Answer:
I believe it symbolizes things that don’t grow or change.
Explanation:
Answer:
people are vegan mostly because they believe that eating meat and using animal products is cruel. Another answer may be that they believe that "meat is bad for the enviorment."
Answer:
The tale about the fish is a metaphorical story that Dorothea used to talk about Joe and his need to stop his 'tunnel-vision’ and focus on things around him too. Joe thought playing with Dorothea will be 'different' and would make him famous and rich, but that wasn't the case. He was still the same Joe, riding the same subway, leading the same life. In fact, nothing ever changed, which confused him.
Explanation:
The Pixar movie "Soul" is not only a beautiful animated movie but also a deeply thought-provoking movie dealing with existentialism and the importance of one's life aims.
In the movie, Joe Gardner was and his only goal was to play alongside the famous jazz artist Dorothea Williams. And in this desire, he forgot to think of his other relationships, be it with friends or families. His sight was just a one-way tunnel, with Dorothea at the end of the tunnel.
When Dorothea told him about the fish, she is using a metaphorical tale to tell Joe about how it is important to be aware of the surroundings. Joe had believed that playing with Dorothea will be 'different, but when he actually played for her and he felt nothing different or 'great', he was confused. He did not even know how or what to do next after he had 'achieved' his goal. So, Dorothea's story is about Joe and his tunnel vision that blinded him to other things around him.
Various themes were in this excerpt "To and Athlete Dying Young" by A.E Housman. It introduces the idea of home, effect of time, how pride and competition go together, how death brings us into a new destination. On a nutshell, it's not talking about a typical teenage life or an athletes in general, but different experiences about life from college years. In the end, it exemplifies the beauty of dying young, wherein challenges can be avoided.
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>
