Andrew Conley Model

Many people have problems with the violent programs on TV, and they don’t want them to be played on TV because of their kids. They get scared when inappropriate shows are on TV. In the essay “Now You Take “Bambi” or “Snow White” — That’s Scary” author of horror novels, Stephen King argues against a ban on airing violent television programs to prevent children from being frightened. He begins his essay with an imaginative rendering of the plot of “Hansel and Gretel,” and points out the fact that children are exposed to scary stories in fairy tales. He explains that he has written both series that are and are not appropriate for young children. He has screened the movie versions of his stories and decided which stories are off limits for his children and insists other parents do the same. As support for his argument, King refers to the repeated suggestion that various forms of entertainment, even scary forms, are cathartic, and they offer a way for people, including children, to enter a scary yet controllable world for a limited time, where they can express and release their fears and aggressions. Therefore, King believes that children have the right to experience scary TV programs and movies, but a mature adult should decide what children can and cannot watch. He

If you have ever been interested in the world of why serial killers kill, chances are you have done some research or even watched the insanely popular television show Dexter. “Dexter Morgan is a Forensics Expert, a loyal brother, boyfriend, and friend. That 's what he seems to be, but that 's not what he really is. Dexter Morgan is a Serial Killer that hunts the bad. (TV.com)” Dexter is a serial killer yet he works for the Miami Police Department in blood spatter forensics, because of his experience he is extremely good at his job. Dexter was adopted at a very young age, his adoptive father soon realized that Dexter was different, his father taught him

The short story Charles, by Shirley Jackson, revolves around the problem that a little boy named Charles has been misbehaving very badly at school. In the beginning of the story, it starts off as a little boy named Laurie’s first day of kindergarten and by the end of the day he comes home talking about a boy named Charles being bad in class. At the climax Laurie’s mother has had enough of this Charles kid and feels the need to meet his Charles’s mother at the PTA meeting. The story resolves with Laurie’s mother finding out that Charles was not real and instead Charles was Laurie. Jackson uses many literary devices in order to build the curiosity in the story. Specifically, Jackson uses foreshadowing, indirect characterization, and third person

Homicide always will be an aspect of life, whether it is in the 16th century, 21st century or in the future. At times of extreme stress, people may turn to murder as an outlet of a greater problem they cannot fix or control. Presently, homicide has a greater value in society due to popular culture references through the media such as television, film and writing; society constantly has homicide and murder in the subconscious. In David M. Buss’ findings in The Murderer Next Door: Why the Mind is Designed to Kill,

The portrayal of violence on television is shown in cartoons, comedies, horrors, dramas, and many other genre television shows. Some cartoons as well as other television shows, endlessly display violence--that youth often view as a form of entertainment. However, the actions and behavior conveyed on the television do not make youth commit violent acts. It induces them to believe that violence is just the standard way of living life. On the television, the lawbreaker gets away with the crime and does not face disciplinary actions, and therefore they are not held responsible for the repercussions of their wrongdoings (Menhard 11).

Doli Incapax however, doesn’t end once a young person reaches the age of 10. From the ages of 10-14 it is a common law presumption that a minor does not possess the necessary knowledge to have a criminal intention. This is known as a rebuttable presumption. This presumption lies in favour of the young person just as if they were under the age of 10, however, the other party can rebut it if they are able to show sufficient evidence to disprove this. This can be done a fair few ways. One of the ways to rebut Doli Incapax is by looking at the young persons criminal record. Previous offences that are linked to the present offence (e.g. robbery and assault) can be used to rebut Doli Incapax. Another way to rebut Doli Incapax is by interviewing the young person. This must be done so however, in the presence of an adult, if it not, the evidence may be inadmissible in court. The interview process will involve a police officer questioning the juvenile about their knowledge of the offence. If the juvenile admits they were aware that the offence was a criminal matter, Doli Incapax is rebutted. The United Nations Convention on the Rights of the Child (CROC) supports this idea of the age of criminal responsibility and Australia has ratified legislations proposed referring to this idea. The Children (Criminal Proceedings) Act 1987 (NSW) lays out the minimum age of criminal responsibility, although there are occasional debates within the public to reduce this age. Doli Incapax is

All actions have consequences. Sometimes one does not have to participate in the action, but only be related, and the crime committed can have serious consequences for everyone. The consequence, or lack of consequence, is determined by one’s upbringing. This is clearly the case present in Robertston Davies’ Fifth Business. Although Boy committed the crime, Dunstan feels a profound sense of guilt about the snowball incident. On the other hand, Boy obliterates his guilt. Guilt and lack of guilt can clearly be seen through character’s lives, relationships and philosophies.

