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British filmmaker Richard Curtis has written iconic popcultural classics like Mr. Bean, Four Weddings and a Funeral, Notting Hill and Bridget Joness Diary. His directorial debut, Love Actually, remains a rare film that at once parodies, celebrates, and reclaims, storytellings most bastardised genre. But Curtis most accomplished movie has everything and nothing to do with his reputation as the King of (Romantic) Comedy.About Time (2013), starring Irish actor Domhnall Gleeson in a breakthrough role, cleverly weaponises its makers stature. It counts on the fact that we anticipate an innovative (buzzword: time travel) but typically breezy love story. But the girl-boy arc fades into the background, and the film subverts our expectations by instead morphing into a deeply contemplative and winning tragedy about human nature. Curtis virtually uses his own career as a smokescreen to transform About Time into an affecting ode to closure and its elastic relationship with time. Early in the film, a retired James (Bill Nighy) informs his son Tim, a boy on the verge of big-city adulthood, that the men of the family possess the power to travel back in time. Naturally, at first, Tim abuses this cosmic gift like any red-blooded, teething male hero would - to find, and refine, his pursuit of love. He meets Mary, an American girl, and manipulates time in a manner that compels her to fall for him. Youd imagine any writer at this point would be tempted to use time travel as the pivot to continue navigating the cross-cultural politics of companionship. But Curtis refrains from old-school gimmickry. He designs the narrative device as a trigger that forces Tims conflict to be conceived in the personal chasm that separates selfishness from selflessness: The selfishness of love from the selflessness of family.Tims story gets us thinking: do some of us subconsciously fail to sustain romantic relationships because were unwilling to snap that umbilical cord? Do we postpone marriage - a family, children, onwardness -to preserve the fading remnants of our family? To keep our history accessible? The films lyrical circularity exposes an uncomfortable truth about life - that romance is inherently an act of self-preservation. That loving someone, often, is a mechanism aimed at leaving something - and some times - behind. We choose to get consumed by life so that its origins are exhumed no more. For every child Tim has, the more irrevocably he drifts away from his own childhood. Every birth is inextricably linked to his rebirth. For each milestone he crosses as a life partner, the rules of time travel - a cinematic allegory for the texture of remembrance - force him to live rather than relive. Love is, after all, the emotional manifestation of the precise moment the future decides to break up with the past.Q. Loving someone, often, is a mechanism aimed at leaving something- Which of the following statements most appropriately justifies this point?a)In order to love someone, one must end all the affections one had in ones past.b)Love requires an exorbitant capacity to deeply care which is only feasible by leaving something.c)Love requires complete attention on the present with an eye on the future which requires one to let go of the past.d)Leaving something makes it possible for us to realize the importance of love in our society.Correct answer is option 'C'. Can you explain this answer? for Class 12 2024 is part of Class 12 preparation. The Question and answers have been prepared according to the Class 12 exam syllabus. Information about British filmmaker Richard Curtis has written iconic popcultural classics like Mr. Bean, Four Weddings and a Funeral, Notting Hill and Bridget Joness Diary. His directorial debut, Love Actually, remains a rare film that at once parodies, celebrates, and reclaims, storytellings most bastardised genre. But Curtis most accomplished movie has everything and nothing to do with his reputation as the King of (Romantic) Comedy.About Time (2013), starring Irish actor Domhnall Gleeson in a breakthrough role, cleverly weaponises its makers stature. It counts on the fact that we anticipate an innovative (buzzword: time travel) but typically breezy love story. But the girl-boy arc fades into the background, and the film subverts our expectations by instead morphing into a deeply contemplative and winning tragedy about human nature. Curtis virtually uses his own career as a smokescreen to transform About Time into an affecting ode to closure and its elastic relationship with time. Early in the film, a retired James (Bill Nighy) informs his son Tim, a boy on the verge of big-city adulthood, that the men of the family possess the power to travel back in time. Naturally, at first, Tim abuses this cosmic gift like any red-blooded, teething male hero would - to find, and refine, his pursuit of love. He meets Mary, an American girl, and manipulates time in a manner that compels her to fall for him. Youd imagine any writer at this point would be tempted to use time travel as the pivot to continue navigating the cross-cultural politics of companionship. But Curtis refrains from old-school gimmickry. He designs the narrative device as a