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subUrban Legends - Poetry Assignment
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Prezi Lucy
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Updated May 7, 2020
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00:00 - 00:01
Hi, it's Lucy.
00:02 - 00:05
And today I'll be doing my suburban Legends Poetry assignment
00:05 - 00:09
presentation. So to start off, we have the theme.
00:10 - 00:15
So second, So I came up with a couple themes.
00:16 - 00:19
The main one I kind of based my products around
00:20 - 00:21
is more of a thesis.
00:22 - 00:25
But basically it's about how trauma are traumatic experiences, influence,
00:26 - 00:26
decision making.
00:27 - 00:30
Some other ones I came up with were pessimism, hopelessness
00:30 - 00:31
and irony.
00:32 - 00:37
But based on the main theme or thesis, it's kind
00:37 - 00:38
of talking.
00:39 - 00:42
I'm tryingto like, kind of make it talk about how
00:42 - 00:44
people will choose to either face or avoid the factors
00:45 - 00:46
off their traumatic experience.
00:47 - 00:53
And within the syriza poems, what I see is that
00:53 - 00:57
the character and narrator is avoiding their path and avoiding
00:58 - 01:00
the storyline of the very tell, because it's not what
01:00 - 01:00
they want.
01:02 - 01:10
Um, which is, I think it's pretty reasonable, because in
01:10 - 01:14
this in the fairy tale, even though in mice it's
01:14 - 01:16
like narrated to be, ah, happy ending.
01:18 - 01:21
There are many parts that are masked and just not
01:21 - 01:22
talked about.
01:22 - 01:25
So it seemed like a happy ending, but it really
01:26 - 01:27
isn't so.
01:27 - 01:29
It makes sense that the characters trying to avoid it
01:29 - 01:33
However, while they're trying to avoid it, they end up,
01:35 - 01:40
um kind involving themselves in a very similar situation.
01:41 - 01:44
They just have different expectations put upon them.
01:45 - 01:49
And really, all the decisions they make are based on
01:49 - 01:52
the fact that they're trying to avoid going back to
01:52 - 01:53
their first situation.
01:54 - 02:00
Yeah, um, So onto the poetry analysis there a couple
02:00 - 02:06
aspects that lead me to my conclusion, For example, the
02:06 - 02:08
use of a fairy tale I found was quite interesting
02:09 - 02:14
as it kind of, um pointed out the fact that
02:16 - 02:20
everyone's trying to live this perfect life even though there
02:20 - 02:24
really isn't this possibility of a perfect life.
02:24 - 02:27
Things they're just masked to make it seem perfect and
02:28 - 02:31
a majority of people, rather than just straight on figuring
02:32 - 02:36
out their problems and just gradually improving their own situation,
02:37 - 02:40
they just decide to mask it up in order to
02:41 - 02:42
achieve that perfect life.
02:43 - 02:47
Um, so for the use of fairy tales, I think
02:47 - 02:54
it's really good contrast to show how it's not realistic.
02:54 - 02:59
Essentially another idea is the seasons, so winter versus spring
03:00 - 03:04
is the main one that is shown throughout the poems.
03:06 - 03:08
I also put this as a motif, but Basically, my
03:09 - 03:12
idea is that the use seasons is as a cycle,
03:13 - 03:15
and I kind of saw it within the timeline of
03:16 - 03:18
the poems to it seemed as if we were starting
03:18 - 03:21
in winter, and then it kind of went like spring
03:21 - 03:25
edge with back to winter because it kind of follows
03:26 - 03:27
the feelings of the character, too.
03:28 - 03:31
But then it eventually goes through spring and summer and
03:31 - 03:33
autumn and right back to injured.
03:34 - 03:37
And the point of that in from how I see
03:37 - 03:41
it, is how it's a cycle that people have to
03:41 - 03:45
go through and haven't understand that instead of avoiding their
03:45 - 03:48
situation, they have to fix it in order to move
03:48 - 03:53
on. Um, a couple other ideas I had that were
03:53 - 03:56
more that could also be seen as motifs were the
03:57 - 03:58
stains and shadows.
