i think part of being a teen is developing your own identity, every teen has this issue.

The most realistic part of the breakfat club is when Claire admits that she will not be friendly with the rest of them on Monday because her friends won't approve.Also when the kids work together to fool Vernon, I think that was a kinda realistic thing that kids would do.My favorite part was when John was under the desk and put his face between Claire's legs, and she was too stunned to know what to do.It is realistic, but you also have to remember its dated. It was made over 20 years ago, so naturally it's dated. The over all message and connection the kids make is realistic however. The whole scenario with the crazy principle is unrealistic.

 I mean what are the odds one kid from every clique ends up in detention on the same day, Saturday detention at that, and they all open up to each other. THAT was the part that was not realistic.

i would say that rebel without a cause is a realistic film but it was so long ago sop i dont think anyone i n our generation could relate sorry i couldnt finish

3 princesses

The various touchstones audiences have come to expect from the princess genre were laid out within Disney’s first stab at a full-length animated feature, asSnow White and the Seven Dwarfs contains such instantly-recognizable elements as the wicked stepmother, the comedic sidekicks, and the dashing prince. The rather sexist treatment of the title character – once she’s accepted by Doc, Grumpy, and the rest of the dwarfs, Snow White essentially becomes their housekeeper – is right in line with other releases from that era, and it’s worth noting that Snow White’s ultimate fate is left in the hands of a man.

With their most recent release, 2009’s the princess and the frog Disney has struck an appropriate balance between the kind-hearted (yet helpless) princesses of yesteryear and the strong, girl-power-oriented heroes that today’s young women have come to expect.

The Little Mermaid, as well as 1991's Beauty and the Beast effectively updated the princess formula for an entirely new generation, with the emphasis on old-school elements offset by the inclusion of distinctly contemporary attributes (including rapid-fire jokes and modern-sounding songs). The  films’ throwback-heavy storyline was especially noticeable in their treatment of the princess character, as Ariel, in the tradition of her royal predecessor, are forced to behave passively as others help her achieve her respective goals.

mise-en-scene

 One important aspect of the placement is that the plant, a prop, is tall and protruding into the audience’s view of the characters’ bodies slightly. This emphasizes the distance between the two characters and adds to the effect Jane’s arm creates. The distance between the two becomes an interesting dynamic throughout the movie, all the way until the end when Francis asks for her hand in marriage. Their “relationship” is carried on throughout the film with mise-en-scene details, such as the disconnect, but also gentle shapes and tones, in this frame. Through composition and design, The Cabinet of Dr. Caligari becomes a film that benefits greatly from the mise-en-scene.

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In the opening sequence of Edward Scissorhands, setting plays an important role in establishing the contrast between the boring suburbs and the Edward’s castle on the hill. The wide angle shots of all the houses as Peg walks around trying to make a sale from her avon products demonstrates a boring suburban neighborhood, where everything look more or less the same. This is accomplished by the choice of pastel colors on each houses. Same goes for the clothes that are worn by the inhabitants of those houses. The bland and boring colors does not allow any individuality between the neighbors so that when Edward’s house is shown way up on the hill, the stark dark contrast between the suburbs and his home will symbolize a great difference between the characters of the suburbs and Edward.