In the end everyone goes through pain, fear, trepidation, heartache and grief, but it is how we overcome it that changes how the world moves around us. It is how we make that jump, the leap of the ages that reveals to us how beautiful deep down this world truly is; and all we need do is give it everything within us.-Madeliene

Characters like Hamlet, Lear, and Macbeth have dominated the culture of our current Western media as icons in both our culture, our films, media or plays and are instantly recognisable when their names are invoked. However, each cultural stance and take is different, thus the modern versions of the characters are always changing like the sands of a dune. "Romeo" usually takes on the role of some kind of philanderer who is ever persistent in boasting his love, rather than a lover faithful till his last ill breath; further, "Hamlet" is turned into either a madman, a cunning figure, bipolar, or an indecisive over-thinker, and "Lady Macbeth," is turned into an ambitious female with the gusto and will to meet her own ends. These changes show a truth about how modern culture and modern life is formed from the past, and that all humans, no matter the period, are simply humans. There is nothing truly new under the sun, and the thoughts of Shakespeare can be visibly seen in our current world, or in the one before him. Further, it can be seen that of all periods the one that influenced him the most were the times of medieval Europe (middle and late middle ages) and this can be seen in all of his works as he attempted to capture that period with great sincerity and awe. In relation to that, Shakespearean works also show how media worked in the medieval period and was similar to the Renaissance – both didn’t have a form of net or social media, so all forms of “news” media were primarily done through newspapers, orators, and given to the people this way, whereas communicative media was done through messaging networks and letters, or provided by word of mouth; last but not least, their visual media were plays and writing, be it Greek tragedy or Shakespeare, plays have existed for millennia and have become what we now call “films”. 

-Madeliene 

1. Hartley defines intertextuality as the equivalent of cross-referencing and a given sign in other textual contexts. That is, the term stipulates we must understand and see the differences between types of media and how they relate. Media in this context meaning anything from film to books and art, however this deeper sense of relationship can have many other meanings that are much deeper and more personal in the works of art. In the exploration of my own intertextualities that I feel are also in some ways synonymous with the intertextualities of tragedy/pain I’ll explore below, I’ll talk about myself here.

I’m autistic and I have never known the feeling of not being that way, I only know who I am and that I am different than everyone around me, which people always love to mention and parade in my face. Because of my autism, I’ve found that it is very easy for not just myself to misunderstand, or misinterpret something, but others around me who almost readily misunderstand what I’m trying to say or do. This is a fairly common part of my life, and it could be called the tragedy of Autism: to rarely be understood properly. In connecting with literature, it can be easily seen that there exists a longstanding tradition, in which a protagonist, originally limited intellectually or socially by internal or external factors, becomes self-aware and ultimately suffers as a result of having achieved this new level of consciousness. This can be seen in most kinds of tragedies, especially when you consider so many of the great tragedies happen because of vast misunderstandings and misinterpretations, and so many tragic heroes are ultimately anti-social, or have, in some way, become more self aware of the world and become broken because of it.

Now, to tackle the bigger piece of this task..

2. Fate/Zero is a series that tackles a multitude of broad psychological and philosophical themes through its characters and their respective conflicts as Gen Urobuchi, its author, utilises the normal style of writing he always has, that of a tragedy to showcase and depict the themes he wants to showcase and explore in his work. It is his belief that all things in the world, if they are just left alone and paid no attention to, are bound to advance in a negative direction, and that no matter what we do, we can't stop the world from getting colder. This is a belief system he readily explores and showcases, clashing it with the inverting of black and white as principles. Simply put, Fate/Zero is a thematically rich, brutally nihilistic series which benefits greatly from strong execution in sight and sound ontop of story. This narrative of nihilism, darkness and tragedy can be seen to be akin to Friedrich Nietzsche meeting with Greek Tragedies, and if that wasn’t enough, all of this is interwoven into a visual epic that is unbelievably stunning, and you could pretty much stop the movie at any moment and use the images as the background of your computer. The vivid popping out colors and the amazing lightning are an absolute joy for the eyes to see. The influences that this art communicates is the depth of the inverting of black and white in its deconstruction of the world at large, showcasing the deeper reality of the world and then contrasting ideologies with one another - ideologies can lead to failure, but it can also lead to greatness and we can better ourselves with them, just as so for morality. We can see this in all the different characters; Kiritsugu contrasts the meeting of ideology with being forced to grow up and becoming a cynical realist;compared to Waver who is a idealist who actually strengthens his ideology and is rewarded for it, in the end the happiest character is Waver, who was confronted with reality and the real world, but was able to affirm his decisions and beliefs despite being punished so much for the past. Kiritsugu, who was forced to see the flaws in his attempt at making a realistic ideology, breaks at the seams. He is our tragic character, the one who only continued living because he finally managed to save just one person. Kirei Kotomine is the psychopathic realist, anti-social, terrible with people, terrible with anything not to do with killing, and together the three are mirrors of each other - on opposite spectrums but coinciding together. Every time, there is a chance for a happy ending, for a moment of redemption for them, but it is broken and smashed to pieces by Gen as he consistently smacks the reader with the harsher side of his world and depicts the darker side of reality to the fullest. Several characters in this work become self aware, and are punished for it. They are ripped out of their bubbles and shown the truth of the world and are hurt and broken because of it, at every point. Waver speaks to me because of his struggles when he is alienated by teachers and students alike - my experience in school was terrible when I was young, people didn’t accept me because I was different, and the teacher’s not only didn’t know how to deal with me, they didn’t really care about teaching me properly.