trigger that forces Tims conflict to be conceived in the personal chasm that separates selfishness from selflessness: The selfishness of love from the selflessness of family.Tims story gets us thinking: do some of us subconsciously fail to sustain romantic relationships because were unwilling to snap that umbilical cord? Do we postpone marriage - a family, children, onwardness -to preserve the fading remnants of our family? To keep our history accessible? The films lyrical circularity exposes an uncomfortable truth about life - that romance is inherently an act of self-preservation. That loving someone, often, is a mechanism aimed at leaving something - and some times - behind. We choose to get consumed by life so that its origins are exhumed no more. For every child Tim has, the more irrevocably he drifts away from his own childhood. Every birth is inextricably linked to his rebirth. For each milestone he crosses as a life partner, the rules of time travel - a cinematic allegory for the texture of remembrance - force him to live rather than relive. Love is, after all, the emotional manifestation of the precise moment the future decides to break up with the past.Q. Loving someone, often, is a mechanism aimed at leaving something- Which of the following statements most appropriately justifies this point?a)In order to love someone, one must end all the affections one had in ones past.b)Love requires an exorbitant capacity to deeply care which is only feasible by leaving something.c)Love requires complete attention on the present with an eye on the future which requires one to let go of the past.d)Leaving something makes it possible for us to realize the importance of love in our society.Correct answer is option 'C'. Can you explain this answer? covers all topics & solutions for Class 12 2024 Exam. Find important definitions, questions, meanings, examples, exercises and tests below for British filmmaker Richard Curtis has written iconic popcultural classics like Mr. Bean, Four Weddings and a Funeral, Notting Hill and Bridget Joness Diary. His directorial debut, Love Actually, remains a rare film that at once parodies, celebrates, and reclaims, storytellings most bastardised genre. But Curtis most accomplished movie has everything and nothing to do with his reputation as the King of (Romantic) Comedy.About Time (2013), starring Irish actor Domhnall Gleeson in a breakthrough role, cleverly weaponises its makers stature. It counts on the fact that we anticipate an innovative (buzzword: time travel) but typically breezy love story. But the girl-boy arc fades into the background, and the film subverts our expectations by instead morphing into a deeply contemplative and winning tragedy about human nature. Curtis virtually uses his own career as a smokescreen to transform About Time into an affecting ode to closure and its elastic relationship with time. Early in the film, a retired James (Bill Nighy) informs his son Tim, a boy on the verge of big-city adulthood, that the men of the family possess the power to travel back in time. Naturally, at first, Tim abuses this cosmic gift like any red-blooded, teething male hero would - to find, and refine, his pursuit of love. He meets Mary, an American girl, and manipulates time in a manner that compels her to fall for him. Youd imagine any writer at this point would be tempted to use time travel as the pivot to continue navigating the cross-cultural politics of companionship. But Curtis refrains from old-school gimmickry. He designs the narrative device as a trigger that forces Tims conflict to be conceived in the personal chasm that separates selfishness from selflessness: The selfishness of love from the selflessness of family.Tims story gets us thinking: do some of us subconsciously fail to sustain romantic relationships because were unwilling to snap that umbilical cord? Do we postpone marriage - a family, children, onwardness -to preserve the fading remnants of our family? To keep our history accessible? The films lyrical circularity exposes an uncomfortable truth about life - that romance is inherently an act of self-preservation. That loving someone, often, is a mechanism aimed at leaving something - and some times - behind. We choose to get consumed by life so that its origins are exhumed no more. For every child Tim has, the more irrevocably he drifts away from his own childhood. Every birth is inextricably linked to his rebirth. For each milestone he crosses as a life partner, the rules of time travel - a cinematic allegory for the texture of remembrance - force him to live rather than relive. Love is, after all, the emotional manifestation of the precise moment the future decides to break up with the past.Q. Loving someone, often, is a mechanism aimed at leaving something- Which of the following statements most appropriately justifies this point?a)In order to love someone, one must end all the affections one had in ones past.b)Love requires an exorbitant capacity to deeply care which is only feasible by leaving something.c)Love requires complete attention on the present with an eye on the future which requires one to let go of the past.d)Leaving something makes it possible for us to realize the importance of love in our society.Correct answer is option 'C'. Can you explain this answer?.

