay reads like an Agatha Christie or Sherlock Holmes novel with the totally unrealistic reading of clues

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TRUSCOTTMy methods of deduction can be learned by anyone with a keen eye and quick brain. When I shook your hand I felt a roughness on one of your wedding rings. A roughness I associate with powder burns and salt. The two together spell a gun and sea air. When found on a wedding ring only one solution is possible.

The characters are mainly stereotypes and the dialogue offers no insight to their feelings. They have no psychological depth and are merely over-simplified images used to comment on the institutions or conventions they represent. Fay is a nurse who kills rather than heals and is the archetypal hypocritical religious plaudit who uses Catholicism for her own ends. This is acknowledged by her comment on Mrs McLeavy believing in some of the Ten Commandments. Hal represents truth in that he cannot tell a lie and McLeavy represents innocence. Truscott is the law, justice and authority. Dennis is less easy to categorise as he is a truly dishonest and totally unsympathetic character.

Orton uses the audience's feelings to create a contrast. They presumably have decent moral feelings that react to the complete absence of feelings in the characters on the stage. One would expect certain emotions from a son whose mother has just died, but they are not present. McLeavy shows some regret, but the audience cannot take his sentiments seriously when he shows more feeling and interest in the flowers for the hearse than he does for his wife. This collusion with the audience is part of the technique and nature of satire, but Orton goes further by using as his material the subject of the death of a mother and wife while showing no respect for the dead and no grief. He dramatises the fact that he is dealing with the conventions associated with the situation and not with the emotions.

One of the central concerns of the Play is hypocrisy and this is neatly dramatised by the lack of emotion while following the conventions and formal rites of religion associated with death the pageantry of the funeral car procession, the flowers, the black dress (borrowed from the dead woman), the veil of mourning and the book of the Ten Commandments. Orton criticises almost every sacrosanct element of religion with his priest who cannot keep confidences after confession and his religious fanatic nurse who is a murderer. Orton is also questioning the matter of the truth. Hal is unable to tell a lie and he always speaks the truth, but he is not honest. Sometimes he is not believed and on other occasions he does not tell all

TRUSCOTTBut he is stupid. He's just admitted it. He must be the stupidest criminal in England. Unless - unless, unless he's the cleverest.

Orton uses simple dialogue and everyday vocabulary in a realistic way, however, it does not always say what it appears to and one of the frequent comedy techniques of his writing is verbal misunderstandings and double meanings. He uses dramatic irony in that the audience know of Hal and Dennis' guilt and of Fay's intentions. What is not clear until the end of the Play is that it is a form of double irony as it appears that Truscott knew more than we thought.

There is a consistent motif in the Play concerning deception and how things are seen. There are symbolic tools and non-verbal messages representing hiding and disguise, such as the coffin, the wardrobe and the screen and much of the comedy derives from hiding the body and the potential discovery. But this is more than a comic device, it is part of the satire and the attack on social norms and hypocrisy. It is dramatised especially effectively by the false eyes of the corpse being false and of the wrong colour. If eyes are taken to represent the windows to the soul, as well as being the most identifiable part of the body then this is still more shocking. The corpse is no longer a person as it has no innards (no heart) and no eyes and truly is just the 'dummy' that Hal and Fay pretend it is. Yet, this is how most bodies are buried. There is all the pomp and ceremony of the funeral and 'respect for the dead' over a body that has already been defiled and rendered neutral.

A repeated conflict in the Play is that between truth and honesty - how things appear and how things really are. In a Shakespearean play this would be represented by two different worlds, but Orton shows us the world beneath the surface in one world and asks us to reflect upon ourselves and our society. Orton is saying that the innocent and the 'meek' shall not inherit the earth and that the winners are those who know the rules. However, with the expert cut of his satire the audience knows that his message to us is that this is not how life should be. Although the title of the Play is "Loot" this does not seem to be a central concern of satire unless one takes it to mean that money and the desire for wealth have overturned all moral values, displacing respect for the dead as it displaces the body in the coffin.

