Analysis Of Paul Bigelow's 'The Algiers Motel Incident'

The 1946 film The Killers is a renowned film noir based off of Ernest Hemingway’s short story of the same title, focusing on the detailed backstory and investigation for the motive of the murder of Pete Lund/Ole Anderson, commonly known and referred to as “The Swede.” A film noir is a term made originally to describe American mystery and thriller movies produced in the time period from 1944-1954, primarily marked by moods of menace, pessimism, and fatalism. Although the film does not focus on the war itself at all, it still puts forth interesting new ways in how gender relations can be stereotypical as well as divergent proceeding the Second World War.

Lastly, Fear and Loathing Las Vegas reveals racist nature of the American military and the decay

When discussing American culture, the influence and interplay of film cannot be understated. We are a nation consumed with the media. Today, the movie business is one of the highest grossing businesses there is. We hold movie stars up as though they are super human. We closely watch their style, their dating lives, their party habits, and even their favorite restaurants, among many other things. We rely on movies to lift us up, teach us about other cultures and time periods, and even to teach us about our own culture. Often, movies reflect the time period they are filmed in and directly reflect the social tensions of that time and the film noir genre is no different. One of the most famous film noir movies out there, The Maltese Falcon,

Requiem for Detroit? is a historical documentary, released in 2010 and directed by Julien Temple, about the decline and collapse of Detroit, one of America’s largest cities. It chronicles Detroit’s journey through its success in the automobile industry all the way through its urban decay and industrial collapse to the present day. As the film draws a close, Temple also suggests some ways forward for Detroit. He presents possibilities and clearly shows which he thinks is most likely through his use of interviews with subjects and visual representations of these offered opinions. The intended reading that Temple offers viewers is a complex one, with many anti-consumerist and anti-corporate ideas and leanings. Despite the ‘doom-laden’ feel of much of the text, Temple paints optimism for the potential for a progressive and productive future for Detroit. Throughout the documentary he clearly expresses this intended reading through effective use of motifs, shown by visual and sound techniques, music and interviews with both privileged and non-privileged characters.

“Mississippi Burning” is based on the investigation of a missing persons case which turned into a murder case in Mississippi that involved three young students who were civil rights workers involved in Freedom Summer of 1964. Two of the students were Jewish and one was an African-American whom came down to Mississippi from New York City. After the students did not return home the parents pushed for media attention since the Mississippi Police were not doing any investigations. The FBI then had to get involved with the case. Little did the parents know that the police were the ones who actually committed the murder of their children. This film shows us the oppression towards African-Americans, specifically in the south.

Night of the Living Dead (Romero, 1968) is a movie that contains a large amount of historical significance. This movie is well known for its incredible relevance to the year that it was released. The movie has been described as “A Newsreel of 1968”, and there is ample reason to make that statement. The year 1968 was a very tumultuous period in American history that saw a great deal of violence overseas and in the United States itself. There were many history altering events that took place during 1968, which would all serve to rile up and instill fear and anger in the American people. 1968 saw the latest presidential election in which there was great division amongst the parties, and was the election in which Robert Kennedy was assassinated. Not only did that year see the assassination of another Kennedy, but it also bore witness to the assassination of the most prominent civil rights leader of the time, Martin Luther King Jr. With these tragedies a war in Vietnam raged which had riled much of the country into protest, especially young people.

While the 1970’s and 80’s marked a decline in movies featuring black actors and a lack of black directors, the mid 1980’s through the 1990’s invited a new generation of filmmakers and rappers, engaging with the “New Jack” image, transforming the Ghettos of yesteryears into the hood of today. A major director that emerged during this time was Spike Lee. According to Paula Massood’s book titled, Black City Cinema, African American Urban Experiences in Film, “…Lee not only transformed African American city spaces and black filmmaking practices, he also changed American filmmaking as a whole.” Lee is perhaps one of the most influential film makers of the time, likely of all time. He thrusted black Brooklyn into light, shifting away from the popularity of Harlem. By putting complex characters into an urban space that is not only defined by poverty, drugs, and crime, it suggests the community is more than the black city it once was, it is instead a complex cityscape. Despite them being addressed to an African American audience, Lee’s film attract a mixed audience. Spike lee’s Do the Right Thing painted a different image of the African American community, “The construction of the African American city as community differs from more mainstream examples of the represents black city spaces from the rime period, such as Colors…, which presented its African American and Mexican American communities through the eyes of white LAPD officers.”

