Exam Material January 2025 MYP2 PDF

Exam Material January 2025 MYP2 [Literary elements] are necessary parts that create a story and build it up, such as plot, point of view (pov), and setting. Literary elements basically inform us about the who, what, when, where, why and how of a story. If the story does not answer these, then it is...

Exam Material January 2025 MYP2 [Literary elements] are necessary parts that create a story and build it up, such as plot, point of view (pov), and setting. Literary elements basically inform us about the who, what, when, where, why and how of a story. If the story does not answer these, then it is not complete yet. In other words, they are things you find in the book that help you understand its message. [Textual analysis] is a term used to refer to research methods aiming to describe, interpret and understand various texts. One can gather the literal meaning of the text as well as subtext, assumptions, symbolisms and values. There are two approaches of textual analysis we have focused on so far. One is by analyzing the literary elements found in the text and the other is by understanding the historical context surrounding the text (before it was written, as it was being written and after it was written). While the historical context needs external sources to be defined, the literary elements can be found with only the work in question as a resource. These are the main elements found in a text: 1. [Character(s)]: a person, animal, creature, being or object in a story. Through their actions and speech they help the story unfold. A story needs a minimum of one character (protagonist) to be complete. Characters are divided into 3 categories. Protagonists (main characters), antagonists (create conflict), and supporting characters (everyone else who helps tell the story). 2. [Plot]: the sequence of events within a story, a description of what happens and why. 3. Setting: time, duration and place the story is set. These can be either fantast (made-up) or real. The story can also take place in the past, present or future. 4. [Point of View (POV)]: who is telling/narrating the story (first person, second person, third person) 5. [Theme]: the underlying message/topic the author is trying to teach us, the core idea of a text. It is usually a social construct e.g. racism, sense of belonging, hero complex, male gaze, mother-daughter relationship etc. 6. [Conflict]: it presents the struggle between two or more sides because of differences in values, wants, motivations etc. It can establish the main action of the story, create tension between the characters and eventually lead to the resolution of the conflict 7. [Climax]: the dramatic turning point of a story where the character makes the decision that resolves the conflict. **A Day's Wait by Ernest Hemingway** After a while he said to me, 'You don't have to stay here with me, Papa, if it bothers you.' 'It doesn't bother me.' 'No, I mean you don't have to stay if it's going to bother you.' I thought perhaps he was a little light-headed and after giving him the prescribed capsule at eleven o'clock I went out for a while. It was a bright, cold day, the ground covered with a sleet that had frozen so that it seemed as if all the bare trees, the bushes, the cut brush and all the grass and the bare ground had been varnished with ice. I took the young Irish setter for a little walk up the road and along a frozen creek, but it was difficult to stand or walk on the glassy surface and the red dog slipped and slithered and fell twice, hard, once dropping my gun and having it slide over the ice. We flushed a covey of quail under a high clay bank with overhanging brush and killed two as they went out of sight over the top of the bank. Some of the covey lit the trees, but most of them scattered into brush piles and it was necessary to jump on the ice coated mounds of brush several times before they would flush. Coming out while you were poised unsteadily on the icy, springy brush they made difficult shooting and killed two, missed five, and started back pleased to have found a covey close to the house and happy there were so many left to find on another day. At the house they said the boy had refused to let anyone come into the room. 'You can't come in,' he said. 'You mustn't get what I have.' I went up to him and found him in exactly the position I had left him, whitefaced, but with the tops of his cheeks flushed by the fever, staring still, as he had stared, at the foot of the bed. I took his temperature. 'What is it?' 'Something like a hundred,' I said. It was one hundred and two and four tenth. 