Ambivalence In Hitchcock's 1946 Notorious

Contrary to the past attempt by elders to protect the youth, which involved scolding without reasoning, these two authors give their reader the naked truth when explaining the realities of this world. This naked truth is displayed when Coates tells his son “…the policeman who cracks you with a nightstick will quickly find his excuse in your furtive movements”(71). Coates doesn't avoid telling his son about the injustices that he may face nor does he avoid telling his son how this injustices will be justified. Baldwin illustrates his experience in New Jersey just as straightforward when he says “…I frightened the waitress who shortly appeared…I hated her for her white face and for her great, astounded, frightened eyes. I felt that if she found a black man so frightening I would make her fright worthwhile”(593). Baldwin uses powerful statements like “…I would make her fright worthwhile” in order to make sure his readers understand the intensity of this hatred. Both Coates and Baldwin paint vivid pictures with their explicit wording in order to be sure that the reader comprehends just how serious each matter

Alfred Hitchcock (1899 – 1980), the “Master of Suspense”, was a English film director, who was well known for his use of suspense and psychological elements to shock and surprise his audience. Hitchcock was known for his use of recurring themes, motifs and plot devices, such as the use of birds, hand motifs, the audience as a voyeur, mothers, blonde women, and sexuality. He was also very technical in his editing, using filming techniques such as deep focus, point of view, close up and wide, tracking shots. Montage was also a technique he used frequently in his films. He believed that by using visuals, he could convey thoughts and emotions just as well as dialogue could.

For this assignment, our group chose the movie “Sleeping With the Enemy” a terrifying domestic violence experience whose main characters were Laura and Martin Burney. They live in a private section of Cape Cod. Laura is a housewife who endures an abusive and controlling relationship (Ruben, 1991). Martin is her husband who maintains a belief that men control women by providing their wife’s with economic resources and that in return he believes that his wife should be obedient and submissive. Martin displays multiple signs and symptoms of obsessive-compulsive disorder. He is preoccupied with details, rules, lists, and being organized (Ruben, 1991).

It is unsurprising that Wilder—in creating Sunset Boulevard— chose film noir to exhibit the cynicism and despair of those mistreated and thrown away by the film industry. In his essay “Notes on Film Noir”, author Paul

It is easy to get caught up in one’s own world when life picks up the pace and everything seems hectic; along the way decisions are made unconsciously to let go of people who were once held dear. It is easy to be torn between what appears to be important and what is trivial. Amidst the mess that is life, various things contend for one’s attention, and what really matters might not be so clear. In “The Last Rung on the Ladder” the guilt that consumes the narrator over his sister’s suicide becomes an essential part of his identity even as he tries to adjust to her loss. In “Sanctuary” Jim Hammer is in the very first stages of realizing he is guilty of his friend’s death, and the responsibility has not yet taken its toll on him. The history and experiences of one’s identity affect the way an individual reacts to guilt, if one has never understood the impact that relationships have upon past and present selves then it is difficult to fully digest the impact of his/her actions.

Thomas Wolfe was an American novelist best known for his writings on American culture in the mid 1920’s to the late 1930’s. A year before his death in 1938, he published a fictionalized accounting of a 1906 lynching of a black man supposedly named Will Harris called “The Child by Tiger”. In this story, Wolfe examines, as Private Joker of Stanley Kubrick’s Full Metal Jacket puts it, “The duality of man, the Jungian thing, sir”. Put simply, the duality of man is a means of understanding how man can be both good and evil. How man can be both the Tiger and the Lamb or the Tiger and the child. The subject of Wolfe’s story is Dick Prosser, an African-American veteran of the Spanish-American War who comes to town looking for work. The story quickly takes a darker turn as Dick goes on a rampage, killing many of the townspeople. Shortly after this, the otherwise kind townspeople form a lynch mob, hunt down Dick, a kill him in a rather gruesome manor. Wolfe rationalizes these extremes of behavior by quoting Williams Blake’s poem, “The Tiger” where Blake questions how God could create both good and evil.

While the film “Crash” has several complex characters with storylines that all become interconnected in various ways, the movie is predominantly about how prejudice plays into people’s everyday lives and how such prejudice usually has negative implications. The characters in the film all had their own prejudices, or attitudes judging others in negative ways, which set the stage for discrimination, stereotypes, racism, and scapegoats. Thus, one can see how prejudice plays such a pivotal role in people’s relations with each other. As a result, it is best to analyze this film from a symbolic interactionism point of view by analyzing how the labels the characters encounter in this film affect their perception and in turn create prejudice

Hatred is evident in today's world and in the book Night, by Elie Wiesel. The definition of hatred is intense dislike or ill will. It is a continuous theme in the book. Night is about Elie Wiesel’s haunting experience of the brutal holocaust. From shockingly watching his dad get beat by a gypsy, all the way to the death of his father, Elie endured and witnessed horrible and cruel actions taken by the Nazi party. In the current society, an event such as police brutality is a perfect example of present day hatred. The current police force treats black almost as horribly as the Nazi officers treated the jews. Hatred is clearly seen in the book and it still occurs today.