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The grimm vs disney

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Every Girls Dream An Anaylsis of The Tale of Cinderella Through Time and Culture

Remember back to sitting in a large circle in kidergarten. The game is Telephone; the game starts with the first person whispering a phrase in to the next person's ear and that person repeats the phrase into the next, and so on and so forth. When it come to the last person the line stops and they say the sentence aloud and it usually ends up being much different then that of the what the first person said. The more people in the cicle the more distorted your phrase becomes. This is the best metaphor to use when describing what happens to fairy tales as they cross through cultures and generations although the character, plot, or moral (s) stays the same the detail of the story changes to suit the current society. Fairy tales as we know them today are much different then they used to be, originally fairy tales were meant for adult audiences and were not intended for children's ears for they contained gruesome acts, and sexual conduct. It was not until the Victorian era that fairy tales became stories meant for children. Also it wasn't until the Victorian era that the fairy tales were told by men, prior to this era, fairy tales were told and written by educated women, the Victorian era brought about middle class men writing fairy tales, and even still many of them admitted to collecting or being inspired by women for their tales. This is when most of the drastic "cleaning up" of the stories took place, and this process of sweetening up has continued in to the present. One of the world's most famous fairy tales of all time is Cinderella a classic fairy tale whih has been dated back to the stone ages. Through all the various versions of Cinderella it creates the ideal story for a children's fairy tale and in all of the versions ultimately shows the triumph of good over evil and shares a universal theme despite it's cultural influences in additional characters and setting to becomes the world's most popular and timeless classic.

In all of the versions of Cinderella is the man's daughter, and he always obtains an evil stepmother, who has another daughter or two who are as evil as the mother herself. The fact that Cinderella is always the daughter of the man due to historical accuracy and the talling of the real life in the times that these fairy tales started, many times women died during labour. And that the stepmother is evil because many times men would be presauded in to marrying some one who is not nice because they wanted a women to raise the child because they were better at it then men were. Also the evilness of the other women in the household is brought out by jealousy

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Paper on Tostino coffee

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Tostino Coffee Roasters began roasting in 184, is the best-tasting boutique coffee in the nation comes not from the intimate cafes of Seattle or the micro roasters of San Francisco, but from nondescript industrial building on the South Side of Tucson.

Today, Tostino Coffee Roasters is successful in producing one of the finest specialty gourmet coffee lines in the Unite States and Mexico. The company is known for the quality of its coffees. Due to stringent quality control standards it maintains, Tostino has been successful in producing one of the finest specialty gourmet coffee lines in the United States industry. Tostino has its own selection process and qualifications which submits every green coffee samples sent to it. Tostinos has proven to only select and offer the best quality ever, this is why the company rejects more than 70% of all green coffee samples. Throughout the processing

of the coffee beans, Tostinos maintain their custom machinery to the highest sanitary standards. Their master roasters are also constantly tweaking temperatures, taking

samples, testing over and over again to assure you the fines beans for a quality cup of coffee.

Tostino coffee Roasters imports select Arabic green beans from over 0 countries around the world. Coffee origin from Brazil, Colombia,

Mexico, Hawaii, Indonesia, Costa Rica, Papua New Guinea, kenya, Guatemala, Jamaica, Etiopía, El Salvador, Peru, and Nicaragua which are imported to the US usually by sea.

At Tostino, the roasting of carefully selected high mountain gorwn beans is a very skilled craft. Different beans require different toasting temperatures for different lengths of time.

Correct heat must be reached quickly and the beans must always be watched carefully. This process is best achieved in a small tended roasts on a daily basis, we continue to monitor with additional tastings to achieve consistent

and optimum flavor. We use fluid bed roasters, which circulate the beans during the roasting process in the air this method heats the entire surface of

the bean and penetrates through the bean much more effectively.

Tostinos offers the following products

(Info retrieved from www.tostino.com)

Different Roasts

Full City Roast, Tostino uses this roast for mos to its coffees. This is a deep, chestnut brown color with the lightest of natural coffee oils on the bean surface, achieving the maximum flavor and Aroma.

Vienna Roast, the lightest of the darker roasts, with the slightest bittersweet tang.

French Roast, roasted until the surface is covered with aromatic oils, a definite bittersweet tang, and slight smokiness.

Italian Roast, the flavor is dominated by a smoky, burnt taste and a very dark brown, almost black, shiny, oily surface.

Decaf Coffees

European Process, this process utilizes solvents and steam that remove the caffeine from the bean. The coffee oils and the coffee are the rejoined to achieve the optimum flavor resulting in 7% caffeine extraction.

Natural Process, a new process utilizing water and ethyl acetate, a substance derived from fruit. This is a process that results in 8% extraction of caffeine.

