Essay about American Psycho: Analysis of Novel and Movie Production

The vision Christopher Nolan had for The Prestige (2006) was to add to the outbreak of street magician film, whilst playing a large dramatic subplot equal in grandeur to the magical performances within the film. In the final sequence of the film, I will analyse how the cinematography and sound resolves the plot so that it summarises the themes present in the film, whilst also invoking a response from the audience. Nolan predominantly uses close up shots, non-diegetic sound (music) and dialogue collaboratively to convey the dramatic, personal subplot of the characters and their relationships, whilst appealing to the audience bringing forth an emotional response from the audience. The heavy, slow, dramatic atmosphere of the ending sequence uses various techniques to summarise and uncover the underlying mysteries of the events throughout the film and consolidate themes introduced during the exposition.

Nearly everyone in the world can be classified with some sort of mental or psychological disorder, whether it’s a big “problem” or just something small and rather unnoticable. Since film making became possible, people have been producing movies with a character that has some sort of psychological or mental disorder. Within the last 20 years, American Psycho, Shutter Island, and The Black Swan, have all had strong in their message and meaning in the mental disorder community. American Psycho and The Black Swan deal with borderline personality disorders in both of the main characters, while Shutter Island is more about post traumatic stress disorder and dissociative identity disorder. Movies dealing with characters with mental or psychological disorders are harder to portray, but if they can be portrayed correctly, they are likely to be some of the best movies you have ever seen.

Stephen King never clearly states the thesis of this essay however there is enough information provided that we can infer one. We need to keep our inner lyncher at bay by feeding ourselves with small portions of demonic, bloody, violence, found in horror movies. King writes “It deliberately appeals to all the worst in us. It is morbidity unchained, our most base instincts let free, our nastiest fantasies realized...” (Why We Crave Horror Movies, paragraph 12) and by doing so he’s implying that horror movies are like a temporary fix for our violent craves.

Aristotle once said, “The secret to humor is surprise.” It is clear that Martin McDonagh feels this way as well. He makes ample use of humor in his work and he implements the surprise by having the humor be dark and gallows humor. Dark and gallows humor, and gruesome descriptions are especially apparent in McDonagh’s play The Pillowman. Let’s explore critical and personal responses to McDonagh’s work, including: The Pillowman and Hangmen.

Harold and Maude, a movie directed by Hal Ashby and released in the 1970’s, did not receive much attention and popularity when first released. Since the movie depicted obsession with suicide through a 20-year-old character Harold, the movie received backlash because during the 1970’s there were high rates of suicides among teenagers and college students. However, over time college students found the movie very entertaining, therefore bringing the movie into the lights and making it a cult hit. In Blue Velvet, a neo-noir mystery film directed by David Lynch and released in 1986, received a variety of critical responses from a wide range of audience, but this movie’s unique style earned Lynch his second nomination for Best Director. The idea of innocent getting caught in a web of evil is portrayed through the character Jeffrey Beaumont, who first encounter’s a severed ear in a grassy abandoned field. In this paper I will compare and contrast these two movies that include key actors Bud Cort, played as Harold, and Kyle MacLachlan, played as Jeffrey and include a few key points that have made these movies enjoyable to watch.

There were many critical issues with Reaganomics, which was intended to help expand the economy, but it eventually became the downturn during 1981 through 1982 (Foner 832). For example, the wealthiest American families benefited the most from the economic expansion because they had spent most of their income not on productive investments and charity, but on luxury goods and corporate buyouts (Foner 832). Whereas, the poorest 40 percent of the population’s incomes have declined, especially those with wives who did not work outside of their homes (Foner 832). Foner states that the 1980s was remembered as a decade of misplaced values because buying out companies generated more profits than actually running them or

