LEADING LADY PARTS

WHAT ARE
QUESTION 01
SOME
LITERARY
TECHNIQUES
USED IN THE
FILM?
 WHAT ASPECTS
QUESTION 02
OF THE
DIRECTOR'S
PERSONAL LIFE
IS REFLECTED
IN THE STORY?
 WHAT WAS
QUESTION 03
HAPPENING IN
THE WORLD AT
THE TIME THAT
IT WAS
RELEASED?
QUESTION 04 WHAT GENDER
EXPECTATIONS
ARE IMPOSED
ON THE
CHARACTERS?
QUESTION 05
HOW DOES
THE STORY
REFLECT THE
SOCIETY?
 WHAT DOES
QUESTION 06 THE STORY
HAVE TO DO
WITH YOU
PERSONALLY?
HOW DOES IT
MAKE YOU
CRITICAL READING APPROACHES
 CONTENTS

FORMALIST BIOGRAPHICAL HISTORICAL GENDER

 CONTENTS

SOCIOLOGICAL PSYCHOLOGICAL MYTHOLOGICAL READER-

RESPONSE
 FORMALIST CRITICISM

determines how
focuses on the elements of a
style, imagery, text work with its
technique and content to put
tone of the across its
literary piece message to the
reader
It was like I was inside the black-and-white photo of you looking back.
We stared at each other from different worlds.

It was always cold inside this photo of you.

Trees stood all along the river, coughing and coughing.

Whenever I opened my eyes, I was climbing a snowy mountain.

COLD (Kim Hye-Soon)

 I would barely turn a corner and find fields of pure-white snow,
and an infinity of precipices jutting out beneath sharp cliffs.

There was an evening when I looked into your eyes, wide like a frozen sky.

In the village, a rumor spread about a ghost who would return to spread a
fever,
so smokestacks shook their bodies helter-skelter over every chimney.

COLD (Kim Hye-Soon)

 I drove you out completely. Now none of you lives inside me.

An avalanche shook inside my chest for over an hour.

When the trees coughed and snow fell off their bodies,
icicles shot up violent in the empty valley.

I sat down on a frozen bench

with my lips trembling and the wind across my face.

I wanted to get out of this place – this photo of you looking back.

COLD (Kim Hye-Soon)

 QUESTIONS
HOW IS THE WORK
WHO IS NARRATING THE
STRUCTURED OR
STORY/POEM? HOW IS
ORGANIZED? (BEGINNING,
HE/SHE REVEALED TO THE
MIDDLE, END)
VIEWER?

WHAT IS THE THEME?

HOW WAS THIS
WHAT FIGURES OF CONVEYED?
SPEECH/LITERARY
TECHNIQUES ARE HOW DO VARIOUS
USED? ELEMENTS OF THE WORK
REINFORCE ITS
MEANING?
 BIOGRAPHICAL CRITICISM

understanding an
author's life can connection of the
help readers writer to what he
understand the or she wrote
literary text as
well
 A long time ago, my parents
Had a little girl named Katie.
They thought that they would only
Have this one little child,
But then mommy started growing
Another little baby inside of her.
It was a little boy named Stevie.

LEFTOVER CHILD (Mattie Stepanek)

 But little Katie died, and
Then little Stevie died, and
My parents were alone
Without any children at all.
Then, they grew another baby.
It was a little boy named Jamie.

LEFTOVER CHILD (Mattie Stepanek)

 And then in 1990, they had
Another little boy named MAttie,
And Jamie and Mattie were
Brothers together for a long time.
But then Jamie died, too,
But Mattie was still alive because
He didn't die like his brothers and sister.
Now, he's not really the only child either.
Mattie is the left-over child,
All alone with the parents of dead children.

LEFTOVER CHILD (Mattie Stepanek)

 QUESTIONS
WHAT ASPECTS OF THE
WHAT CONCERNS IN THE
AUTHOR'S PERSONAL LIFE
TEXT REFLECT THE
ARE RELEVANT TO THE
WRITER'S PERSONAL
PIECE?
EXPERIENCES?
ARE FACTS ABOUT THE
WRITER'S LIFE RELEVANT
WHICH OF THE TO YOUR
AUTHOR'S STATED UNDERSTANDING OF THE
BELIEFS ARE WORK?
REFLECTED IN THE HOW DO THE CONNECTIONS
WORK? EXPLAIN THE AUTHOR'S PURPOSE
AND THE OVERALL MEANING OF
THE WORK?
 HISTORICAL CRITICISM

looking into the

historical this is not the
background of setting of the
when the literary story or literary
text was written text but WHEN it
to understand the was PUBLISHED
world behind it
NOLI ME TANGERE (Jose Rizal)
 QUESTIONS
HOW DOES THE STORY
WHAT DID THE AUTHOR
REFLECT THE ATTITUDES &
INTEND FOR THIS TEXT TO
BELIEFS OF THE TIME WHEN
MEAN IN HIS TIME &
IT WAS PUBLISHED?
PLACE?
WHAT KEY HISTORICAL
WHAT DID THE
FIGURES APPEAR IN THE
STORY MEAN TO THE
TEXT?
PEOPLE WHO FIRST
READ IT?
TO WHAT EXTENT CAN WE
UNDERSTAND THE PAST AS IT IS
REFLECTED IN THE LITERARY
WORK?
 GENDER CRITICISM

examines how
branch of sexual identity
sociological influences the
criticism creation and
reception of
literary works
 I want a red dress.
I want it flimsy and cheap,
I want it too tight, I want to wear it
until someone tears it off me.
I want it sleeveless and backless,
this dress, so no one has to guess
what’s underneath. I want to walk down
the street past Thrifty’s and the
hardware store