Solutions for British filmmaker Richard Curtis has written iconic popcultural classics like Mr. Bean, Four Weddings and a Funeral, Notting Hill and Bridget Joness Diary. His directorial debut, Love Actually, remains a rare film that at once parodies, celebrates, and reclaims, storytellings most bastardised genre. But Curtis most accomplished movie has everything and nothing to do with his reputation as the King of (Romantic) Comedy.About Time (2013), starring Irish actor Domhnall Gleeson in a breakthrough role, cleverly weaponises its makers stature. It counts on the fact that we anticipate an innovative (buzzword: time travel) but typically breezy love story. But the girl-boy arc fades into the background, and the film subverts our expectations by instead morphing into a deeply contemplative and winning tragedy about human nature. Curtis virtually uses his own career as a smokescreen to transform About Time into an affecting ode to closure and its elastic relationship with time. Early in the film, a retired James (Bill Nighy) informs his son Tim, a boy on the verge of big-city adulthood, that the men of the family possess the power to travel back in time. Naturally, at first, Tim abuses this cosmic gift like any red-blooded, teething male hero would - to find, and refine, his pursuit of love. He meets Mary, an American girl, and manipulates time in a manner that compels her to fall for him. Youd imagine any writer at this point would be tempted to use time travel as the pivot to continue navigating the cross-cultural politics of companionship. But Curtis refrains from old-school gimmickry. He designs the narrative device as a trigger that forces Tims conflict to be conceived in the personal chasm that separates selfishness from selflessness: The selfishness of love from the selflessness of family.Tims story gets us thinking: do some of us subconsciously fail to sustain romantic relationships because were unwilling to snap that umbilical cord? Do we postpone marriage - a family, children, onwardness -to preserve the fading remnants of our family? To keep our history accessible? The films lyrical circularity exposes an uncomfortable truth about life - that romance is inherently an act of self-preservation. That loving someone, often, is a mechanism aimed at leaving something - and some times - behind. We choose to get consumed by life so that its origins are exhumed no more. For every child Tim has, the more irrevocably he drifts away from his own childhood. Every birth is inextricably linked to his rebirth. For each milestone he crosses as a life partner, the rules of time travel - a cinematic allegory for the texture of remembrance - force him to live rather than relive. Love is, after all, the emotional manifestation of the precise moment the future decides to break up with the past.Q. Loving someone, often, is a mechanism aimed at leaving something- Which of the following statements most appropriately justifies this point?a)In order to love someone, one must end all the affections one had in ones past.b)Love requires an exorbitant capacity to deeply care which is only feasible by leaving something.c)Love requires complete attention on the present with an eye on the future which requires one to let go of the past.d)Leaving something makes it possible for us to realize the importance of love in our society.Correct answer is option 'C'. Can you explain this answer? in English & in Hindi are available as part of our courses for Class 12. Download more important topics, notes, lectures and mock test series for Class 12 Exam by signing up for free.

Here you can find the meaning of British filmmaker Richard Curtis has written iconic popcultural classics like Mr. Bean, Four Weddings and a Funeral, Notting Hill and Bridget Joness Diary. His directorial debut, Love Actually, remains a rare film that at once parodies, celebrates, and reclaims, storytellings most bastardised genre. But Curtis most accomplished movie has everything and nothing to do with his reputation as the King of (Romantic) Comedy.About Time (2013), starring Irish actor Domhnall Gleeson in a breakthrough role, cleverly weaponises its makers stature. It counts on the fact that we anticipate an innovative (buzzword: time travel) but typically breezy love story. But the girl-boy arc fades into the background, and the film subverts our expectations by instead morphing into a deeply contemplative and winning tragedy about human nature. Curtis virtually uses his own career as a smokescreen to transform About Time into an affecting ode to closure and its elastic relationship with time. Early in the film, a retired James (Bill Nighy) informs his son Tim, a boy on the verge of big-city adulthood, that the men of the family possess the power to travel back in time. Naturally, at first, Tim abuses this cosmic gift like any red-blooded, teething male hero would - to find, and refine, his pursuit of love. He meets Mary, an American girl, and manipulates time in a manner that compels her to fall for him. Youd imagine any writer at this point would be tempted to use time travel as the pivot to continue navigating the cross-cultural politics of