Persona Phantom Of The Opera English Patch

Like many other stories, The Phantom of the Opera engages the conventions of horror as a metaphor for the unfair results of social class and its rigid distinctions. The centerpiece of this theme is Moncharmin, who manages to become a director of the opera house despite having no musical training. Aug 03, 2018  Rca Wireless Receiver Ir Emitter Model D930 Manually 8/3/2018 admin 'Labels Do Matter' Could we use the Human Performance Technology Model Statements for Evaluating Instructional Designers This posting is the 3rd in a series of postings discussing distinguishing instructional designers using competencies, statements, etc.

Rebellion Against Society

The Phantom is in rebellion against society. His obsession with revenge is spurred by righteous anger borne from the conviction that society has rejected him. Like so many who become unwilling outcasts, he internalizes that rejection by rejecting his own identity and putting on the persona of the Phantom in the belief that without the masquerade, society would take no notice of him. Whether the Phantom is actually justified in feeling outrage at his ostracism is a key open question of the story.

Life is a Masquerade

A writer does not set his tale of gothic horror within the milieu of an opera house without taking on themes associated with reality, illusion, and perception. The plot focuses on seemingly impossible feats, overwhelming drama, and misdirection; in this sense, the entire novel becomes an exercise in arguing that most of what is experienced in life is an illusion to one degree or another.

Critique of Social Class

Like many other stories,The Phantom of the Opera engages the conventions of horror as a metaphor for the unfair results of social class and its rigid distinctions. The centerpiece of this theme is Moncharmin, who manages to become a director of the opera house despite having no musical training. Fortunately, Moncharmin possessed something deemed far more worthy: wealth and connections within the social elite of Paris. In a sense, Moncharmin represents a far more monstrous figure of evil than the Phantom.

Looks versus Talent

One theme found in the novel that seems to have never gone out of style is the propensity for those who look good to excel in competitions against more talented, but less aesthetically pleasing, rivals. Erik is unquestionably a great talent, but his dreams of fame and stardom are forever doomed by his disfigured face. Even today, this story is played out on a daily basis; for every Erik forced to become a Phantom because his talent goes unappreciated, there are a dozen, a hundred, or even thousand Kardashians. Given this reality, who wouldn’t go mad in the sewers?

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The Duality of Obsesssion

Obsession is not inherently good or evil. When directed in a positive way, obsession results in the art of Van Gogh and the music of Beethoven. When directed in a negative way, the result is serial killers and billionaires like Donald Trump. Erik is not the only exemplar of this theme. While his obsession clearly gets away from him, consider the scene where the managers act obsessively to deny Erik his rightful payment. And, then, of course, there is the novel’s most iconic image of obsession, as portrayed on screen and stage: Christine’s obsessive need to view what lies beneath the Phantom’s mask.

Family

The importance and weight that Christine and Raoul give to their respective families could, arguably, not be more different. Whereas Christine is devastated when her father dies, almost giving up singing and performing, Raoul is quite content with arguing and publicly defying (via newspaper) his older brother, who has cared for him in the absence of their parents. At the end, Leroux does not indicate how Raoul reacted or felt when he heard about his brother's death - there is a strong degree of brattiness, apathy, and selfishness ingrained in Raoul's character. On the other hand, Erik ran away from his family at a young age, but for different reasons: his family could not bear his ugliness (as Leroux describes it); because of that, he chose to live a life as a drifter. Family has an incredible impact on the main characters of the story and the choices they make, particularly in the way they choose to value other people. Christine's loving upbringing leads her to become quite caring and compassionate herself; despite having a caring brother and lofty upbringing, Raoul does not act the same way; Erik, predictably is rash and childish, not having received much love or familial attention as a child.

Anger

With many emotions pervasive throughout the plot, we see that anger in particular is the cause of many smaller conflicts. This includes Richard's confrontation with Mme. Giry, when he accuses her of stealing money, yelling and seizing her wrist. We also see this with Erik, who threatens to blow up the Opera House if Christine does not marry him. It is also evident in Raoul, especially when he accuses Christine of deception and hurls a bevy of insults relating to a perceived lack of love on Christine's part. Though it may have been unintended by Leroux, the anger in the story is generally aimed towards women, and one woman in particular: Christine. Erik and Raoul's love and jealousy form the core of the plot, and Christine thus serves as a kind of proxy for their own desires and intentions (good and bad).

William Claude Rains, born in the Clapham area of London, was the son of the British stage actor Frederick Rains. The younger Rains followed, making his stage debut at the age of eleven in 'Nell of Old Drury.'

Growing up in the world of theater, he saw not only acting up close but the down-to-earth business end as well, progressing from a page boy to a stage manager during his well-rounded learning experience. Rains decided to come to America in 1913 and the New York theater, but with the outbreak of World War I the next year, he returned to serve with a Scottish regiment in Europe. He remained in England, honing his acting talents, bolstered with instruction patronized by the founder of the Royal Academy of Dramatic Arts,. It was not long before his talent garnered him acknowledgment as one of the leading stage actors on the London scene.