WHAT DO WOMEN WANT? (Kim

Addinizio)
 with all those keys glittering in the
window,
past Mr. and Mrs. Wong selling day-old
donuts in their café, past the Guerra
brothers
slinging pigs from the truck and onto the
dolly,
hoisting the slick snouts over their
shoulders.

WHAT DO WOMEN WANT? (Kim

Addinizio)
 want to walk like I’m the only
woman on earth and I can have my pick.
I want that red dress bad.
I want it to confirm
your worst fears about me,
to show you how little I care about you
or anything except what
I want. When I find it, I’ll pull that
garment

WHAT DO WOMEN WANT? (Kim

Addinizio)
 from its hanger like I’m choosing a body
to carry me into this world, through
the birth-cries and the love-cries too,
and I’ll wear it like bones, like skin,
it’ll be the goddamned
dress they bury me in.

WHAT DO WOMEN WANT? (Kim

Addinizio)
 QUESTIONS
IS THE FORM/CONTENT OF
WHAT GENDER
THE WORK INFLUENCED BY
EXPECTATIONS ARE
THE WRITER'S GENDER?
IMPOSED ON THE
HOW?
PERSONA?
IF THE FEMALE PERSONA
DOES THE WORK
WAS MALE, HOW
CHALLENGE/AFFIRM
WOULD THE TEXT BE
TRADITIONAL VIEWS
DIFFERENT?
OF WOMEN? HOW?
DOES THE FEMALE PERSONA SHOW
SIGNS OF RESISTANCE TO
PATRIARCHY? HOW?
 SOCIOLOGICAL CRITICISM

examines the text

in the cultural, race,
economic and discrimination,
political context political issues,
in which it is environmental
written or issues, etc.
received
 QUESTIONS
WHAT IS THE RELATIONSHIP
WHAT SOCIAL
BETWEEN THE CHARACTERS
FORCES/INSTITUTIONS ARE
& THE SOCIETY?
REPRESENTED IN THE
WORK?
HOW DOES THE
WHO HAS THE
STORY ADDRESS
POWER/MONEY IN THE
SOCIETAL ISSUES
STORY? WHAT HAPPENS
(RACE & CLASS)?
AS A RESULT?

WHAT CULTURAL, POLITICAL,

ECONOMIC VALUES DOES IT
PROMOTE?
PSYCHOLOGICAL CRITICISM

approach that focuses on what

reflects the is going on in the
effects of modern mind of the
psychology to characters,
literary texts author, readers
 QUESTIONS
WHAT PSYCHOLOGICAL
THEORIES ARE APPLICABLE
TO THIS WORK? TO WHAT HOW DOES THE READER'S
DEGREE? UNCONSCIOUS 'MOTIVATE'
PARTICULAR REACTION TO
THE TEXT?

WHY DID THE CHARACTERS ACT IN

A CERTAIN WAY? WHAT MAY HAVE
BEEN THE WRITER'S UNCONSCIOUS
MOTIVATION?
MYTHOLOGICAL CRITICISM

focuses on the
also known as connections to
archetypal other literature,
approach mythological or
biblical
references
GOBLIN
 QUESTIONS
HOW DOES THIS STORY
DOES THE WRITER ALLUDE
RESEMBLE OTHER STORIES
TO BIBLICAL OR
IN PLOT, CHARACTER,
MYTHOLOGICAL
SETTING OR SYMBOLISM?
LITERATURE? HOW?
IS THERE A CHRIST-
HOW DOES IT EXPLAIN
LIKE OR SATAN-LIKE
THE PURPOSE AND
FIGURE IN THE
DESTINY OF HUMAN
WORK?
BEINGS?

HOW DOES THE STORY REFLECT

THE EXPERIENCES OF DEATH AND
REBIRTH?
READER-RESPONSE CRITICISM

reflection what a reader

approach feels about the
story
 QUESTIONS
WHAT DOES THE TEXT HAVE
HOW WELL DID YOU ENJOY
TO DO WITH YOU
THE TEXT AS
PERSONALLY?
ENTERTAINMENT OR WORK
OF ART?
HOW MUCH WERE
YOUR VIEWS &
OPINIONS EXPLAIN HOW THE TEXT
CHALLENGED/CHANGED CONNECTS WITH YOU
BY THE TEXT?
WHAT IS YOUR OVERALL REACTION
TO THE TEXT?
Thank you for listening