Finally, I personally do not really dissociate the two terms. If they are used to describe people, I would tend to find a wide variety of people beautiful. Indeed, as for me, attractive people are those who are at ease with themselves and are not afraid of showing their shortcomings, as well as their qualities.

    Then, as I explained beforehand, I don't believe there can be rules to define beauty and ugliness. We all make ourselves our own definition based on who we are, our education, and the kind of things we are familiar with. Furthermore, to come back to what I said before, the different types can coexist and live happily together, despite few tensions because of jealousy. However, for some people, it may become a burden on a daily basis because of prejudice. For instance, one of the most popular belief is that one can't have both beauty and brain.
    Indeed there are a plethora of prejudices based on looks. Those are expressed though art, movies. They are many teen films talking about blonde girls. I particularly enjoyed Legally Blonde because it shows that despite being blonde and having almost everyone telling her she can't become a lawyer, she goes for it without hesitation and believes in herself. I also believe that to make a beautiful art piece, the artist must make beauty and monstrosity coexist. For instance Bosch is able to paint beautifully cute creatures who are also cruel. And his paintings always convey a wonderful tale mood.

    To conclude, there is no such thing as something pretty and ugly. Therefore there are as many definitions and meaning as human beings on this earth. 

Unfortunately, northerners did not welcome African Americans with open arms. While the legal systems of the northern states were not as obstructionist toward African American rights, the prejudice among the populace was as acrimonious. White laborers complained that African Americans were flooding the employment market and lowering wages. Most new migrants found themselves segregated by practice in run down urban slums. The largest of these was Harlem. Writers, actors, artists, and musicians glorified African American traditions, and at the same time created new ones.

I will use the brand sense as a call to help. The name of the brand refers to the country of Ghana. Because the cocoa beans come from this country. The elephant is an imposing animal. I will use this image to make a slogan. I take the famous phrase from Armstrong. I will modify the sentence, the first steps of a great chocolatier. An elephant makes great strides compared to humans. Furthermore the word gold in the brand will be very useful. Gold is precious, rare and very valuable. My chocolate will therefore be precious, rare, and will be very valuable. I could even say for marketing that my chocolate has gold. Chocolate cooked with gold.

- make the government acknowledge the disease
- understand the disease with the help of the Doctor Emma Brookner

- bear witness to the spiral downwards, feel empathy, gain recognition

- lack of romanticization of the movie = show the reality as it is, be truthful, raw,

Ned Weeks' style : aggressive, in-your-face, sometimes rude, forceful, hyperbolic but realistic, and committed

Read the two reviews below. 
Highlight the meliorative and pejorative comments and expressions. 

Pair up and write your own film review. You are invited to a famous American daily show as a cinema journalist to deliver your personal review of the film. Your partner will play the role of the tv host and ask you questions about your opinion on the film, what was positive, efficient and interesting, and what could have been different or better according to your cinema / historian / sociological expertise. 

2) Clark : tall, lean / slender (slim), mysterious, probably dangerous, very machist/sexy
Sylvia : naive, innocent, surprised / shocked / startled / dumbfounded / puzzled / agape (bouche-bée) + panic-stricken
End = not afraid anymore, definitely more comfortable
Supernatural elements = thick fog, Clark came from nowhere like the vision, there's a build up until the supposed climax of the story (peak) but it turns out the vision is only a ghost = anticlimactic situation (burlesque)
Power shift / reversal = Sylvia is no longer afraid of him whereas Clark is weak / frightened


3) The climax is a joke / it is thwarted (contrecarré) by the plot twist : the growing fear (because of the mysterious sounds) leads to a ridiculous revelation : the « vision » / ghost they thought they saw is actually a goat ! = anticlimax
Gothic elements :
- supernatural elements (weird / eerie sounds),
- the relationship between the overpowering / charismatic man (the villain) + the damsel in distress = typically gothic
- the goat could be the Devil's ally

2§ The woman behind the character / her biography

3§ How to make a good Canadian Gothic tv show ? (attraction / crime / murder / taboo)
4§ An unreliable / untrustworthy narrator and her nightmare = a whodunnit (who has done it ?) = a detective story
5§ A neverending / mysterious story = truth or fiction ?

THE STRUCTURE OF A NOVEL : 

EXPOSITION – Grace Marks / 16 years old / Irish servant / Canada

RISING ACTION – Discovery of the murders (employer / housekeeper)

CLIMAX – She's being accused of murder

FALLING ACTION – sent to « jail » = asylum / mental homeb

DENOUEMENT – pardoned, flees to the US

Timbral and Vocal Signifiers of Masculinity in The Rocky Horror Picture Show by 

STEVEN BEVERBURG REALE 

Much commentary on the film has demonstrated that beneath its surface-level celebration of sexual desire and overt message of hedonism, the film instead preserves and reinforces an ethos of restraint and moderation. For example, Raymond Ruble’s psychoanalytic reading(1986: 164) positions Dr Scott as Super-ego, Riff Raff (the assistant) as Ego, and Frank as Id, and suggests that since the will of the Super-ego is enacted through the Ego, RH really promotes a compromise: a sexual middleground rather than the unbridled hypersexuality that characterises Frank. Similarly, John Kilgore (1986: 156) reads Frank’s murder as the reassertion of order and restraint upon the film’s ostensible celebration of sexuality: ‘The film only seems to preach the gospel of absolute pleasure; in reality it acknowledges the existence of sensible limitations. Susan Purdie (1999: 179)takes a stronger position, reminding us that any sexual middle ground promoted by  Rocky Horror is fundamentally inscribed within a patriarchal ethos.

The destruction of Frankenfurter’s world and Brad and Janet’s escape from it (presumably to wed) reaffirm the necessity of a heterosexual procreating society. Thus a conservative ideology contains  Rocky Horror’s outrageous appearances—traditional norms are validated; Frankenfurter is merely a distraction.(Kinkade & Katovich 1992: 200–1)

Film theorist Barry Grant (1991: 124) agrees, writing, ‘The viewer ultimately gains the double satisfaction of both rejecting dominant cultural values and remaining safely inscribed within them.’