Aaron Korsh's Suits

Pamela Colloff’s “The Innocent Man,” is an eye-opening, gut-wrenching essay in which Colloff beautifully takes a high complexity prejudiced case of a guilty murder verdict and successfully brings to light her inspiring character Michael Morton’s true innocence in a flawed justice system. Suspense, sadness and frustration are effectively provoked from the reader about Michael’s tragic nightmare which persists for over two decades of time. A nightmare which begins when Michael returns home from work on August 13, 1986, to find out his dead wife was beaten to death in their bed. This is only the beginning of what Colloff unfolds in her writing of Michael’s twenty-five-year agonizing battle behind bars. Step by step Colloff’s marvelous writing

The television shows from 1950 to the present are connected in many ways. The characters showed in the 1950s television show called Leave It To Beaver all have white coloured skin and portrayed as a happy, perfect family. As the decades increased, the nuclear families turned into blended families, and the television shows started to have coloured characters. The families started to have problems and social situations. The viewer sees the conflicts inside the family begin as the years progress. For example, in the 2000's we examined a television show called Arrested Development. The show portrays the characters as if they are troubled and have problems. The children do not listen to their parents but instead have

In Tania Modleski’s “The Search for Tomorrow in Today’s Soap Operas” she introduces that the rare appearance and function of soap opera in two ways. The first being the viewer’s ability to occupy the text’s recommendation of the viewers position of ‘the good mother’, and the second using the stereotype ‘villainess’ to displace one’s own bottled up anger and powerlessness. I will analyze these two functions by using Modleski’s perspectives on the positions of soap operas, how a new genre of reality television programs that are featured today function in a similar way.

The television show stands to be viewed as if it was filmed on a handheld camera. The show has the tendency to be extremely awkward and people who do not take the time to watch a full episode will anticipate that the show may be identified as dull and a waste of time. One would feel that the show may be simple with no plot or meaning. However, after watching an entire episode, one will realize that a complex plot is not necessary to enjoy the show because of the awkward and entertaining relationships between the characters. Although, there are several plot twists that may catch the viewer’s

In the first case, Robertson is not principally involved as counsel for the Oz editors in their obscenity trial. He is just a ‘stage-hand for the defence’. We note the metaphor: a stage-hand is someone who assists at a theatrical production. Robertson frequently recurs to the idea of the court as a theatre and the players in the justice game as actors:

McWhorter opens his article by employing the appeal of kairos and telos, by describing the overall timeframe of penning the article, as the case and “…months of lurid televised court testimony- now being dramatized in a series…” (McWhorter, 2016). By adding this piece into his argument, McWhorter is able to ground the audience into the time frame of when his argument is being presented, as this case is going to, once again, enter the public conscience. McWhorter adds the use of telos by adding the reason why he wrote this article, by explaining that he “…wasn’t one of them.”, an African-American that did not cheer when Simpson was acquitted of the two murders, and proceeds to explain why so (McWhorter). By starting off his argument by giving the major reason why McWhorter is arguing his case, with giving the setting of his argument, the audience is able to see why this op-ed is relevant in this moment, with an opposing view of past events being prepared to be delivered.

“The third stage of narrative development was characterized by the appearance of rogues… relying on cleverness more than force, and motivated more by profits than by passion” (Williams 14). Rogues defied whatever came in between their pursuit, whether it be law or authority (Williams 14). In the third stage of criminal literature, the protagonists were all rogues despite of their unlawfully ways, they “aroused reader sympathy” (Williams 16). Williams described these rogues as “outsiders, existing apart from the social structure either by choice or by fate” (William 16). He also described these rogues as “individualistic, opportunistic, self-reliant” as well as “defiant of authority and entirely free” (Williams 16). William argues that the evolution of these narratives took place in three stages: the first being the “early execution sermons and final confessions”, the second being “the incomplete narratives of life and, finally the full length rogue narrative” (Williams 17). Williams’ article describes how criminal literature changed from “promoting obedience, [to] encouraged defiance” (Williams

John Jurgensen’s article asks us an interesting question: how many TV series can our brains take? As television series expand to grandiose levels, it gets harder to follow what is happening: who people are, and what their place in the overall story is hard to follow for a large number of viewers. Jurgensen attempts to address this within his article, and it has some interesting points.

The people that are affected by this never want to stop watching true crime shows to keep feeling the rush of adrenaline (Bonn 6). In the piece of journalism, “Hossack Murder,” the way Glaspell induces feelings is through her use of diction. For example, on page 180 it says, “The ax was found under the shed about fifty feet from the house.” By using specific words such as ax and shed, the negative connotations that they leave, evoke feelings of fear and danger. Glaspell is also able to create suspense by changing up the tone throughout the text. This is illustrated on page 187, “She may come out of the trial a victor, but the terrible strain cannot but have the effect of permanently undermining her health and bringing her to an early grave.” By Glaspell’s use of bias she is creating suspense for the audience. Now that she has said that do to this whole ordeal it might bring Mrs. Hossack to an “early grave,” it makes people wonder if Mrs. Hossack will die. Similarly to “Hossack Murder,” in the true crime show, 48 Hour episode “Nightmare in Napa,” there are many examples of how the producers use different tactics to evoke feelings from their audience. For instance,

In Neighbourhood Watch, social concerns surrounding trust and the implications it can have on our society were presented using place, space and props. In this scene, dramatic techniques such as lighting, symbolism, blocking and delivery of script help portray Catherine’s trusting nature and lack of caution towards danger towards Artur, a serial killer. Coming face to face with a serial killer may not be an experience that it common to many people in Australian society, however domestic violence is an issue that effects many. 1 in 20 men are affected and 1 in 6 women are affected. 34.4% of female domestic violence victims in the past 12 months said that the perpetrator was a male family member or friend. In this scene, the character who wanted

I have chosen to look at and analyse a television text. It is a TV drama aimed at a teenage audience called Skins. I chose this particular text as it focuses upon many different characters and scenarios in regards to sexuality and this forms a basis for analysis and evaluation. Skins also focuses upon Teenage sexuality, specifically, which I believe is a broad and interesting subject to analyse with many opportunities to elaborate.

The opening establishes and embodies the world of the justice system, “the man’s world”, accompanied by its seriousness, organisation and harshness in its outlook on reality, the depiction of a typical arrest, identification and trial of a convicted criminal. However, this “world”, according to Wood is threatened, stating that it is somewhat disrupted by the protagonist’s “frivolousness, selfishness, and triviality” (272).

Compared to comedy viewers, people who watch HBO shows are seems to have a higher taste. Shows like Six Feet Under, Game of Throne, West World and True Detective are all have numbers of characters, complicated story lines and huge production value. These more sophisticated and artistic TV series are called ‘quality television’, and later on, ‘quality television’ is considered as an individual genre. However, it is very personal to judge whether a show is of good quality, people cannot imagine a perfect quality show, but they are able to distinguish it when they watch it. This essay is going to discuss the definition and features of ‘quality show’ by analyzing True Detective from course screening, and also demonstrate the branding strategy of HBO.

In Shakespeare’s The Merchant of Venice, one recurring pattern is male fixation with law and justice.

In this play there are many incidents which show how police officers and the judges help each other in their fallacious activity. This incident portrays how the police officers use their authority to manipulate the people and cause corruption in the society.