Again, the audience is not presented with a perfect copy of such a personality in the character of Norma Desmond; her “appeal” is arguable, considering her hefty age of fifty, and her deception is not exclusive to her victim, but has cast a much heavier net upon herself. However, Norma is still manipulative in the sense that she uses the appeal of her wealth to keep Joe under her control. In this way, she strips him of his pride and manhood by taking him on as her dependent, and eventually into her “boy toy” (for lack of a better term) by inducing his guilt with her suicidal threats. Whether or not she deserves the audience’s pity is no matter—Norma fits her role as the femme fatale since she uses Joe entirely for her own purposes, and eventually brings him to his very literal demise.

Throughout his career, Kurt Vonnegut has used writing as a tool to convey penetrating messages and ominous warnings about our society. He skillfully combines vivid imagery with a distinctly satirical and anecdotal style to explore complex issues such as religion and war. Two of his most well known, and most gripping, novels that embody this subtle talent are Cat's Cradle and Slaughterhouse-Five. Both books represent Vonnegut’s genius for manipulating fiction to reveal glaring, disturbing and occasionally redemptive truths about human nature. On the surface, Cat’s Cradle and Slaughterhouse-Five are dramatically different novels, each with its own characters, symbols,

I believe that in I Confess, the first four minutes is not only the most important, but it also relates back to the rest of the film perfectly. In the beginning of I Confess the audience is shown several shots of the beautiful povince of Quebec to emphasize the location and then we see a murder and a confession occur in the same night. In this essay, I 'm going to be analyzing the mise-en-scene, cinematography, and sound of the cinematic masterpiece I Confess by Alfred Hitchcock.

In the 1920s many Americans were disillusioned by the massive destruction and carnage of the Great War and were questioning the meaning of life. It was a time of prosperity for many and a time when many of the countries talented young writers had fled to Europe. These books speak of a period that marked the end of the Victorian age and the rejection of what was accepted to be proper decorum. Both novels have characters that drink excessively, are sexually promiscuous, and fail to establish any meaningful relationships through marriage. They are searching for meaning in a world where there may not be any to be found.

Fluid signification – that so readily marks this insufficiency in identity or moves beyond self's societal bounds – in Crash and Rant are a part of a common transgression in authorial narrative form, an abjection posed to characters and readers alike through engagement with taboo acts, and the social subversions said acts entail. While Crash remains more fixated on its presentation of transgression of taboos in James and Dr. Vaughan’s fetishization of vehicular accidents, Rant applies abjection more broadly between groups and individuals around the common discussion of the abject iconoclast, Buster “Rant” Casey. At the core of all this refuse, excretion, death and isolation lies the true relational core of abjection. Crash addresses this by hyperbolizing obsessions with car crashes drawing attention to the dangerousness of a life too integrated with technology, to fearful of death whilst hypocritically craning one’s neck to see what ill fate has befallen car accident victims. As a dystopian novel, Rant overtly criticizes the policing power structures and emphasizes outcast identities, whilst showcasing a hyperbolic focus on a lived experience over one force-fed by society at large. A subject’s place and experience in relation to norms of power that delineate the boundaries of the forbidden, horrific and socially acceptable; systems that, when challenged by narrative characterizations, are exposed to the criticism of and deference to these systems of power that police normative

People might sometimes find themselves in a situation in which there is nothing they can do to help those who they care about, but they do it against all odds anyway. In both “An Alcoholic Case” by F. Scott Fitzgerald and “My Son the Murderer” by Bernard Malamud, the deuteragonists are dealing with the effects war had on them: one falling into alcoholism and the other into depression. Meanwhile the protagonists, the Nurse and Leo respectively, are trying to prevent them from suffering with no favorable outcome. Although both protagonists were concerned about the repercussions war had on their respective deuteragonists, they wanted to lessen their pain for different reasons. Overall, the differences and similarities between these short stories vary from the unpredictable repercussions war has on people’s lives and the despair of not being able to heal the ones you care about.

Throughout James Joyce’s “Dubliners” there are four major themes that are all very connected these are regret, realization, self hatred and Moral paralysis, witch is represented with the actual physical paralysis of Father Flynn in “The Sisters”. In this paper I intend to explore the different paths and contours of these themes in the four stories where I think they are most prevalent ,and which I most enjoyed “Araby”, “Eveline”, “The Boarding House”, and “A Little Cloud”.