His one and only silent film venture was British with a small part for him, the forgettable - (1920).In the meantime, Rains was in demand as acting teacher as well, and he taught at the Royal Academy. Young and eager and were perhaps his best known students. Rains did return to New York in 1927 to begin what would be nearly 20 Broadway roles. While working for the Theater Guild, he was offered a screen test with Universal Pictures in 1932. Rains had a unique and solid British voice-deep, slightly rasping - but richly dynamic. And as a man of small stature, the combination was immediately intriguing.

Universal was embarking on its new-found role as horror film factory, and they were looking for someone unique for their next outing, (1933). Rains was the very man. He took the role by the ears, churning up a rasping malice and volume in his voice to achieve a bone chilling persona of the disembodied mad doctor. He could also throw out a high-pitched maniac laugh that would make you leave the lights on before going to bed. True to Universal's formula mentality, it cast him in similar roles through 1934 with some respite in more diverse film roles - and further relieved by Broadway roles (1933, 1934) for the remainder of his contract. By 1936, he was at Warner Bros. With its ambitious laundry list of literary epics in full swing.

His acting was superb, and his eyes could say as much as his voice. And his mouth could take on both a forbidding scowl and the warmest of smiles in an instant. His malicious, gouty Don Luis in (1936) was inspired. After a shear lucky opportunity to dispatch his young wife's lover, in a duel, he triumphs over her in a scene with derisive, bulging eyes and that high pitched laugh - with appropriate shadow and light backdrop - that is unforgettable.He was kept very busy through the remainder of the 1930s with a mix of benign and devious historical, literary, and contemporary characters always adapting a different nuance - from murmur to growl - of that voice to become the person. He culminated the decade with his complex, ethics-tortured Senator 'Joe' Paine in (1939).

That year he became an American citizen. Into the 1940s, Rains had risen to perhaps unique stature: a supporting actor who had achieved A-list stardom - almost in a category by himself. His some 40 films during that period ranged from subtle comedy to psychological drama with a bit of horror revisited; many would be golden era classics.

He was the firm but thoroughly sympathetic Dr. Jaquith in (1942) and the smoothly sardonic but engaging Capt. Louis Renault - perhaps his best known role - in (1942). He was the surreptitiously nervous and malignant Alexander Sebastian in (1946) and the egotistical and domineering conductor Alexander Hollenius in (1946).

He was the disfigured (1943) as well. He played opposite the challenging in three movies through the decade and came out her equal in acting virtuosity.

He was nominated four times for the Best Supporting Actor Oscar - but incredibly never won. With the 1950s the few movies left to an older Rains were countered by venturing into new acting territory - television. His haunted, suicidal writer Paul DeLambre in the mountaineering adventure (1950), though a modest part, was perhaps the most vigorously memorable film role of his last years. He made a triumphant Broadway return in 1951's 'Darkness at Noon.' Rains embraced the innovative TV playhouse circuit with nearly 20 roles. As a favored 'Alfred Hitchcock' alumnus, he starred in five (1955) suspense dramas into the 1960s.

And he did not shy away from episodic TV either with some memorable roles that still reflected the power of Claude Rains as consummate actor - for many, first among peers with that hallowed title.- IMDb Mini Biography By:Spouse (6) Rosemary McGroarty Clark(August 1960 -1964) ( her death)Agi Jambor( 1959 -1960) ( divorced)Frances Propper( 1935 -1956) ( divorced) ( 1 child)(November 1924 -1935) ( divorced)(1920 -1920) ( divorced)(1913 -1918) ( divorced)Trade Mark (3). Invited his daughter Jennifer to her daughter Christina's birthday party. Mac dvdripper pro serial key.

She told Jennifer's mother, Claude's wife, that Jennifer could wear jeans. Jennifer showed up to the party the only little girl not dressed up.

When Christina introduced Jennifer to her mother, Crawford said to Jennifer, 'It was very nice to meet you. And now you may leave.' Jennifer was also shown Christina's extensive doll collection, which Christina explained to her that no one was ever allowed to touch or play with. Jennifer never returned to the Crawford home. He acquired the 380-acre (1.5 km2) Stock Grange Farm, built in 1747 in West Bradford Township, Pennsylvania (just outside Coatesville), in 1941. The farm became one of the 'great prides' of his life.

Here, he became a 'gentleman farmer' and could relax and enjoy farming life with his then wife (Frances) churning the butter, their daughter collecting the eggs, with Rains himself ploughing the fields and cultivating the vegetable garden. He spent much of his time between film takes reading up on agricultural techniques to try when he got home. He sold the farm when his marriage to Propper ended in 1956; the building now, as then, is still referred to by locals as 'Rains' Place'.