'It was a hundred and two,' he said. 'Who said so?' 'The doctor.' 'Your temperature is all right,' I said. It's nothing to worry about.' 'I don't worry,' he said, 'but I can't keep from thinking.' 'Don't think,' I said. 'Just take it easy.' 'I'm taking it easy,' he said and looked straight ahead. He was evidently holding tight onto himself about something. 'Take this with water.' 'Do you think it will do any good?' 'Of course it will.' I sat down and opened the Pirate book and commenced to read, but I could see he was not following, so I stopped. 'About what time do you think I'm going to die?' he asked. 'What?' 'About how long will it be before I die?' **Biography of Ernest Hemingway** Ernest Hemingway (1899--1961) was one of the most influential American writers of the 20th century, known for his distinctive prose style and adventurous life. Born on **July 21, 1899**, in Oak Park, Illinois, Hemingway grew up in a conservative, upper-middle-class household. His father, Clarence Edmonds Hemingway, was a physician, and his mother, Grace Hall Hemingway, was a music teacher. Hemingway began his writing career as a journalist, reporting for the *Kansas City Star* after high school. During **World War I**, he volunteered as an ambulance driver for the Red Cross in Italy, where he was seriously wounded. His wartime experiences profoundly shaped his writing and themes. Hemingway became a prominent figure in the **\"Lost Generation\"** of expatriate writers living in Paris during the 1920s. His novels, such as *The Sun Also Rises* (1926), *A Farewell to Arms* (1929), and *For Whom the Bell Tolls* (1940), reflect themes of disillusionment, masculinity, and the human condition. He won the **Pulitzer Prize** for *The Old Man and the Sea* (1952) and was awarded the **Nobel Prize in Literature** in 1954 for his mastery of narrative and influence on modern fiction. Hemingway\'s life was marked by adventure, including safaris in Africa, deep-sea fishing in the Caribbean, and reporting during the Spanish Civil War and World War II. However, he struggled with mental health issues and alcohol dependence. He tragically took his own life on **July 2, 1961**, in Ketchum, Idaho. Ernest Hemingway's relationship with his father, Clarence Hemingway, was complex and deeply influential. Clarence was a strict and principled man who instilled in Ernest a love for nature, teaching him hunting, fishing, and outdoor survival skills that would become central themes in his writing. However, their bond was strained by Ernest's resistance to his father's conservative values and authority. **Key Aspects of Their Relationship:** 1. **Admiration for Nature**:\ Hemingway inherited his love for the outdoors from his father. Clarence's passion for hunting and fishing directly inspired many of Ernest's works, including stories like *Big Two-Hearted River*. 2. **Tension over Masculinity and Independence**:\ Hemingway's hypermasculine persona may have been a reaction to his father's perceived weaknesses. Clarence was seen by some as overly submissive to his wife, Grace, which Ernest resented. This may have contributed to Hemingway's later rejection of traditional domestic roles. 3. **Father's Suicide**:\ In 1928, Clarence Hemingway took his own life, reportedly due to financial and health issues. Ernest was devastated by the loss and blamed his mother for Clarence's depression, further complicating his feelings toward both parents. This tragedy had a profound effect on Hemingway's mental health and outlook on life, as he himself struggled with depression and suicidal tendencies in later years. **Impact on Hemingway's Writing:** The tension with his father and the pain of Clarence's suicide are reflected in Hemingway's works, where themes of loss, conflict, and strained familial relationships often emerge. His portrayal of male characters grappling with their identity and emotional struggles can be seen as a reflection of his own inner conflicts. **Textual Analysis for A Day's Wait by Ernest Hemingway** Plot The story is a subtle and poignant exploration of a young boy's misunderstanding and its emotional impact. The story begins with a father noticing that his young son, Schatz, is ill. The boy's temperature is taken, and he is diagnosed with the flu. As the father cares for his son, Schatz appears detached and preoccupied, refusing to sleep and acting strangely. This behavior puzzles the father. Schatz reveals that he believes he is going to die because his temperature is 102 degrees. The boy misunderstands the measurement, thinking