companionship. But Curtis refrains from old-school gimmickry. He designs the narrative device as a trigger that forces Tims conflict to be conceived in the personal chasm that separates selfishness from selflessness: The selfishness of love from the selflessness of family.Tims story gets us thinking: do some of us subconsciously fail to sustain romantic relationships because were unwilling to snap that umbilical cord? Do we postpone marriage - a family, children, onwardness -to preserve the fading remnants of our family? To keep our history accessible? The films lyrical circularity exposes an uncomfortable truth about life - that romance is inherently an act of self-preservation. That loving someone, often, is a mechanism aimed at leaving something - and some times - behind. We choose to get consumed by life so that its origins are exhumed no more. For every child Tim has, the more irrevocably he drifts away from his own childhood. Every birth is inextricably linked to his rebirth. For each milestone he crosses as a life partner, the rules of time travel - a cinematic allegory for the texture of remembrance - force him to live rather than relive. Love is, after all, the emotional manifestation of the precise moment the future decides to break up with the past.Q. Loving someone, often, is a mechanism aimed at leaving something- Which of the following statements most appropriately justifies this point?a)In order to love someone, one must end all the affections one had in ones past.b)Love requires an exorbitant capacity to deeply care which is only feasible by leaving something.c)Love requires complete attention on the present with an eye on the future which requires one to let go of the past.d)Leaving something makes it possible for us to realize the importance of love in our society.Correct answer is option 'C'. Can you explain this answer? defined & explained in the simplest way possible. Besides giving the explanation of British filmmaker Richard Curtis has written iconic popcultural classics like Mr. Bean, Four Weddings and a Funeral, Notting Hill and Bridget Joness Diary. His directorial debut, Love Actually, remains a rare film that at once parodies, celebrates, and reclaims, storytellings most bastardised genre. But Curtis most accomplished movie has everything and nothing to do with his reputation as the King of (Romantic) Comedy.About Time (2013), starring Irish actor Domhnall Gleeson in a breakthrough role, cleverly weaponises its makers stature. It counts on the fact that we anticipate an innovative (buzzword: time travel) but typically breezy love story. But the girl-boy arc fades into the background, and the film subverts our expectations by instead morphing into a deeply contemplative and winning tragedy about human nature. Curtis virtually uses his own career as a smokescreen to transform About Time into an affecting ode to closure and its elastic relationship with time. Early in the film, a retired James (Bill Nighy) informs his son Tim, a boy on the verge of big-city adulthood, that the men of the family possess the power to travel back in time. Naturally, at first, Tim abuses this cosmic gift like any red-blooded, teething male hero would - to find, and refine, his pursuit of love. He meets Mary, an American girl, and manipulates time in a manner that compels her to fall for him. Youd imagine any writer at this point would be tempted to use time travel as the pivot to continue navigating the cross-cultural politics of companionship. But Curtis refrains from old-school gimmickry. He designs the narrative device as a trigger that forces Tims conflict to be conceived in the personal chasm that separates selfishness from selflessness: The selfishness of love from the selflessness of family.Tims story gets us thinking: do some of us subconsciously fail to sustain romantic relationships because were unwilling to snap that umbilical cord? Do we postpone marriage - a family, children, onwardness -to preserve the fading remnants of our family? To keep our history accessible? The films lyrical circularity exposes an uncomfortable truth about life - that romance is inherently an act of self-preservation. That loving someone, often, is a mechanism aimed at leaving something - and some times - behind. We choose to get consumed by life so that its origins are exhumed no more. For every child Tim has, the more irrevocably he drifts away from his own childhood. Every birth is inextricably linked to his rebirth. For each milestone he crosses as a life partner, the rules of time travel - a cinematic allegory for the texture of remembrance - force him to live rather than relive. Love is, after all, the emotional manifestation of the precise moment the future decides to break up with the past.Q. Loving someone, often, is a mechanism aimed at leaving something- Which of the following statements most appropriately justifies this point?a)In order to love someone, one must end all the affections one had in ones past.b)Love requires an exorbitant capacity to deeply care which is only feasible by leaving something.c)Love requires complete attention on the present with an eye on the future which requires one to let go of the past.d)Leaving something makes it possible for us to