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

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.

The setting of this novel is based in a very fatally dangerous neighborhood. Often times, the narrator and main character Mann, describes the true setting of his surroundings. “They kill people where I live. They shoot ‘em dead for no real reason” (Flake, Page 1). Mann has struggled through not only his brother’s death, but his relatives and close friends as well. His neighborhood is unexpected in killings and shootings. “A boy walks out of his house and goes to the store for milk and Bang! He’s dead.” (Flake, Page 78) The description of Mann’s neighborhood is very pertinent compared to today’s society. This novel relates to society because there are dangerous cities in America like Chicago, Detroit, Memphis, and everyday news articles get published about killings, shootings and stabbings. The audiences are into movies that are relevant to what they have already observed, whether it is a personal experience or based on news stories. If this novel gets adapted into a motion picture, it has the ability to spread a positive message to hopefully change people’s outlook on these situations to help towards the cause and fight for a

Twilight: Los Angeles, 1992, is a one-woman performance piece written and originally performed by Anna Deavere Smith, who was commissioned to transcribe regarding the 1992 Los Angeles riots corresponding with individual’s experiences, outlooks, and concerns that contributed to those who were exacerbated by the abominable and nerve racking riots. For her production, Smith interviewed hundreds of Los Angeles’ residents who were present during the occurrence of the riot. The entire script consists actual quotations from members of the Los Angeles community and their reflection on their personal experience being surrounded in the midlife crisis atmosphere. She applied Smith strived to maintain capturing an extensive range of perspectives of the situation by interviewing several individuals from various ethnicities, financial backgrounds to different occupations for instance, Koreans, Latinos, Whites, Blacks, poor and rich people, police officers and gang members. As a result of her contribution, she received positive feedback for her own work. The composed piece is combined with historical research to provide a significant examination of the underlying cause of the devastating riot. The play, Twilight: Los Angeles 1992, provides assistance to illuminate speculations and emotions of numerous diverse viewpoints behind the horrendous racial tensions, the perceived police brutality, and the absence of leadership, which is desperately needed for restoration.

Violence has been a part of America's history for centuries on end and it cannot seem to be escaped: “Between 1900 and 1925 the nation’s homicide rate swelled by nearly 50 percent. The increase was especially large in major cities; Baltimore’s homicide rate doubled, New Orleans’s and Chicago’s tripled, and Cleveland’s quadrupled. During the first half of the 1920s alone, lethal violence doubled in Chicago, Detroit, New Orleans, and Rochester, New York” (Adler 36). The Road by Cormac McCarthy demonstrates the aftermath of violence and the violence that is continued in order to maintain life. The Road moves the reader through the story of a father walking with his son across a burned America. The winters are cold, the nights are dark, and danger

The Valentine’s Massacre shows how awful gangs/mobs were and their impact on the

Robert Altman’s The Long Goodbye and Roman Polanski’s Chinatown are both good examples of neo-noir. They both carry elements of classical film noir with them, such as the “hard boiled detective” archetype, the “femme fatale” archetype, and they both deal with the gritty side of human nature. But while they both have some overlapping noir tropes that can be seen in classical noirs, these films are actually incredibly different from one another. They both act as examples for John Cawelti’s Modes of Generic Transformation. They both share one mode, but then have different modes in addition, making them noir-like in essence, but still incredibly different films.

Oliver Stone’s 1994 classic, Natural Born Killers, excited and traumatized its audiences while also causing controversy. The tale of white trash lovers caught up in a realm of chaos that includes a continuous murderous rampage from state to state, draws in audiences with its graphic violence and riveting pulse inducing music. Yet, the message of this film seems to be much deeper than just exposing audiences to yet another chaotic action movie filled with guns, blood and mayhem. Stone’s Natural Born Killers examines the subject of media’s investment in serial murder very thoroughly, and so it seems likely that it has the potential to offer a more rigorous interrogation of the nature of the American public’s fascination with the serial