it is in Celsius, which would indeed indicate a fatal fever. The father explains the difference between Fahrenheit and Celsius, alleviating the boy's fear. Schatz realizes he is not going to die. The boy relaxes but is emotionally drained, and his father notes how the day's tension has affected him. Setting house in winter (isolation, reflection), in 20^th^ century (modern period) Characters: Schatz, Father, Doctor Schatz A young boy who misinterprets his illness as fatal due to a misunderstanding of temperature scales. He embodies innocence, bravery, and the vulnerability of children. Father A calm and practical figure who provides care and reassures Schatz. His measured responses highlight his love for his son and his ability to handle the situation with quiet strength. Doctor A minor but crucial character who diagnoses Schatz and provides the initial context for the boy's fear. His brief appearance sets the stage for the story's central conflict. POV 1^st^ person, father perspective - Conflict:\ **Internal Conflict (Schatz)**: The boy struggles silently with his belief that he is going to die. His fear and stoicism reflect a profound emotional conflict that he does not fully articulate. - **External Conflict (Schatz vs. Reality)**: Schatz's misunderstanding of the temperature scale leads to his unwarranted belief that death is imminent. - **External Conflict (Father vs. Misunderstanding)**: The father must address and resolve his son's misconception without realizing its severity until Schatz voices it. Climax Schatz reveals to his father he knows he's going to die because of the fever (102) Resolution father explains the difference between Fahrenheit vs Celsius Themes: - Fear + miscommunication (misunderstanding about temperature -- lack of communication) - father-son relationship (deep bond, father's calm vs boy's internal panic) - Courage + Vulnerability (Schatz thinks he's dying yet he is brave at the thought of imminent death + after he found out the truth, he cried at every little thing, he collapsed emotionally which highlights his vulnerability) - Perception + Reality (Schatz's misunderstanding shows us how easily our understanding of reality can be changed and affected **Writing A Biography** In order to write a biography, one must gather information from several sources. These can be either [primary] sources (directly from a person) or [secondary] sources (second-hand information). Then, they need to prepare questions and conduct interviews as the most reliable information comes from primary sources. When it comes to preparing questions, the interviewer must be aware that there are two types of questions; open-ended (or also known as Wh-Questions -- what, where, when, who, which, why, how) and closed questions (Yes/No Questions -- questions where the only possible answers are yes or no). After collecting the information, the author and interviewer must show their organizational skills by bringing a structure to the biography with an introduction and including a focus in at least one of the following areas (2-5). Areas one and six (introduction and conclusion) are necessary in all pieces of writing. 1\. [Introduction] - Purpose and Scope: Briefly outline the subject\'s significance and the scope of the biography (what aspects of their life will be covered). - Hook: Use an intriguing anecdote, a pivotal event, or a compelling statement to capture the reader's interest. - Thesis or Focus: Define the central theme or perspective of the biography (e.g., how the subject overcame adversity, their impact on their field, or the legacy they left). 2\. [Early Life and Background] - Birth and Family: Details about the subject's birth, family background, and early influences. - Childhood Experiences: Describe formative events, challenges, or opportunities that shaped their character and values. - Education and Early Interests: Highlight their academic and personal development, as well as any early signs of their future passions or talents. 3\. [Career and Major Achievements] - Professional Path: Chronicle the subject\'s career, focusing on milestones, turning points, and contributions. - Accomplishments: Discuss their major works, awards, or recognition, linking these to their broader impact. - Obstacles and Challenges: Explain difficulties they faced and how they overcame them, which adds depth and relatability. 4\. [Personal Life] - Relationships: Include details about family, friends, and other key relationships. - Hobbies and Interests: Showcase the subject's personality beyond their professional accomplishments. - Struggles and Triumphs: Highlight personal struggles or conflicts that reveal their humanity and resilience. 