In the black-and-white workprint, the Haashkeekah (Trial by Stone) is longer according to the Marvel comic adaptation, the Haashkeekah consisted of 2 challengers hitting a stone 3 times, and the one who hits it harder is the winner.There are some scenes here that aren't in the color workprint, as well as a few extra shots of Jen leaving the Valley. After the Skeksis emperor dies, his remains are burned in an Archaic fashion.Jen's Master also dissolves in this scene, rather than later in the film. The scene where Jen hears his master dying words is completely different here than in the theatrical release, to make the speech less vague and confusing they used alternate footage and re-written dialogue.There, we see Jen swimming naked he plays his flute for a while while Ur-Ru appears and tell Jen someone wants to see him and that a storm is coming. After the Skeksis ritual, the camera fades through landscapes and mountains to the canyon where Jen lives.Jen has no monologues, the entire Dreamfast sequence is devoid of any dialogue, and instances in the theatrical release where Jen is concerned about the Crystal are completely absent in the workprint.Dialogue between Jen and Aughra at Aughra's home is different.All of the Skeksis scenes were re-dubbed into English, when they originally had their own language.A scene where the Ur-ru hum originally was supposed to take place after Aughra drops the vase of shards in front of Jen, but was moved to an earlier point to introduce the "Mystics".Jen originally had no idea of what to do with the shard, and the big question until he and Kira reach the old Gelfling temple is, "What is The Dark Crystal, and what do I do with the shard?" This was changed on the theatrical release to make it more obvious. Both are very similar in editing, but the latter workprint is rumored to be longer than the color workprint. There are 2 available workprints of The Dark Crystal: A murky VHS transfer from a color workprint, taken from a Laserdisc for the DVD/Blu-ray releases, and a black-and-white workprint made to test different versions of the score. Against Jim Henson's wishes, approximately 20 minutes of film were cut, and re-written dialogue and monologues added to make the film more clear to a broader audience. Due to most of the audience being families with small children (alienated by the film's content), those test audience reviews were negative. When the film was originally finished, the studio ran test audiences to gather in reactions. The Dark Crystal is a 1982 American-British fantasy-adventure film famous for its use of puppets and puppets alone, without any characters played onscreen by human actors. You can help the Lost Media Archive by expanding it! Publishers use these marks when books are returned to them.This article is a stub.
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This is a belief expressed by not only the men in the story, but also the women. Submission included the acceptance of the fact that they are inadequate and uninformed. Women were seen as unfit members of a society. Essentially, her status does not detract from her main point it allows her to garner attention and use her “inferiority” successfully. In her story, Antigone takes advantage of the insignificance of women and their words in order to dramatize her argument. This allows her character to develop her main claim and show the argument’s prominence through the manipulation of the system that she demonstrates. Her issue is one of importance and universality, all members of her culture recognize the significance of family. Antigone is the wrench thrown in the political works. Kreon is her uncle and Polyneices is his family too, although Kreon constructs a hierarchical system that secures his power. It is precisely this personal disagreement that elevates her argument. Antigone’s righteous intentions fall in disagreement with the egotistical priorities of the men in her society, such as her uncle Kreon. The resonance that the behavior of Antigone bears upon her culture demonstrates the fragility of the system. Although, there is no overwhelming decision that surrounds Antigone’s central conflict: rules of order that seem to be in contradiction, such as power, family, fate, and obligation. Kreon’s death signifies the lessons he has learned and the agony that his immoral actions have caused both him and others. Additionally, there is no real resolution present in Antigone’s story. At times, tragedy is necessary to unveil the obvious. The story of Antigone demonstrates the paradoxical qualities of society. Antigone lives in a world with a broken system, yet we argue that it is precisely this flaw that allows her to adopt her voice. This message would not have resonated in a culture that embraced women. Antigone’s bold claims allow her to assume a prominent position while facing her own death. Antigone defies her king and uncle in defense of her brother, a rebel of the state, yet in Antigone’s view her brother deserves a proper burial. The patriarchal system of Antigone’s time reduced the image of women to timid creatures who are incapable of making decisions, and are therefore undeserving of a platform for communication. The understanding of women as inferior and undeserving of a voice is essential to the recognition of Antigone’s role in her society. Sophocles’ Antigone demonstrates this truth. The contextual power of culture and ingrained tradition supports multiple interpretations of morality. Accusations of the extreme are polluted by one’s surroundings. Although, the circumstances and consequences of actions broaden the picture and allow for condemnation or justification. Morality is often regarded as objective, completely black and white. |