He starts out somewhat disillusioned with the people around him and the justice system, but still idealistic and committed to solving the case. The genre’s first person view, combined with Gittes’ personality, allows the audience to identify with Gittes and arrive at the same conclusion he has with the world of Chinatown. Gittes was haunted by his past, but his code and idealism forced him to try once more, causing the deaths of the Mulrays, and “kidnapping” of Katherine. Chinatown gives us a lovable, flawed, and haunted detective, watch him give it all, and the it forces us to watch as the world breaks him down, teaching us that at any moment, everything we work for and hold onto could be lost, regardless of how hard we
The Long Goodbye, along with Dashiell Hammett’s The Maltese Falcon, is a hard-boiled detective novel that has a slower paced plot, which reveals Chandler’s own life as a material. He focuses on Marlowe’s voice, but also his views of the society, the flaws of the characters, and the corrupt world. Marlowe’s life is full of corruption, which also reflects the cruel world. Marlowe is contradictory to Doyle’s Holmes or Poe’s Dupin, because the crimes are not puzzles or conclusive. Holmes was great at scanning a room and figuring out the crime scene, but Marlowe faces crimes with violence and pain.
From the second we see the man in the doorway the viewer is then taken on a classic mistaken identity story line. When a crime takes place, and you see a person fitting the same description who is acting odd, you can’t help but wonder if this is the man. Then when other people in the scene are acting scared you know this has to be the man in question. True to an Alfred Hitchcock movie, and the classic story of mistaken identity will leave the view feeling very relieved. We are left wondering why we thought that way after the identity is revealed.
The transference of guilt is made crystal clear when Jeff starts to resort to what could be considered to be almost drastic measures such as peeping with a telescope and having Lisa and Stella assist in leaving the safety of the apartment to scout certain areas where they had suspicions on such as the flower bed in order to bring the murderer Thorwald to justice. At this point, Jeff hasn't a doubt in his mind that he knows Thorwald's deepest and darkest secret of being responsible for the murder of his wife. The audience is put through a moment of pure suspense in the climax of the film as Thorwald confronts Jeff. The audience can feel Thorwald's overwhelming guilt as he almost seemingly stares into the eyes of the viewers and simply asks "What do you want from me?". In this instance, if it wasn't made evidently clear in the events leading up to this moment, Thorwald's secret of the murder of his wife has now fully been conveyed to the audience and of course, the main character, Jeff.
You've got Batman, Superman and these Saints.” This relates back to the traits of an antihero raising the doubts of morality. When society cannot decipher whether they are good or evil, that is when you have an antihero. The use of these interviews at the end of the film really puts what a hero and an antihero is into perspective. Some would say that they are evil due to their use of lethal force upon their victims. While others, would say they are saints for riding the streets of crime and
"The year when all of the white political crooks will be right back in your and my community with their false promises, building up our hopes for a letdown, with their trickery and their treachery, with their false promises which they don't intend to keep." He is trying to create anger within the audience so that they will want to take action. Later on, Malcolm X begins talking about Uncle Sam (a personification of the US Government) and how he has lost all of his conscience. He states, "Uncle Sam's hands are dripping with blood, dripping with the blood of the black man in this country." He is trying to get across the suffering that African Americans have been going through, and what the real cause of this suffering is.
The simile Poe uses is by comparing the red death to a thief. The figurative language of personification and simile of the red death contribute to the tone of the story. The red death is described as, “ He had come like a thief in the night” (Poe 3). This contributes to the tone because Poe gives the story a more ominous sense by giving the red death human characteristics of a thief as well as comparing the red death to a thief that steals. What makes the red death like a thief is by how the red death disguises as a gust and goes to the ball and even though the people think he is creepy they still think they are safe.
Deviance and Transgression In the little narrative “The Man Who Knew Belle Starr”, author Richard Bausch provides the reader with a thrilling suspense story that takes an unexpected turn of events. In Bausch’s story “The Man Who Knew Belle Starr” the actions of the characters can be understood in terms of Chris Jenks’ theory of transgression as well as sociological theories of deviance featured in Debra Marshall’s video “Crime and Deviance: A Sociological Perspective.” While both characters are both deviant and criminal, Belle Starr demonstrates agency and coherence in her violations against the law making her a proper transgressor; in contrast McRae’s un-reflexive and immature behavior separates him from a transgressor The story starts
Amir turns his back on Hassan when he witnesses his rape and frames Hassan in an attempt to purge himself of the guilt. Baba betrays Amir when he conceals the truth concerning Hassan. Whether between servant and master or father and son, betrayal always finds a way to pollute pure loyalty and
Enhancing this suspense, Coppola uses extreme low light where we can only see Sam and Mark in the room framed by the window filled with the high contrast of flickering lights from the alive city behind them, accompanied with a low, rumbling score playing in the background. Leading up to this scene the camera pans across the room to eventually zoom in on characters Mark and Sam. This zoom focuses the audience in and purposefully never cuts away from the two, in order to continue the suspense. Having Mark in this scene is essential as he is the only one ever feeling nervous doing a robbery, and questioning the teens invincibility. Sam’s dialogue is full of confidence, repeating “your good” and “its good” and mockery of Marks nervousness saying twice, “Does this make you nervous Mark?” These lines alluding to how these characters believe they are in complete control, when it is obvious to the audience that they are far from it.
The enriched vocabulary, such as “equally impenetrable” or “spiritual devastation” convince the audience how culture can be “shriveled” in two ways. One is focused on an “irreplaceable” gated area where “countenance exudes suspicion and hate,” and the other is more focused on how “cultural life is redefined as” perpetual. Postman is showing how Orwell’s way of society is far more despotic than Huxley’s, since it is more focused on prison life than it is to democracy. He wants to show how people are spending more time on television in a dramatic way by stating how “technology is always a friend to culture.” He convinces his audience that technology changes the habits of others to the point of using it more for entertainment than for professional purposes. He also gives passion on how cars have defined American life like how a scientist could “introduce speed-of-light transmission of images and you make a cultural revolution.” He means that anything relating to science and technology can make an impact on society.