5\. [Later Years and Legacy] - Final Contributions: Discuss the subject\'s later work or activities and how they continued to impact their field or society. - Reflection on Legacy: Analyze how their life and work influenced others or shaped their era. - Death (if applicable): If deceased, mention the circumstances of their passing and immediate impact. 6\. [Conclusion] - Summary: Recap the most significant aspects of the subject's life and work. - Impact Statement: End with a reflection on their enduring influence or the lessons their life offers to readers. **LEGALLY BLONDE** **BREAK UP SCENE:** EXT. DELTA GAMMA HOUSE - USC - NIGHT Warner pulls up in front. It\'s a starry, romantic night. Everything should be perfect. It\'s not. Elle sits, still in shock, as tears continue to fall down her face. WARNER Elle, believe me, I never expected to be doing this, but I think it\'s the right thing to do. ELLE How can it be the right thing if we\'re not together? WARNER I have to think about my future. And what people expect from me. ELLE So you\'re breaking up with me because you\'re afraid your family won\'t like me? (through her tears) Everybody likes me! WARNER East coast people are different. ELLE Just because I\'m not a Vanderbilt, all of a sudden I\'m white trash? I grew up in Bel Air, Warner! Across the street from Aaron Spelling! I think most people would agree that\'s way better than a Vanderbilt - WARNER I told you, Elle. I need someone --- serious. ELLE I\'m seriously in love with you --- Isn\'t that enough? He looks away. WARNER I\'m sorry. He meets her eyes, pained, but determined. Then pulls away, leaving her there. \-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-- PARTY SCENE: INT. INTO THE LIVING ROOM - AT THE BAR - CONTINUOUS Sarah --- dressed as Hester Prynne --- and Claire as Joan of Arc \-- sip wine. ELLE (continuing; sarcastic) Thanks for inviting me, girls. This party is super fun. They roll their eyes, checking out her Bunny costume. SARAH You\'re supposed to be dressed as a famous defendant. Elle smiles at Sarah. ELLE I am. Didn\'t you hear about the Playboy Bunny who slit her ex- boyfriend\'s new fiancée's throat with a broken wine glass? It was tragic. She grabs a glass of wine and moves on. 58 EXT. OFF-CAMPUS HOUSE - BACK PORCH - NIGHT Elle walks onto the back porch and finds Warner, dressed as O.J. in a USC football uniform, number 32, with a ball and chain on his foot. ELLE Hey, O.J. Warner turns. He looks around for Sarah. Not seeing her, he smiles at Elle, admiring her costume. WARNER Wow. You\'re a walking felony. ELLE Thank you. Having fun? WARNER (checking her out) Now I am. ELLE (flirty) I feel like we\'ve barely spent any time together since we got here. WARNER That\'s because I spend all my time with case studies and hypos. ELLE Tell me about it. I can\'t imagine doing all this and Donovan\'s internship next year. WARNER (scoffing) Elle, c\'mon, there\'s no way you\'ll get the grades to qualify for one of those spots. You\'re not smart enough. She can\'t believe he\'s saying this. He realizes he\'s gone too far, and back-pedals. WARNER (continuing) I didn\'t mean --- ELLE (cutting him off) Am I on glue, or did I not get into the same law school you did, Warner? WARNER (covering) Well, yeah, but --- ELLE But what? We took the same LSAT, we take the same classes --- WARNER I just don\'t want to see you get your hopes up. You know how you get. She stares at him. Realizing the awful truth. ELLE I\'11 never be good enough for you, will I? When he doesn\'t answer, she walks back into the house. \-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-- INT. DONOVAN\'S OFFICE Elle stares at Donovan in horror, then grabs his hand --- stopping its journey upward. ELLE (upset) You\'re hitting on me? DONOVAN You\'re a beautiful girl, Elle. ELLE So everything you just said\--? DONOVAN I\'m a man who knows what I want. Elle rises, stung. She stares at him for a beat. ELLE And I\'m a law student who\'s finally realized how pathetic her professor really is. She walks out. DONOVAN (calling out) Too bad. I thought you were a law student who wanted to be a lawyer. Elle keeps walking. \-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-\-- COURTROOM SCENE: JUDGE I believe the witness has made it clear that she was in the shower. People start to murmur. Sarah looks worried. Donovan snickers. ELLE Yes, Your Honor. Had you ever gotten a perm before, Miss Windham? CHUTNEY (confused) Yes. The