Swiss Process, beans are immersed in hot water, which is then filtered through activated charcoal. This results in extraction of 7% of the caffeine. No chemicals are used in this process.

Organic & Flavored Coffees

Organic Coffees

All Caf Tostino coffees are OCIA certified organic. They are grown without the use of pesticides, fungicides, herbicides or synthetic fertilizers. These include Colombian, Costa Rican, Peruvian, Guatemalan and French Roast Mexican.

Flavored Coffees

Premium grade coffees, just out of the roaster and artfully blended to create an authentic taste. Flavors include French Vanilla, Cream Brulee, Irish Cream, Hazelnut and Mocha Fudge.

Blended Coffees

After multiple taste tests, Caf Tostino carefully blends new combinations of coffee, offering a unique complexity and balance. Selections include Kona Blend, Gourmet Espresso Blend, Organic House

Blend, Decaf Mocha Java Blend, Messina Espresso Blend and Sunrise Blend.

Espresso

Espresso coffee is made by forcing water under pressure very quickly through finely ground coffee. This produces a 1½ ounce drink with a tan layer of creme, the heart of espresso, on top. Our espresso blends range from mild to very complex. Using Brazils, Africans, and Indonesians, Caf Tostino strives to create a mellow cup.

Euro Espresso Blend

Dark roasted exotic coffees blended for that perfect, smooth, full-bodied cup.

Gourmet Espresso Blend

Traditional Italian flavor with a blend of dark and full city roast coffees.

Italian Espresso

Velvety and dark.

Messina Espresso Blend

Dark roasted coffees that capture the full flavor of a Viennese espresso.

Traditional Espresso

Lighter roasted, with no bitterness

Distribution is through out restaurants and the food service industry in the United States and Mexico.

Tostinos makes .5 Million dollars annually and is rank seventh among the exporters in Arizona.

Tostino is a full manufacturing and packaging facility, including roasting machines, and automated packaging machines.

Besides a growing online marketing program, Tostino is available locally at Rincon Market and Coffee X Change coffee bars.

Nationwide, Tostino is in approximately 1000 retail stores. One of its biggest accounts is 1 Costco discount warehouse stores in the West and Sam's Clubs and Smart and Final discount stores, and in-store coffee bars in Wal-Mart. Tostino also distributes coffee to hotels, restaurants, and the food service industry in this country and Mexico.

The Award from the American Tasting Institute honored Tostino with

an Award of Excellence for its coffee. Tostino, which competed against

Starbucks and Emeryville, Calif. Based Peet's Coffee, also was named a Best-of-show winner. The highest award is Best of Show and next highest is Excellence.

The process of selecting coffee beans, each coffee order is custom batched and freshly roasted. The expertise of Tostino Rastmasters, choose only the finest beans from various estates, growers and distributors

worldwide, the perfect environmental conditions of the plantations, the experience of the plantation owners and the close attention to every detail all come together in the unique taste of the "ultimate cup" of coffee.

Located in Tucson Tostinos formed 1 years ago and has evolved from two employees to its present staff of about 0 and nine in its Mexico city office and still continuing to grow. Tostinos is one of the largest roaster in Arizona and service many of the finer white table cloth restaurants, grocery chains, hotels, offices, and the consumer.

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Chaucer characters

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The Reeve

Chaucer gives the reader a very detailed physical description of the Reeve. The Reeve is described as a slender, old and choleric man. He is cleanly shaven and has short hair. He seems to have a witty attitude about him and a sharp tongue. A Reeve acts as a manager. This Reeve is the manager of an estate and he oversees all work done on the estate. He is very proficient at his job and he can easily pick out cheating by those who work under him. Those under him are not the only ones that must be watched for any kinds of cheating as this Reeve is inclined to do it himself for his master is a young, vulnerable target. The Reeve is also a skilled carpenter.

Sergeant of the Law

The Sergeant of the Law is considered a man of high ranking in the social class. The people consider him to be a wise, good man. He is a Justice of Assize. He knows the law as well as anyone of the time. The Sergeant wears silk and pinstripe as well as a multicolored coat. Chaucer seems to imply that he is not as smart or as good of a person as the people think. This shows that the Sergeant is very skilled at the art of persuasion and appearance.

