The theory that best relates to this movie is Agnew’s General Strain Theory. I will be describing in detail the general strain theory, giving a brief summary of the film and relating the theory to the crimes showcased in the movie. I also will be talking about the other behaviors that are seen in the movie and their corresponding theory. Robert Agnew’s General Strain
In the film American Sniper directed by Clint Eastwood and the novel Slaughterhouse Five by Kurt Vonnegut, both works exhibit depiction of war through the protagonist. However, each work is portrayed differently as they each show a representation with opposite depiction of war. While one decides to promote war, the other diminish it. In Eastwood’s adaptation of American Sniper, his insight appears as a promotion for pro-war propaganda, in contrast, Slaughterhouse Five depicts ideas that portray the war in a poor light. American Sniper retells the story of Chris Kyle, a Navy Seal who was reported to have 160 confirmed kills.
Films and the myth of military war reveal the conflict American soldiers experience with society’s subscribed roles of masculinity during the Vietnam War era. Vietnam War films made during 1986 and 1989 tell stories not only about the war experience, but narratives that reveal societal perceptions of masculinity relevant to the eighties. According to Michael Klein in Hanoi to Hollywood, “Liberal and radical Vietnam-era-coming-home films provide a range of sympathetic portraits of the problem of rehabilitation that challenge mainstream American constructions of masculinity….” (Klein, 22). Representations of masculinity in films serve a dual purpose: they reveal forms of masculinity present in culture while simultaneously playing a part
One critical question that Hollywood historians, comedy fans, and academic researchers commonly ask is how the materials within the archive offer a snapshot of Richard Pryor 's life and what items in the archive provide the most significant stories? The overall style of this archive was designed by William Bottini. The archive
1. Introduction In the following essay I will investigate the significance of Alfred Hitchcock’s figuration of ‘the blonde’ and ask what the construction of Hitchcock’s blonde heroines reveals about gender dynamics in post-war cinema. To this end, I will undertake a close analysis of the blonde protagonists Lisa Carol Fremont and Madeleine Elster in Hitchcock’s post-war films Rear Window (1954) and Vertigo (1958) . To address this issue, first I will introduce the archetype of the Hitchcock blonde in general and its feminist critique by Mulvey (2000) and Modleski (2005) more specifically. Second, I investigate the cinematic techniques Alfred Hitchcock utilised in order to create the seeming superficiality of his blonde protagonists.
Anissa Janine Wardi’s “Terrorists, Madmen, and Religious Fanatics? : Revisiting Orientalism and Racist Rhetoric” presents a very detailed description about racism in America. She frames her argument by focusing on how certain members of the media immediately attributed the Oklahoma City bombing to “Arabs.” As well, Wardi describes how popular culture (movies) is reinforcing racism in America. Wardi examines both the reasoning behind such assumptions as well as the effects that such assumptions can have on a very specific group of American citizens: Arab Americans. She argues: Arab Americans and Muslims maintained a low profile during the days following the bombing.
Wiesel stated “ Germany would be defeated.” ( Wiesel 8) setting a placement for the book. This is important because Germany has very different views on political standings. Meaning they don’t have the same laws as the United States, meaning that Hitler could get away with mass murder. In conclusion, the time and setting are
Arthur Miller’s play, The Crucible, is seen as a true piece of American Literature that presents itself at the core of McCarthyism in the bitter wake of Communists spies inside the United States. In many cases the main character of Abigail Williams is considered secondary to that of John Proctor. However, many years later, Miller writes a screenplay for the 1996 film adaptation starring Hollywood heavyweights like Winona Ryder; whose portrayal seems to allow the character of Abigail to have more room to expand. It is to my opinion that the author does this to present a more rapid and truthful motif that differs from that of the 1950 ‘witch hunt’ for communists. It is shown in the differing aspects of Abigail’s character from play to screen,
Due to her book "Hollywood: The Dream Factory. An Anthropologist Looks at the Movie Makers" Hortense Powdermaker is regarded as one of the pioneers of ethnography. Published in 1951 by Secker & Warburg in London, Powdermaker here aims to demystify the affect of movies on the audience and establishes the hypothesis "that the social system in which they are made significantly influences their content and meaning" (Powdermaker, 1951, p.3). After living in Hollywood for one year she concludes that the internal structures resemble those of a totalitarian system in which the struggle between business and art is reflected in the meaning of its movies. It suggests that the values of studio bosses and producers dominate while the artistic values of directors and writers are strongly restricted.
In this informative article titled “Everything, you need to know before watching the people vs. O.J. Simpson.” Writer Ashley Ross from Time magazine does just that. She gives you a rundown of what some people call the trial of the century. With the brand new television series that just aired on FX it was nice to have a reminder of what all led up to this monumental trial. As we are watching this series unfold with all of its glory it may slip your mind that this actually happened in 1994, when a very famous football player was accused and found not guilty in the murder of his ex-wife Nicole Brown Simpson as well as her friend Ron Goldman, who was just dropping off a pair of glasses when he was brutally murdered.