beginnings of a smile start to spread across Elle\'s face. ELLE How many, would you say? CHUTNEY Two a year since I was twelve. You do the math. ELLE You know, a girl in my sorority, Tracy Marcinko, got a perm once. Even though we all told her not to \~ curls really weren\'t the right look for her --- (chummy) She didn\'t have your bone structure. Chutney almost smiles. ELLE (continuing) But, thankfully, that same day, she entered the Pi Kappa wet t-shirt contest where she was completely hosed down from head to toe. Donovan shakes his head at her incompetence. DA JOYCE RAFFERTY Objection. Why is this relevant? Emmett clears his throat, worried. Elle turns around, giving him a \"trust me\" look. Then turns back to the judge. ELLE (to the judge) I have a point. I promise. JUDGE Then make it. Elle looks at Chutney. ELLE Chutney, why is it that Tracy Marcinko\'s curls were ruined when she got hosed down? CHUTNEY Because they got wet. ELLE That\'s right. Because isn\'t the first cardinal rule of perm maintenance that you are forbidden to wet your hair for at least twenty-four hours after getting a perm at the risk of de-activating the ammonium thiglycolate? Chutney pales. CHUTNEY Yes. ELLE And wouldn\'t someone who\'s had --- thirty perms? --- throughout her lifetime, be well aware of this rule? Chutney doesn\'t answer. She just glares at Brooke. ELLE (continuing) And if you, in fact, were not washing your hair, as I suspect you were not, since your curls are still intact, wouldn\'t you have heard the gunshot? Chutney continues to glare. ELLE (continuing) And if you in fact, heard the gunshot, then Brooke Windham wouldn\'t have had time to hide the gun before you got downstairs. Which would mean that you would\'ve had to have found Mrs. Windham with a gun in her hand to make your story sound plausible. Isn\'t that right? CHUTNEY She\'s younger than I am. Did she tell you that? How would you feel if your father married someone younger than you? ELLE You, however, had time to hide the gun, didn\'t you, Chutney? After you shot your father? Brooke looks at Chutney in horror, realizing. CHUTNEY I didn\'t mean to shoot him --- (to Brooke) I meant to shoot you! **Writers and Director's Biographies** **Writers: Karen McCullah and Kirsten Smith** Karen McCullah and Kirsten Smith are the co-writers of *Legally Blonde*, known for their collaboration on popular romantic comedies that often center on strong, unconventional female protagonists. - **Karen McCullah**: - Born on December 9, 1967, in the United States, McCullah attended James Madison University. - She is a screenwriter and novelist, with a knack for witty, female-driven narratives. - In addition to *Legally Blonde*, she co-wrote films like *10 Things I Hate About You* (1999), *She's the Man* (2006), and *The House Bunny* (2008). - **Kirsten Smith**: - Born on August 12, 1970, in Contra Costa County, California, Smith attended Occidental College and later completed the University of Southern California's screenwriting program. - Alongside McCullah, Smith developed a reputation for smart, feminist scripts. - Smith is also a poet and author, with published works including *The Geography of Girlhood* (2006). Their screenplay for *Legally Blonde* was based on the novel of the same name by Amanda Brown, who drew inspiration from her own experiences at Stanford Law School. **Director: Robert Luketic** - **Birth and Early Career**: - Robert Luketic was born on November 1, 1973, in Sydney, Australia, to Croatian immigrant parents. - He studied at the Victorian College of the Arts in Melbourne, Australia. - Luketic first gained recognition with his short film *Titsiana Booberini* (1997), which earned critical acclaim and several awards, including one from the American Film Institute. - **Hollywood Breakthrough**: - Luketic made his feature-film directorial debut with *Legally Blonde* (2001), which became a commercial and critical success. The film solidified his reputation as a director capable of blending comedy with empowering narratives. - **Later Career**: - He went on to direct other notable films such as *Monster-in-Law* (2005), *21* (2008), and *The Ugly Truth* (2009). - Luketic's style often incorporates humor, charm, and vibrant visuals, appealing to mainstream audiences. **Textual Analysis for the movie script Legally Blonde** Plot Elle Woods, a fashionable and optimistic sorority president, expects her boyfriend Warner to propose. Instead, Warner breaks up with her, claiming he needs someone \"serious\" to support his ambitions in law and politics. Determined to win Warner back, Elle