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Summoner

The Summoner's physical appearance is not a pretty one. He is described as having a pimply, red face with no beard or eyebrows. Children are frightened at the ugly

appearance of the Summoner. Chaucer portrays him as morally corrupt. The Summoner is a low-ranking church officer who summoned people to appear in church. The Summoner is a drinker and is not a kind man.

The Skipper

Chaucer portrays the skipper as a rugged man. The Skipper is the captain of a ship. He is described as wearing a brown gown and unfamiliar at horseback riding. Chaucer also states that he is hardy and prudent in his undertaking. He has a dagger hanging from his neck; this implies that he is familiar with battle. In his ship he wins many battles. The Skipper is an expert navigator and he has a fond knowledge of the ocean as well as many of the creeks and rivers of Spain. The Skipper ignores his conscience and has many negative traits. He kills his prisoners by making them walk the plank.

The Pardoner

The Pardoner is a man who sells pardons for the church. Pardons are ways of washing away ones sin. The only difference is a pardon is bought and is morally wrong. The Pardoner is described as having straight yellow hair. The Pardoner also has a high-pitched voice and no facial hair suggesting he is not mature in appearance. Chaucer tells the reader that the Pardoner is very skilled at his job. Chaucer does not, however, compliment the skills of the Pardoner. The Pardoner sells the pardons but tricks the buyer into buying them. The Pardoner is not considered a good man.

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Recycling

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Alcohol Orwell uses beer to represent the Old Russia. He first notes that the reason Jones lost control of the farm and began being cruel to the animals was because of alcohol. It symbolizes, more than anything, a corrupt government a government drunk on prosperity (a prosperity which never trickles down to the common animal). But its eventually this drunkenness which ruins and leads to the inevitable collapse of this system. Jones lost power over the animals when he became drunk and lazy; even Napoleon will eventually be overthrown because of the alcohol he intakes. Orwell alludes to this near the end of the book when he says that in generations to come there will be still more uprisings. Some day it was coming it might not be soon, it might not be within the lifetime of any animal now living, but still it was coming.

Alcohol was originally seen as a grave evil of the new regime.Old Major repeatedly warns the animals against taking on Mans ways, but his concerns are not heeded. Really it was the issue of alcohol that made many of the animals suspicious of the pigs. Thus, Napoleon had Squealer change the commandments.

Its interesting that even today many of the Russian leaders have a drinking habit.

Environment Recycling In many areas of the world an abundance of recycle materials are being dumped into landfills and burned in incinerators. In spite of growing use for these materials with recycled content, this remains the largest waste problem for most communities. Here in the valley we can make a difference by recycling paper, plastic and water. Most types of paper can be recycled in different ways. Having a program to recycle at home and work can also be helpful. One way to recycle is saving your newspapers and dropping them off at recycling bins, this will prevent landfiEnvironment Recycling In many areas of the world an abundance of recycle materials are being dumped into landfills and burned in incinerators. In spite of growing use for these materials with recycled content, this remains the largest waste problem for most communities. Here in the valley we can make a difference by recycling paper, plastic and water. Most types of paper can be recycled in different ways. Having a program to recycle at home and work can also be helpful. One way to recycle is saving your newspapers and dropping them off at recycling bins, this will prevent landfills from getting full.lls from getting full.Environment Recycling In many areas of the world an abundance of recycle materials are being dumped into landfills and burned in incinerators. In spite of growing use for these materials with recycled content, this remains the largest waste problem for most communities. Here in the valley we can make a difference by recycling paper, plastic and water. Most types of paper can be recycled in different ways. Having a program to recycle at home and work can also be helpful. One way to recycle is saving your newspapers and dropping them off at recycling bins, this will prevent landfills from getting full.

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Changing Representation Of Sexuality And Gender In Regards To The Haunting(1963) and The Haunting(1999)

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The Haunting Sexuality & Gender

The two versions of 'The Haunting' are both different and each signals the values of contemporary society (or what was contemporary at the time of release).

Robert Wise's 16 version of the film, 'The Haunting', showed a different representation of women than in Jan DeBont's 1 remake. This is due to the changing attitudes towards sexuality and gender of contemporary society.

In Wise's version, the main character, 'Eleanor' or 'Nell' (Julie Harris), is very frail and is shown as a believably naïve and emotional spinster. Whereas, in contemporary society, it would not be acceptable to portray a woman in this way. So, Jan DeBont had to change the character's personalities to adapt to the change in societal values. Hence, why the 1 version of the film shows 'Nell' (Lili Taylor) as a young, attractive and determined woman.

