NCEA Level 2 Analysis: Poem 'Evacuee' and Films 'Shawshank' & 'Crash'

This essay provides an analysis of Isobel Thrilling's poem "Evacuee" and the films "Shawshank Redemption" and "Crash." The analysis of the poem focuses on the themes of fear, symbolism, and personification, and how the poet portrays the evacuee's emotional state. The essay then delves into the film "Shawshank Redemption," discussing its narrative of resilience within a prison setting, the characters, and technical aspects. Finally, it explores the film "Crash," examining its portrayal of racism, interconnected stories, and the impact of prejudice on characters. The student offers personal responses and insights into the themes and techniques presented in these works, demonstrating an understanding of literary and cinematic analysis. The essay highlights the thematic connections between the poem and films, such as resilience and depersonalization, and offers a comparative perspective on their narrative approaches and messages.

Name of the student
Name of the college

Abstract
In the following paper we would be talking NCEA level 2 poem and 2 films and we
would be giving a personal response on them. This would help us understand the poets and their
motives behind their work of arts and then we would also be able to evaluate how much
understanding we have and how to write a personal response.

Contents
Abstract.......................................................................................................................................................2
Poem............................................................................................................................................................4
Evacuee- Isobel Thrilling............................................................................................................................4
Film.............................................................................................................................................................5
Film.............................................................................................................................................................7
Crash...........................................................................................................................................................7

Poem
Evacuee- Isobel Thrilling
The poet describes in the poem about the evacuee’s fear and he does this through the use
of girl’s possessions. In the paragraphs 1 and 2 we see how specifically that the poet presents the
theme of symbols and personification.
Symbol- it is something which refers to something else other than the represented word or idea.
For example, the dove is example of love.
Personification- This is the device where animals are given a status of human beings in the sense
their attributes and characteristics.
The purpose of this is that:-
This makes the imagery easier for the reader to understand, it also helps the poet to set a
particular mode or tone or let us say to make something much more dramatic.
The words used in the poem such as doll, pillow, wallpaper, roses and woolly dog are perfect
example for the above said concepts.
The poet has tried to explain us the extent of depersonalization which is felt by an
evacuee during the time of war. We see that the narrator of the poem is depersonalized when her
symbols of childhood are being used as detached figures.
One of the examples of this is the symbol of “her doll” that depicts her childhood and
how cold was it. The doll is personified to have felt cold which inculcates both the weariness of
the persona as well as the physical cold while evacuation process. The poet also defines the doll
as dead who personifies the feature of coldness and death. It reveals the personal detachment of
human being from small things and tasks. The line depicting that cat slept over the pillow, it

happened to many people of that time but soon his good side turned into bad side as human
started killing and they sort of reach satisfaction or the urgency of matter.
The poem is a resilient force in itself and presents to us how the evacuee remains strong
enough to handle the extent of depression and detachment present in the character. The extent of
depersonalization is immense and the reader is trying to search them from you when the time
requires so.
For example, he gives the reference of a stranger at the station such as “receding lamps of
platform faces” provides us the idea of “homogeneity” presented by narrator and a strong
position for resiliency and she is not able to decipher faces from one another. We see that the
author presents a de-human class of humans in this poems and feels that humans have lost their
humanity.
The adjective, receding, has a crucial role to play in understanding this poem and how
gradually we are moving towards doomsday and we would have nothing in our hands.
So, we see that she is able to dehumanize and de- personalize the people within the poem
and she is able to depict the resilience of war affected personal.
Film
Shawshank Redemption
The Shawshank Redemption" begins off with the natural fierceness of a jail motion
picture. Indicted in the late 1940s for the murder of his better half and her lover, Tim Robbins, a
banker, is tossed into jail (the Shawshank prison) for two back to back life sentences.
Morgan Freeman—the storyteller in this story—looks as the mild-mannered, defenseless
detainee experiences the inescapable gang rape. The whole story revolves around the idea of
telling the freeman that prison is no fairy tale world. It’s about the resilience of the prisoners."In

jail," articulates Freeman, "a man will effectively keep his mind involved." What Robbins, who
has declared his purity from the beginning, does to keep his mind possessed is the climax of the
story.
The establishment is controlled by Superintendent Bob Gunton, a worn out sociopathic dictator
who likes pounding the life out of detainees, however won't tolerate religious disrespect. Gunton
is excitedly upheld by vicious watch Clancy Brown, who appreciates a normal round of
threatening behavior himself.
Robbins, regardless of the hardships, is sincerely secured by his own particular
blamelessness. He charms everybody and, in the end, parlays a useful commodity out of his
creative business abilities. Before the end, these inauspicious tyrants and inmates are all after
him.
Discussing prison, "Shawshank"- the-motion picture appears to last about a large portion of a
lifelong incarceration. The story, predominantly about the 20-year fellowship amongst Freeman
and Robbins, progresses toward becoming imprisoned in its own particular tangled nostalgia. It
drifts down subplots at each open door and disregards a wealth of account leave focuses before
settling on the previously mentioned finale.
Specialized commitments are all around created, especially cinematographer Roger
Deakins' disallowing lensing. Taped in a battalion like previous jail in Mansfield, Ohio,
Shawshank is regularly overpowering in its portrayal of the rock cool, stony ghastliness of jail
life. Most mind blowing is Thomas Newman's dismal score, which, taking care of business
minutes, lands with brilliant surfaces and jolly beauty notes, pleasantly significant of the film's
focal subject.

Film
Crash
Crash is an exceptionally and fantastic movie. The whole story revolves around the
practices of racism followed by some other inhibit messages of redemption, resilience etc. Its
color war starts to feel obvious and illustrative. There is a visual picture that overwhelms Crash
from its opening credits: obscured circles of light moving in an apparently irregular manner,
infrequently impacting soundlessly, just to proceed on their unverifiable ways. It interfaces
stories in view of happenstance, good fortune, and luckiness, as the lives of the characters crash
against each other like pin balls. The motion picture presumes that a great many people feel bias
and disdain against individuals from different gatherings, and watches the results of those
sentiments. One thing that happens, over and over, is that people groups' suppositions keep them
from seeing the genuine individual remaining before them.
Different cross-slicing Los Angeles stories ring a bell, particularly Lawrence Kasdan's
more hopeful "Stupendous Canyon" and Robert Altman's more humanistic "Alternate ways." But
"Crash" finds a method for its own. It demonstrates the way we as a whole jump to conclusions
in light of race - yes, every one of us, of all races, and however reasonable we may endeavor to
be - and we pay a cost for that. In the event that there is trust in the story, it comes in light of the
fact that as the characters collide with each other, they learn things, for the most part about
themselves. All of them are as yet alive toward the end, and are better individuals in light of what
has transpired. Not more joyful, not more quiet, not in any case shrewder, but rather better. Like
most centerpieces,
The movie thrills you in a way that is unequipped for clarification. It rises above the level
which can be enunciated through insignificant words. Since no succinct review, regardless of

how well meaning, can do this film justice, you truly must choose the option to see Crash. It's
one of the most convincing American motion pictures till date.