applies to and gets into Harvard Law School, shocking everyone with her unconventional approach. She faces skepticism and mockery from her peers and professors, but gradually proves her intelligence and worth. Elle takes charge of defending Brooke Taylor-Windham in a murder trial. By using her intuition and legal knowledge, she discredits the prosecution's case and secures an acquittal, demonstrating her abilities and winning respect. Elle realizes she doesn't need Warner's validation. Instead, she embraces her independence and develops genuine friendships and self-respect. Elle graduates as valedictorian, confidently stepping into her future as a successful and empowered lawyer. Setting Harvard Law School, Massachusetts (Elle's bubbly personality vs conservative, elite setting), California sorority house (symbol for comfort), courtroom (symbol of her transformation + triumph) Characters: - **Elle Woods**: The protagonist, who evolves from a fashion-focused sorority president to a confident, capable lawyer. Her journey emphasizes resilience, intelligence, and authenticity. - **Warner Huntington III**: Elle's ex-boyfriend, whose rejection motivates her journey. He embodies elitism and superficiality. - **Emmett Richmond**: A supportive teaching assistant who respects Elle for her intelligence and kindness, eventually becoming her romantic partner. - **Vivian Kensington**: Initially Elle's rival and Warner's new girlfriend, Vivian undergoes her own transformation, becoming an ally and friend to Elle. - **Professor Callahan**: A lecherous and manipulative professor who initially offers Elle a chance but later reveals his sexist motivations. - **Paulette Bonafonté**: Elle's hairdresser and confidante, who provides comic relief and reinforces the theme of female solidarity. POV 3^rd^ person, primarily Elle's experience and emotional growth Conflict: - **External Conflict**: Elle faces societal and academic prejudice as an underestimated \"blonde bombshell\" at Harvard. Her classmates and professors doubt her abilities based on her appearance and background. - **Internal Conflict**: Elle struggles with self-doubt, questioning whether she belongs in a demanding academic environment. Her journey involves overcoming this insecurity and realizing her worth. - **Relational Conflict**: Elle's initial goal of winning back Warner clashes with her eventual realization that she doesn't need his approval to succeed. Climax when Elle discredits the witness on the stand by using knowledge of fashion and hair care which she combines with her intellect and legal skills to win the case Themes: - **Empowerment through Self-Belief**: Elle's journey is about discovering her inner strength and capabilities, proving that success doesn't require conforming to others' expectations. - **Challenging Stereotypes**: The movie dismantles the \"dumb blonde\" stereotype by portraying Elle as intelligent, resourceful, and driven, without sacrificing her femininity. - **Female Solidarity**: Through relationships with characters like Paulette and Brooke, the film highlights the importance of women supporting one another. - **Personal Identity vs. External Validation**: Elle initially seeks to change herself for Warner but learns that self-acceptance and authenticity are the keys to true success. **Somewhere I Belong by Linkin Park** When this began\ I had nothing to say\ And I get lost in the nothingness inside of me\ (I was confused)\ And I let it all out to find\ That I\'m not the only person with these things in mind But all that they can see the words revealed\ Is the only real thing that I\'ve got left to feel\ (Nothing to lose)\ Just stuck, hollow and alone\ And the fault is my own, and the fault is my own I wanna heal, I wanna feel what I thought was never real\ I wanna let go of the pain I\'ve felt so long\ (Erase all the pain \'til it\'s gone)\ I wanna heal, I wanna feel like I\'m close to something real\ I wanna find something I\'ve wanted all along\ Somewhere I belong And I\'ve got nothing to say\ I can\'t believe I didn\'t fall right down on my face\ (I was confused)\ Looking everywhere only to find\ That it\'s not the way I had imagined it all in my mind What do I have but negativity\ \'Cause I can\'t justify the way, everyone is looking at me\ (Nothing to lose)\ Nothing to gain, hollow and alone\ And the fault is my own, and the fault is my own I wanna heal, I wanna feel what I thought was never real\ I wanna let go of the pain I\'ve felt so long\ (Erase all the pain \'til it\'s gone)\ I wanna heal, I wanna feel like I\'m close to something