I think i may have had the same text and my answer was snake... hope this helps have a nice day
Can I have Branliest for the Correct Answer?
Very often things like flashbacks, flash forwards, non-linear narratives, multiple plots and ensemble casts are regarded as optional gimmicks stuck into the conventional three act structure. They're not. Each of the six types I've isolated and their subcategories provides a different take on the same story material. Suddenly, one idea for a film can give you a multitude of story choices. What do I mean?
More than six ways to turn your idea into a film. Let's imagine that you've read a newspaper article about soldiers contracting a respiratory disease from handling a certain kind of weaponry. You want to write a film about it. Conventional wisdom says create one storyline with one protagonist (a soldier who gets the disease) and follow that protagonist through a three act linear journey. There's no question that you could make a fine film out of that. But there are several other ways to make a story out of the idea, and several different messages that you could transmit - by using one of the parallel narrative forms.
<span>Would you like to create a script about a group of soldiers from the same unit who contract the disease together during one incident, with their relationships disintegrating or improving as they get sicker, dealing with the group dynamic and unfinished emotional business? That would be a shared team 'adventure', which is a kind of group story, so you would be using what I call </span>Multiple Protagonist<span> form (the form seen in films like Saving Private Ryan or The Full Monty or Little Miss Sunshine, where a group goes on a quest together and we follow the group's adventure, the adventure of each soldier, and the emotional interaction of each soldier with the others). </span>
Alternatively, would you prefer your soldiers not to know each other, instead, to be in different units, or even different parts of the world, with the action following each soldier into a separate story that shows a different version of the same theme, with all of the stories running in parallel in the same time frame and making a socio-political comment about war and cannon fodder? If so, you need what I call tandem narrative,<span> the form of films like Nashville or Traffic. </span>
Alternatively, if you want to tell a series of stories (each about a different soldier) consecutively, one after the other, linking the stories by plot or theme (or both) at the end, you'll need what, in my book Screenwriting Updated I called 'Sequential Narrative', but now, to avoid confusion with an approach to conventional three act structure script of the same name, I term Consecutive Stories<span> form, either in its fractured state (as in Pulp Fiction or Atonement), or in linear form (as in The Circle). </span>
Answer:
Man is the center of the universe, the earth is the center of the universe: "Outside man there is nothing." ... He tells O'Brien that the Party will never overcome "the spirit of Man." O'Brien counters that if Winston is a man, he is the last one on earth.
The correct answer is C. Disappointment makes Pip a better person, while it has made Miss Havisham bitter.
Miss Havisham suffered the worst disappointment of her life when she was defrauded by Compeyson and left hanging at the altar on her wedding day. She has become extremely withdrawn and bitter and now hates all men. She has indoctrinated Estella to be the instrument of her revenge on all men, emotionally and psychologically crippling her. Pip on the other hand is faced with several serious disappointments in his life but because he is an idealist he strives for his own betterment as a person every time. He is scorned and belittled by Estella yet he refuses to let go of his love for her and even when she gets married to Bentley Drummle he still loves her. Furthermore, even when Miss Havisham reveals that she is the one who manipulated Estella into marrying Bentley, Pip forgives her and saves her when her dress catches fire. He is then greatly disappointed again when he learns that his actual benefactor is the poor, ignorant ex-convict Abel Magwitch since he realizes that he owes his financial security to an outcast of the very classist society he worships. Instead of despising Abel Magwitch, he comes to question the extremely unfair and snobbish nature of his society.