Reference 
https://theanimehubcom.wordpress.com/2016/08/21/fatezero-analysis-part-1-psychopathy-utilitarianism-and-kirei-kotomine/ 

“This is Anakin Skywalker:
The most powerful Jedi of his generation. Perhaps of any generation. The fastest. The strongest.
He is the best there is. The best there has ever been.
HoloNet features call him the Hero With No Fear. And why not? What should he be afraid of?
Except—
Fear lives inside him anyway, chewing away the firewalls around his heart.
Anakin sometimes thinks of the dread that eats at his heart as a dragon and remembers the past. Children on Tatooine tell each other of the dragons that live inside the suns; smaller cousins of the sun - dragons are supposed to live inside the fusion furnaces that power everything from starships to Podracers.
But Anakin’s fear is another kind of dragon. A cold kind. A dead kind.
But not nearly dead enough.
Not long after he became Obi-Wan’s Padawan, all those years ago, a minor mission had brought them to a dead system: one so immeasurably old that its star had long ago turned to a
frigid dwarf of hypercompacted trace metals, hovering a quantum fraction of a degree above absolute zero. Anakin couldn’t even remember what the mission might have been, but he’d never forgotten that dead star.
“It is the way of the universe, which is another manner of saying that it is the will of the Force,” Obi-Wan had told him. “Everything dies. In time, even stars burn out. This is why Jedi form no attachments: all things pass. To hold on to something— or someone—beyond its time is to set your selfish desires against the Force. That is a path of misery, Anakin; the Jedi do not walk it.”
And that is the kind of fear that lives inside Anakin Skywalker: the dragon of that dead star. It is an ancient, cold dead voice within his heart that whispers to him in the dark that all things die…
In bright day he can’t hear it; battle, a mission, even a report before the Jedi Council, can make him forget it’s even there. But at night—
At night, the walls he has built sometimes start to frost over. Sometimes they start to crack.
At night, the dead-star dragon sometimes sneaks through the cracks and crawls up into his brain and chews at the inside of his skull. The dragon whispers of what Anakin has lost. And what he will lose.
The dragon reminds him, every night, of how he held his dying mother in his arms, of how she had spent her last strength to say I knew you would come for me, Anakin…
The dragon reminds him, every night, that someday he will lose Obi-Wan. He will lose Padme. Or they will lose him.
All things die, Anakin Skywalker. Even stars burn out…
And the only answers he ever has for these dead cold whispers are his memories of Obi-Wan’s voice, or Yoda’s.
But sometimes he can’t quite remember them.”

This quote is exactly what makes ROTS work, and what makes it a truly amazing, phenomenal film that was a true answer to the franchises needs and still stands the test of time to this day. Complaining about dialogue is a silly issue, dialogue was never Star Wars strongest side - it was always its characters, storytelling and how they interacted with one another. In this respect, the tragedy that is ROTS truly holds the mantle of stories from Shakespeare, Greece, and Frankenstein.

Jazz Night in America Published on Feb 23, 2017
https://youtu.be/Pm4D1rzq0sA 

2 www.vulture.com 

http://www.vulture.com/2017/01/what-la-la-land-gets-wrong-about-todays-jazz.html?mid=twitter_vulture 

3 Youtube Source

https://youtu.be/Tfx9B7hGk5o

4 Youtube Source
La La Land (2016 Movie) Official Clip – “City Of Stars”
Lionsgate Movies Published on Dec 7, 2016
https://youtu.be/cZAw8qxn0ZE

5 Youtube Source 

https://youtu.be/Tk_h-6cCQy0
- Madeliene Edwards