real\ I wanna find something I\'ve wanted all along\ Somewhere I belong I will never know myself until I do this on my own\ And I will never feel anything else, until my wounds are healed\ I will never be anything \'til I break away from me\ I will break away, I\'ll find myself today I wanna heal, I wanna feel what I thought was never real\ I wanna let go of the pain I\'ve felt so long\ (Erase all the pain \'til it\'s gone)\ I wanna heal, I wanna feel like I\'m close to something real I wanna find something I\'ve wanted all along\ Somewhere I belong\ (I wanna heal, I wanna feel like I\'m)\ Somewhere I belong\ (I wanna heal, I wanna feel like I\'m)\ Somewhere I belong Somewhere I belong **Comparison of Legally Blonde and Somewhere I Belong by Linkin Park with a focus on the sense of belonging** Both *Somewhere I Belong* by Linkin Park and the movie *Legally Blonde* explore themes of self-discovery and the need to belong, albeit through vastly different mediums, tones, and contexts. Here is a detailed comparison focusing on their shared themes: **1. The Emotional Journey of Belonging** ***Somewhere I Belong*:** - The song reflects a deep **inner turmoil** and **alienation**. The lyrics express the protagonist's desire to overcome pain and find a sense of identity and place in the world. For example: \"I want to heal, I want to feel like I'm close to something real.\" - The journey in the song is internal, focusing on emotional struggles such as self-doubt, regret, and the longing to feel understood and accepted. ***Legally Blonde*:** - Elle Woods' journey is externalized through her experiences at Harvard Law School. She seeks to **belong in an environment** where she is initially dismissed due to her appearance and perceived superficiality. - Her journey involves proving her worth, challenging stereotypes, and ultimately finding her place by staying true to herself. - Unlike the somber tone of the song, the film frames the need to belong with humor and optimism. **2. Obstacles to Belonging** ***Somewhere I Belong*:** - The obstacles are **internal**, rooted in the protagonist's own feelings of inadequacy and emotional pain: \"And all the pain I felt so real, I will erase.\" - The speaker struggles to let go of past trauma and find self-acceptance. ***Legally Blonde*:** - Elle faces **external challenges**, including societal stereotypes, sexism, and the dismissive attitudes of her peers and professors. For instance, she is told by her ex-boyfriend that she isn't \"serious\" enough for law school. - Elle must overcome these barriers while staying true to her personality and values. **3. Defining Belonging** ***Somewhere I Belong*:** - Belonging is defined as a **state of emotional peace and authenticity**. The speaker seeks not just external validation but a personal sense of fulfillment: \"I want to heal, I want to feel what I thought was never real.\" - The song suggests that belonging is an internal journey of healing and self-realization. ***Legally Blonde*:** - Belonging, for Elle, is about **being accepted and respected for who she truly is**, rather than conforming to others' expectations. By excelling at Harvard and maintaining her individuality, she proves that belonging does not require sacrificing one's identity. **4. Transformation** ***Somewhere I Belong*:** - The transformation in the song is **implied** rather than explicitly shown. The lyrics indicate the speaker's determination to move past pain and achieve a sense of clarity and purpose. ***Legally Blonde*:** - Elle's transformation is visual and narrative-driven. She evolves from someone seeking validation from others (e.g., her ex-boyfriend) to someone confident in her abilities and values. Her success at Harvard symbolizes her integration into the academic and professional world on her own terms. **5. Tone and Medium** ***Somewhere I Belong*:** - The tone is introspective, melancholic, and raw, with a focus on internal struggles. The song uses **nu-metal instrumentation** and **intense vocal delivery** to convey emotional pain and longing. ***Legally Blonde*:** - The tone is light-hearted, comedic, and empowering, presenting Elle's struggles with humor and optimism. The movie employs **bright visuals** and **energetic music** to emphasize its uplifting message. **6. Universal Message** ***Somewhere I Belong*:** - The song resonates with those experiencing deep emotional pain and alienation. It emphasizes that healing and belonging require confronting and overcoming inner struggles. ***Legally Blonde*:** - The film delivers an empowering message about **breaking stereotypes** and finding one's place by staying authentic. It speaks to anyone who has felt underestimated or out of place. **Conclusion** Both *Somewhere I Belong* and *Legally Blonde* explore the universal human desire for belonging, but they do so through different lenses. The song focuses on internal healing and self-acceptance, while the movie addresses external validation and overcoming societal barriers. Despite their contrasting tones and approaches, both works ultimately highlight that true belonging arises from staying true to oneself. **Belonging and Stereotypes in Legally Blonde** **1. Challenging Stereotypes to Gain Belonging** Elle Woods defies the \"dumb blonde\" stereotype by proving her intelligence, work ethic, and legal acumen. Through her actions, the movie illustrates that: - **Overcoming Bias**: Elle's journey highlights how actively confronting and disproving societal stereotypes can open doors to acceptance and respect within a community. For instance: - Her detailed knowledge of fashion and hair care, traditionally dismissed as frivolous, becomes the key to winning Brooke Taylor-Windham's case. - She earns the respect of her peers and professors, including those who initially doubted her abilities. - **Personal Empowerment**: By challenging stereotypes, Elle not only gains acceptance but also builds her self-confidence, showing that belonging can stem from staying true to oneself. **2. Belonging Without Challenging Social Norms** While Elle challenges stereotypes, she doesn't completely abandon her identity or conform to Harvard's traditional norms. This aspect of her story suggests that: - **Authenticity is Key**: Elle's journey shows that maintaining individuality is equally important for belonging. Her pink outfits, bubbly personality, and kindness remain consistent, even as she navigates Harvard's rigid culture. - **Adapting to the Environment**: Elle gains acceptance not by directly rebelling against the entire social structure of Harvard but by excelling within its framework while staying true to herself. This suggests that challenging stereotypes is not the only way to belong; adaptation and authenticity can also lead to inclusion. **Conclusion** *Legally Blonde* argues that belonging can be achieved in multiple ways. Challenging stereotypes, as Elle does, is a powerful way to break barriers and gain respect. However, the movie also emphasizes that belonging is rooted in self-acceptance and authenticity, which may not always require going against social norms. **How To Write A Movie Script:** **Font and Size**: Always use **Courier** font, size **12**. This is the industry standard because one page typically equals about one minute of screen time. **Margins**: - Left margin: 1.5 inches (to allow space for binding). - Right margin: 1 inch. - Top margin: 1 inch. - Bottom margin: 1 inch. Place page numbers in the upper-right corner, starting on the second page. Do not include a page number on the first page of the script. **A. Scene Headings (Sluglines)** - Indicate the setting and time of day. - Format: INT. or EXT. + Location + Time of Day. - Example: INT. KITCHEN - NIGHT - Keep it concise but clear. **B. Action/Description** - Write in the **present tense**, describing what the audience sees and hears. - Example: John walks to the window and peers outside. Rain pelts the glass. - Avoid overly flowery language; focus on clear, visual descriptions. **C. Character Names** - When introducing a character for the first time, write their name in **ALL CAPS** and provide a brief description. - Example: SARAH, 30s, tall and confident, scans the room nervously. - For dialogue, center the character\'s name in **ALL CAPS** above their speech. **D. Dialogue** - Place dialogue below the character\'s name, indented about 2.5 inches from the left margin and 2 inches from the right. - Avoid long paragraphs of dialogue; break it up to maintain pacing. **E. Parentheticals (Wrylies)** - Use sparingly to indicate how a line should be delivered or what a character does during speech. **F. Transitions** - Use transitions like CUT TO: or FADE OUT: sparingly, and place them on the far right of the page. **G. Shots (Optional)** - Specify camera shots only if absolutely necessary for storytelling. - Example: CLOSE-UP ON JOHN\'S HAND as it clenches into a fist. Use proper indentation and spacing for each element. For instance: - Scene headings are in bold or caps. - Action is always aligned to the left margin. - Dialogue and character names are centered. - Consistency ensures professionalism and readability.