realize the importance of love in our society.Correct answer is option 'C'. Can you explain this answer?, a detailed solution for British filmmaker Richard Curtis has written iconic popcultural classics like Mr. Bean, Four Weddings and a Funeral, Notting Hill and Bridget Joness Diary. His directorial debut, Love Actually, remains a rare film that at once parodies, celebrates, and reclaims, storytellings most bastardised genre. But Curtis most accomplished movie has everything and nothing to do with his reputation as the King of (Romantic) Comedy.About Time (2013), starring Irish actor Domhnall Gleeson in a breakthrough role, cleverly weaponises its makers stature. It counts on the fact that we anticipate an innovative (buzzword: time travel) but typically breezy love story. But the girl-boy arc fades into the background, and the film subverts our expectations by instead morphing into a deeply contemplative and winning tragedy about human nature. Curtis virtually uses his own career as a smokescreen to transform About Time into an affecting ode to closure and its elastic relationship with time. Early in the film, a retired James (Bill Nighy) informs his son Tim, a boy on the verge of big-city adulthood, that the men of the family possess the power to travel back in time. Naturally, at first, Tim abuses this cosmic gift like any red-blooded, teething male hero would - to find, and refine, his pursuit of love. He meets Mary, an American girl, and manipulates time in a manner that compels her to fall for him. Youd imagine any writer at this point would be tempted to use time travel as the pivot to continue navigating the cross-cultural politics of companionship. But Curtis refrains from old-school gimmickry. He designs the narrative device as a trigger that forces Tims conflict to be conceived in the personal chasm that separates selfishness from selflessness: The selfishness of love from the selflessness of family.Tims story gets us thinking: do some of us subconsciously fail to sustain romantic relationships because were unwilling to snap that umbilical cord? Do we postpone marriage - a family, children, onwardness -to preserve the fading remnants of our family? To keep our history accessible? The films lyrical circularity exposes an uncomfortable truth about life - that romance is inherently an act of self-preservation. That loving someone, often, is a mechanism aimed at leaving something - and some times - behind. We choose to get consumed by life so that its origins are exhumed no more. For every child Tim has, the more irrevocably he drifts away from his own childhood. Every birth is inextricably linked to his rebirth. For each milestone he crosses as a life partner, the rules of time travel - a cinematic allegory for the texture of remembrance - force him to live rather than relive. Love is, after all, the emotional manifestation of the precise moment the future decides to break up with the past.Q. Loving someone, often, is a mechanism aimed at leaving something- Which of the following statements most appropriately justifies this point?a)In order to love someone, one must end all the affections one had in ones past.b)Love requires an exorbitant capacity to deeply care which is only feasible by leaving something.c)Love requires complete attention on the present with an eye on the future which requires one to let go of the past.d)Leaving something makes it possible for us to realize the importance of love in our society.Correct answer is option 'C'. Can you explain this answer? has been provided alongside types of British filmmaker Richard Curtis has written iconic popcultural classics like Mr. Bean, Four Weddings and a Funeral, Notting Hill and Bridget Joness Diary. His directorial debut, Love Actually, remains a rare film that at once parodies, celebrates, and reclaims, storytellings most bastardised genre. But Curtis most accomplished movie has everything and nothing to do with his reputation as the King of (Romantic) Comedy.About Time (2013), starring Irish actor Domhnall Gleeson in a breakthrough role, cleverly weaponises its makers stature. It counts on the fact that we anticipate an innovative (buzzword: time travel) but typically breezy love story. But the girl-boy arc fades into the background, and the film subverts our expectations by instead morphing into a deeply contemplative and winning tragedy about human nature. Curtis virtually uses his own career as a smokescreen to transform About Time into an affecting ode to closure and its elastic relationship with time. Early in the film, a retired James (Bill Nighy) informs his son Tim, a boy on the verge of big-city adulthood, that the men of the family possess the power to travel back in time. Naturally, at first, Tim abuses this cosmic gift like any red-blooded, teething male hero would - to find, and refine, his pursuit of love. He meets Mary, an American girl, and manipulates time in a manner that compels her to fall for him. Youd imagine any writer at this point would be tempted to use time travel as the pivot to continue navigating the cross-cultural politics of companionship. But Curtis refrains from old-school gimmickry. He designs the narrative device as a trigger that forces Tims conflict to be