Never had the flaws of capitalism been so evident or as devastating as during the decade that followed the outbreak of the Great Depression in 1929. All across the Euro-American heartland of capitalist world, this vaunted economy system seemed to unravel. For the rich it meant contracting stock prices that wiped out paper fortunes almost overnight. On that day that the American stock market initially crashed (October 24, 1929), eleven Wall Street finances committed suicide, some by jumping out of skyscrapers. Banks closed and many more people lost their life savings. Investment dried up, world trade dropped by 62 percent within a few years and businesses contracted when they were unable to sell their products. For ordinary

Life in America began to undergo great economic and social changes during the 1980s under the Reagan Administration. During this period of time, stagflation began to distress the US economy, leaving millions of Americans to fall victim to homelessness and poverty. The unemployment rate had reached its highest peak since the Great Depression, creating a major crisis for low-income families and other individuals concerning living conditions. The introduction of Reaganism into society primarily focused on reducing the growth of government spending through the modulation of federal income tax and reduction of government regulation to diminish inflation. Despite all attempts for economic recovery, the US struggled to bounce back from the 1970s recession and in time led to the significant rise in urban poverty. Uniquely, an American film director from the 1980s by the name of John Carpenter produced a science-fiction film, They Live, that served as a powerful and eye-opening depiction of his own personal views of Reaganism (Reaganomics). He essentially depicts our world to be controlled by powerful elites who have created a repressive society that we are unwilling brought to live and build in. He also clarifies how the majority of Americans during the 1980s were focused primarily on materialism and how an individual’s “success” was measured by the amount of money they possessed. Carpenter’s major criticisms of 1980s America included the impact of consumerism in America as well as

The movie Blow is the story of George Jung, the man who established the American cocaine market in the 1970s. The film starts with George as a child, showing what his childhood was like and what his relationship with his parents was like. As it progresses George grows up and moves to California. While there he become caught up in the marijuana scene and eventually starts selling it for money. George expands his market and eventually becomes very wealthy. But, George becomes too complacent and gets caught by the police and sentenced to prison. While there he meets and makes friends with Diego Delgado and learns about the drug Cocaine. Together they find a way to traffic it into the United States and again George becomes extremely wealthy.

This paper delves into the film One Flew Over The Cuckoo’s Nest and Jack Nicholson’s portrayal of a man who tries to deceive many including himself. Mental Health in the Media: One Flew Over The Cuckoo’s Nest One Flew Over The Cuckoo’s Nest is a film set in Oregon in 1963 on a diverse ward at a mental institution. The severe and unrelenting Nurse Ratched is in charge of the patients’ treatment including medications, group therapy and managing a variety of personalities. Patients are at the will of the tyrant mediator

The decade of the 1980 's experienced a massive sorts of changes in economics and culture, this requires a certain analysis of the time and the way culture became intertwined with economics. The culture transformed and allowed the decade to be read as an experience of cultural products between culture and economy. Through the conspicuous consumption of the decade, the 1980s encouraged a cultural shift towards complete commodification (what is this) and interaction with the market. Ronald Reagan 's presidency throughout the decade created a framework for the people, and ultimately, the culture to transform. His early and continued leadership outlined the tone of the decade and this gave a context for the theoretical work of neoliberalism

Bret Easton Ellis's dark and violent burlesque of America in the 1980s is taken to

People imagine that the author's imagination is invariably at work as he is perpetually inventing an illimitable supply of occurrences and episodes as he dreams up narratives, pulling conceptions from thin air. Genuinely, the antithesis is true once the public kens that the obnubilated force of art within brings characters and their lives to the author. And with that, I will leave you to read this dark comedy of action, deception, malefaction, murder, and romance as it all came to

One of the reasons that this film made the top ten films of all time

In my opinion, the best movie ever made is Nightmare on Elm Street (Wes Craven, 1984). The movie is about a group of teenagers being haunted in their dreams by Freddy Kruger (Robert Englund), a man with knives for hands. The teenagers try to figure out why they are being chosen by Freddy and killed in their sleep. Freddy goes after the teenagers because their parents are the people who burned him alive after he killed young children. The only way that the protagonist of the story Nancy (Heather Langenkamp) can defeat Freddy is to defeat him in her dream.