hamlet代写：电影角色的刻画
hamlet代写：电影角色的刻画
调查发现，Wadjda的母亲有一份工作，但她无法控制自己的收入或开车上班。此外，她不断地与女儿出生后，她的丈夫可能会通过娶第二个妻子来获得一个儿子的担忧作斗争(Reichle 2014)。Wadjda被认为是崇拜她的父亲，但她沮丧地发现，他们的族谱不被视为成长，因为只有男孩被认为和计算在扩大的家庭。主要的性别问题已经通过这部电影浮出水面，因为学校里的大女孩们因为拥有化妆品和杂志而受到惩罚，同时驱逐那些偷偷溜出去见任何男孩的女孩(nafice 2003)。主要角色Wadjda居住在一个受保护的和童年的自由地带，对自己作为二等公民的生活毫无准备。从她最好的朋友不是女孩而是男孩的角度来看，她想拥有一辆自行车，以便在比赛中击败他的朋友，意识到这样的友谊必须结束，她感到心碎。
由于瓦德达这个角色本身的原因，人们发现这部电影比冷酷的电影更轻松。在黎巴嫩穆斯林Caramel的第二部电影中，Nisrine意识到社会规范谴责婚前性行为后，面临着离婚的风险(Mendes & Sundholm 2015)。从电影中可以明显看出，通奸在她的宗教信仰中是被高度禁止的，因为她是穆斯林、相关的社区和文化，如果她的丈夫或保守的核心家庭意识到这个角色的过去，就会付出巨大的代价。Rima的角色是同性恋，但她只能和美容院的密友联系。在电影的一个场景中，这个角色为了在参加Nisrine的婚宴上展现女性的气质，进行了一次彻底的改头换面。在性别规范已经存在的社会中，她的转变被认为在本质上是对立的。
hamlet代写：电影角色的刻画
It is found that mother of Wadjda holds a job but she does not have the control over the earning she makes or driving to the workplace. Moreover, she constantly struggle with the worries that as daughter was born, her husband might resort to getting second wife in order to gain a child son (Reichle 2014). Wadjda is seen to adore her father but she is dismayed to identify that their family tree is not counted as growing as only the boys are considered and counted within the expansion of family. Major gender issues have surfaced through this movie as the older girls at schooling are penalized and punished for the possession of makeup and magazines along with expelling the certain girls who sneak out for meeting any boy (Naficy 2003). The primary character Wadjda resides in a protected and childhood free-zone with unpreparedness for her own life as citizen of second class. From the viewpoint that her best friend is not a girl but a boy and her desire to own a bike for the purpose of beating his friend in a race is heartbreaking to realize that such a friendly companionship must be ended.
The movie is found to be more buoyant than being grim due to the character of Wadjda itself. In the secondly selected movie of Caramel, a Lebanese Muslim, Nisrine experiences a risk of dismantling her marriage after realizing the societal norm that condemns the pre-marital sexual practice (Mendes & Sundholm 2015). It is evident within the movie that adultery is highly forbidden within her religion of being Muslim, associated community and culture resulting in bearing a significant cost if her husband or nuclear family of conservative nature realizes about the character’s past. The Rima character is homosexual but she is only enabled to reach out to the close friends from the beauty salon. In one of the movie scene, this character is provided with a complete makeover in order for her to display femininity for attending the wedding reception of Nisrine. Her transformation is considered to be opposing in nature within the society where the norms of gender already exists.