03:59 - 04:00
They I see them quite.
04:01 - 04:03
I, like, noticed them quite a lot about the poems.
04:04 - 04:06
Um, and I kind of saw them as how she's
04:07 - 04:11
still stained by her experiences in the past.
04:11 - 04:15
And his shadow is her experiences following her all along
04:15 - 04:19
and she feels think hostility towards it.
04:20 - 04:25
Um, and also sicknesses and injured, like injuries or illnesses,
04:26 - 04:28
were mentioned a lot, and the way I see is
04:28 - 04:32
how there's like this illness within her that just keeps
04:32 - 04:34
getting worse and worse as she avoids her situation.
04:35 - 04:38
And it will only get better once she kind of
04:38 - 04:41
notices it where acknowledges it and decides to trying to
04:41 - 04:42
cure it.
04:43 - 04:48
Um, a smaller idea is like the aspect of Apple's,
04:48 - 04:50
which is made, goes It kind of just solidifies idea
04:51 - 04:57
that she was trying to find something to replace an
04:57 - 05:00
object of her past which once again kind of points
05:01 - 05:03
out how she's not moving on.
05:04 - 05:05
She's just trying to replace things.
05:06 - 05:08
And, yeah, doesn't.
05:09 - 05:13
I just don't really think it helps when they try
05:13 - 05:14
to replace them.
05:14 - 05:15
You know what I mean?
05:15 - 05:19
Like rather than replacing them with another object to try
05:19 - 05:22
and avoid the facts that they are traumatized by this
05:23 - 05:27
thing, they should be finding something completely new with a
05:27 - 05:29
new meaning and not just to replace it.
05:31 - 05:35
Um, moving on to my visual, I apologize for it.
05:36 - 05:39
We're, ah, being kind of low quality and possibly hard
05:40 - 05:40
to see.
05:40 - 05:43
I did use pencil for some portions of it.
05:44 - 05:48
Um, I was gonna zoom in and basically talk about
05:48 - 05:53
how my visual represents the theme, uh, are carnage hard
05:53 - 05:53
to make us?
05:53 - 05:57
So it's like she's looking through one lens while she's
05:58 - 06:01
trying to find herself in her own path and which
06:01 - 06:03
I'll explain a bit more in the next portion.
06:03 - 06:14
But, um, the mirror is the post Rip Santo character
06:15 - 06:20
is kind of seeing a version off herself within that
06:20 - 06:23
mirror. She's also seeing things that she thinks she wants.
06:24 - 06:30
However, she only really wants them because she's trying to
06:30 - 06:30
avoid her situation.
06:32 - 06:41
Um, I guess the point is that she's looking through
06:41 - 06:45
one lens, and this one lens is caused by her
06:45 - 06:46
traumatic experience.
06:49 - 06:51
And now, on to the details of the visual.
06:51 - 06:52
I'm just gonna go back to the visual.
06:54 - 06:57
Um, so a couple of the details are for the
06:57 - 07:01
lens. I made it model tone, and I kind of
07:01 - 07:04
blew out the sides to make it focus on her
07:04 - 07:06
because her focus is kind of on herself.
07:07 - 07:13
Um, and this monotone is also supposed to create this
07:14 - 07:18
lack of energy and how, rather than this perfect fairy
07:18 - 07:21
tale, they kind of the author really showed the dark
07:22 - 07:24
side to this very tail and how not everything is
07:24 - 07:31
perfect. Uh, furthermore.
07:33 - 07:38
Ah, there are a couple colored portions, but those are
07:38 - 07:42
the portions that are either part of the fairy till
07:43 - 07:45
that she wants to avoid or kind of.
07:45 - 07:49
The new fairy told us she created that she's trying
07:49 - 07:52
to go into trying to, you know, enjoy her freedom,
07:52 - 07:55
trying to create this new storyline for herself.