conceived in the personal chasm that separates selfishness from selflessness: The selfishness of love from the selflessness of family.Tims story gets us thinking: do some of us subconsciously fail to sustain romantic relationships because were unwilling to snap that umbilical cord? Do we postpone marriage - a family, children, onwardness -to preserve the fading remnants of our family? To keep our history accessible? The films lyrical circularity exposes an uncomfortable truth about life - that romance is inherently an act of self-preservation. That loving someone, often, is a mechanism aimed at leaving something - and some times - behind. We choose to get consumed by life so that its origins are exhumed no more. For every child Tim has, the more irrevocably he drifts away from his own childhood. Every birth is inextricably linked to his rebirth. For each milestone he crosses as a life partner, the rules of time travel - a cinematic allegory for the texture of remembrance - force him to live rather than relive. Love is, after all, the emotional manifestation of the precise moment the future decides to break up with the past.Q. Loving someone, often, is a mechanism aimed at leaving something- Which of the following statements most appropriately justifies this point?a)In order to love someone, one must end all the affections one had in ones past.b)Love requires an exorbitant capacity to deeply care which is only feasible by leaving something.c)Love requires complete attention on the present with an eye on the future which requires one to let go of the past.d)Leaving something makes it possible for us to realize the importance of love in our society.Correct answer is option 'C'. Can you explain this answer? theory, EduRev gives you an ample number of questions to practice British filmmaker Richard Curtis has written iconic popcultural classics like Mr. Bean, Four Weddings and a Funeral, Notting Hill and Bridget Joness Diary. His directorial debut, Love Actually, remains a rare film that at once parodies, celebrates, and reclaims, storytellings most bastardised genre. But Curtis most accomplished movie has everything and nothing to do with his reputation as the King of (Romantic) Comedy.About Time (2013), starring Irish actor Domhnall Gleeson in a breakthrough role, cleverly weaponises its makers stature. It counts on the fact that we anticipate an innovative (buzzword: time travel) but typically breezy love story. But the girl-boy arc fades into the background, and the film subverts our expectations by instead morphing into a deeply contemplative and winning tragedy about human nature. Curtis virtually uses his own career as a smokescreen to transform About Time into an affecting ode to closure and its elastic relationship with time. Early in the film, a retired James (Bill Nighy) informs his son Tim, a boy on the verge of big-city adulthood, that the men of the family possess the power to travel back in time. Naturally, at first, Tim abuses this cosmic gift like any red-blooded, teething male hero would - to find, and refine, his pursuit of love. He meets Mary, an American girl, and manipulates time in a manner that compels her to fall for him. Youd imagine any writer at this point would be tempted to use time travel as the pivot to continue navigating the cross-cultural politics of companionship. But Curtis refrains from old-school gimmickry. He designs the narrative device as a trigger that forces Tims conflict to be conceived in the personal chasm that separates selfishness from selflessness: The selfishness of love from the selflessness of family.Tims story gets us thinking: do some of us subconsciously fail to sustain romantic relationships because were unwilling to snap that umbilical cord? Do we postpone marriage - a family, children, onwardness -to preserve the fading remnants of our family? To keep our history accessible? The films lyrical circularity exposes an uncomfortable truth about life - that romance is inherently an act of self-preservation. That loving someone, often, is a mechanism aimed at leaving something - and some times - behind. We choose to get consumed by life so that its origins are exhumed no more. For every child Tim has, the more irrevocably he drifts away from his own childhood. Every birth is inextricably linked to his rebirth. For each milestone he crosses as a life partner, the rules of time travel - a cinematic allegory for the texture of remembrance - force him to live rather than relive. Love is, after all, the emotional manifestation of the precise moment the future decides to break up with the past.Q. Loving someone, often, is a mechanism aimed at leaving something- Which of the following statements most appropriately justifies this point?a)In order to love someone, one must end all the affections one had in ones past.b)Love requires an exorbitant capacity to deeply care which is only feasible by leaving something.c)Love requires complete attention on the present with an eye on the future which requires one to let go of the past.d)Leaving something makes it possible for us to realize the importance of love in our society.Correct answer is option 'C'. Can you explain this answer? tests, examples and also practice Class 12 tests.