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However, the character of 'Theodora' in the 16 version (Claire Bloom) is shown as confident and wealthy. This could be Wise's attempt at showing that at the time values were changing and that women were starting to stand up against traditional principles. Also, from the extract I watched, it seemed as if 'Theo' was not exploited as a sex object. Also, I noticed subtle hints of homosexuality/lesbianism through her dialogue. For example, when 'Nell' and 'Theo' first meet, 'Theo' smiles at 'Nell' and says,

"we shall be like sisters"

as if implying a sexual tone to her voice. It seems in the 16 version Wise is trying to imply a change in sexual attitudes but keeping a low profile as not to offend the more traditional viewers of the film.

This is certainly not the case in DeBont's 1 remake, in which, when 'Theo' (Catherine Zeta-Jones) and 'Nell' first meet, 'Theo' immediately starts talking about both her boyfriend and girlfriend immediately showing us she is bi-sexual. This is because it is not a 'frowned against' issue in today's society; whereas, in 16 it would still be very much opposed against, although just starting to become more open.

The last of the characters in the extracts was 'Mrs Dudley'. When compared, these two characters from 16 and 1 are very much the same a dominant woman who seemingly knows about (and secretly fears) the house. The only differences I can seem to find is that the 16 character (Rosalie Crutchley) is not as important in setting the scene and also appears to have a nice side to her (which we can see when she smiles at 'Nell'). The 1 character (Marian Seldes) does not have this. She is much more the dominant character and is not fazed by 'Nell' or 'Theo'. This could possibly show the recent lack of respect for authority in modern society. We can see this when 'Theo' does not appear to be listening to 'Mrs Dudley' in the 1 remake.

The audience for the first version of the film in 16, I believe would have been mostly women. This is because of the two female leads dominating the movie. However, the 1 version seemed to attract both a large male and female audience. I think that this was because there was more put into the film for the male audience. For example, Catherine Zeta-Jones was exploited as a sex object in the 1 version; the special effects could also have influenced more of a male audience.

The changing values of society meant that when DeBont remade the original in 1 he had to not just make changes to the characters but the setting and props as well. Society does not get as scared as easily anymore. So when I looked at the sets I noticed that the original 'Hill House' was just a large, clean, house with low ceilings and teak furniture. This is not the type of setting that would put the chills up contemporary society. This is why the sets and props have changed in the 1 remake. The house is still a large mansion but its interior has carved faces and gargoyles scattered throughout the building. The fireplace, bedrooms and dining rooms are all huge and extravagant. Although 'Mrs Dudley' is a cleaner, the place is still dusty giving the contemporary audience a spooky feel.

There are assumptions made about the sexuality of the characters in both films and in both, 'Nell' comes under that issue. Although in the 16, we believe very slightly that 'Theo' may be homosexual (through her dialogue and facial expressions aimed at Nell), it's clearly the case in the 1 version (in which 'Theo' proudly announces her bi-sexuality). But the assumptions that are made come from 'Nell's' reactions to this. In the original 16 version, 'Nell' befriends 'Theo' on first sight without knowing anything about her. So in this version it is only very subtle. However, in this 1 version of the film, 'Nell' reacts differently as 'Theo' changes, 'Nell' turns away but watches her undressing in the mirrors reflection this could be hinting lesbianism. Also, what I notice was that when 'Theo' asked 'Nell' if she had a boyfriend, 'Nell' was straight-faced, but when asked if she had a girlfriend, 'Nell' smiles to herself before turning and replying 'No'. This again points toward 'Nell' being lesbian. The closeness of the friendship also signifies lesbianism as 'Nell' does seem interested in 'Theo' but not in any of the men (which we see as the movie progresses).

The narrative in the 16 version was mainly from 'Nell's' P.O.V. This was also emphasised by Wise's use of an interior monologue. Whereas in the modern version, we notice that it is more omniscient. We don't get the interior monologue although we do get 'Nell' talking out loud to herself (sort of an exterior monologue). I think this is because the majority of contemporary society prefers to know as much about what is going on all round rather than just from what is happening in one place (however there are exceptions).

Finally, the two extracts are different because of the change in sexuality and gender issues from 6 to 1. What was frowned upon in 16 is not as big an issue anymore. Society is more open to different attitudes and roles and this can be shown through film.

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