07:55 - 07:57
But she just end up creating a new storyline with
07:58 - 08:03
basically the same kind of situation as the first story
08:03 - 08:08
line she was in, Um, the mirror.
08:10 - 08:13
I kind of talked about a little bit, but there
08:13 - 08:14
are a few portions are a little bit hard to
08:14 - 08:18
see, but the mirror has, like a really pretty fancy
08:18 - 08:22
frame kind of shows how that is, what societal expectations
08:23 - 08:24
put upon people.
08:24 - 08:28
They're supposed to be these perfect rule models, you know,
08:28 - 08:28
good looking.
08:29 - 08:34
They gotta be well presented everything, however, that it's really
08:35 - 08:35
hard to see.
08:35 - 08:39
But there are some cracks in the mirror and those
08:39 - 08:42
cracks responsible to represent how this is this false idea
08:42 - 08:46
that people have off perfection and that is really not
08:46 - 08:55
achievable. Um, and I kind of talked about a little
08:55 - 08:58
bit before, but it's kind of was represent how nothing
08:59 - 08:59
will ever be perfect.
09:01 - 09:05
But because it is this idea out there, people feel
09:05 - 09:07
a need to try and match it.
09:08 - 09:11
Try and, you know, even go over that measure that
09:12 - 09:18
has Arabian sit, and they do so by covering up
09:19 - 09:23
the problems, their lives, to make it seem perfect rather
09:23 - 09:24
than gradually improving their situation.
09:25 - 09:29
And, you know, improving things to the best of their
09:29 - 09:32
ability and for to the best of their own interests.
09:33 - 09:36
They do so to kind of prove to other people
09:36 - 09:37
that they're doing well.
09:39 - 09:45
Um, I also put in a shadow that's following the
09:45 - 09:49
girl, and in time I can talk about this a
09:49 - 09:50
little bit earlier.
09:50 - 09:53
But the shadows supposed to represent, like all her problems,
09:53 - 09:56
were just following her along her way, even though she's
09:56 - 09:57
trying to leave them behind her.
09:57 - 10:05
She really basis all her actions on her problems from
10:06 - 10:10
before. She's like she's not fixing it, though she's based
10:11 - 10:13
interactions off the fact that she's trying to avoid it.
10:14 - 10:19
I also put in the contrast of the seasons or
10:19 - 10:22
the weather because I noticed that it was mentioned a
10:22 - 10:28
lot that winter was kind of associated with, um, the
10:28 - 10:32
more like depressing side and the more broken side.
10:32 - 10:35
While spring was more so, she was life and, like
10:36 - 10:41
happiness, settlement over and I eso essentially over.
10:42 - 10:46
Oh, I also forgot to mention that the mirror is
10:47 - 10:51
round. Teoh kind of represent this round appearance that they're
10:51 - 10:54
supposed have, rather than like a sharp mirror.
10:55 - 10:58
It's post ribs and how they're such good people, essentially.
10:59 - 11:04
And there's also no face because the character doesn't feel
11:04 - 11:06
like they have an identity and kind of trying to
11:06 - 11:09
search for search for it.
11:09 - 11:12
Um, which I kinds on the portion where she left
11:13 - 11:15
her husband to live somewhere else.
11:15 - 11:19
But she still didn't feel fulfilled because she felt like
11:19 - 11:20
empty, lonely.
11:20 - 11:22
And then the other portion about the wolves.
11:23 - 11:28
Um, that should be about it.
11:32 - 11:42
So since that is the end, thank you for your
11:42 - 11:43
timeto watch my presentation.
11:45 - 11:47
There may be a couple parts that are slightly unclear
11:47 - 11:49
expectations from a little bit nervous to film it.
11:50 - 11:52
So, um, is there are any questions?
11:54 - 11:58
Um, I guess I could try and clear up what
11:59 - 12:02
I'm trying to say if we email or use the
12:03 - 12:06
Dropbox and I'll probably also including image off my visual
12:07 - 12:08
in a drop box.
12:09 - 12:10
Anyways, thank you for watching
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