In Sarah Koenig’s podcast ‘Serial’ and Laura Ricchardi’s docudrama ‘Making a Murderer’, both use characterisation to influence the audience to determine whether the person on trial is innocent. However, in ‘Serial’ Koenig characterises Adnan in a positive way that suggest that he may be innocent, whereas in ‘Making a Murderer’ Ricchardi characterises Steven Avery in a negative way to doubt Stevens innocence. Through the use of a simile, Koenig characterises Adnan as harmless and a man of the community as she says, “…he has giant brown eyes like a dairy cow.” This influences the audience by appealing to their emotions and leading them to consider how someone that looks innocent could possibly kill someone. In addition to this simile used, an interview with Adnan’s

One of the universal themes of literature is the idea that children suffer because of the mistakes of an earlier generation. In Janie’s case,

Justin Rollins, raised in the streets of South-London, was deprived of a childhood where he fought for purpose in a world filled with racism and violence. In his book “The Lost Boyz” he tells us the crucial events which occurred throughout his upbringing which shaped his journey through his teenage years. This essay will critically evaluate the theories and explanations for Rollins’ offending behaviour using a wide range of criminological perspectives.

Guilt is a central theme that makes us feel vulnerable and makes us mistrust the society we live in. He develops his claim with vulnerability in paragraph 5. He says “…most of us see ourselves as powerless cogs in a greater machine…”. He explains that people these days see themselves as unworthy and insignificant and because of this some people are pushed to read crime stories, People’s vulnerability comes from feeling insignificant and interplays with our guilt which causes our interest in crime fiction. Finally, Mosley develops his claim by showing our fascination with stories of crime in paragraph 13. He says “…they can offer escape through a fantasy where even a common everyday Joe (or Jane) can be saved.” This shows that people mainly look for crime fiction in order to escape from reality and the problems they’re facing in their daily lives. Without crime stories we wouldn’t be able to explore our own guilt.

Later on Donnelly starts to talk about popular culture and its influences on the show. She says, “Popular culture thrives on explanation as a way of abating fears of violence and fears of Otherness” (Donnelly 21) which season seven and eight are all about. Dexter searches constantly for a real reason to explain why he is the way he is. He wants a better understanding of himself to make himself fit in. Morals have been developed to single out the abnormal and throughout his whole life Dexter was singled out. The consumers of the show can identify a killer as a monster, making the person less than human in our minds. Therefore if Dexter thought the same as us; killing a killer is the same as squishing a bug because both are lesser than humans and their lives do not make an impact on ours. Dexter realizes in season eight that he is an even worse monster that he believed himself to be.

As one studies other viewing and readings such as Silence of the Lambs, Dexter, Perfume, Natural Born Killers, True Blood, Dead until Dark, and The Walking Dead it can be found that both nature and nurture take a part in creating a serial killer. Dexter Morgan is a serial killer that developed a want to kill as a child. Growing up with a foster family he had all the love, nurture, and support of a normal child, but he had a missing part of him with the mystery of his dead mother. Harry, his foster father had recognized Dexter’s need to kill early in life and was able to teach him how to kill properly. Harry was smart in understanding there was no way to contain or stop Dexter’s desire to kill, but he

In many cases in media, the character is portrayed as a danger to others or a psychotic killer because of their antisocial personality disorder. This is evident in the movie series “The Dark Knight Rises” in the character the Joker as well as the television series “Dexter” in the character Dexter Morgan. These characters are attributed with antisocial personality disorder, emphasizing and exaggerating their symptoms, especially their disregard of the safety of others and themselves, as well as their lack of sympathy. Due to their symptoms, the film and television serious deems that these characters are “psychotic” and are murderers. According to Smith (1996), they explain that those who do suffer from the disorder are not murderers, but rather they impose a danger to themselves more than to others. The causes depicted in the film and television series essentially explains that those who suffer with the disorder is due to an early traumatic experiences which was evident in the Joker and Dexter. Although a traumatic life experience is a cause of the disorder, but it is not the only cause. Ferguson C. J. (2010) explains that genetics is significant when examining the cause of the disorder. He continues to explain and provide evidence that the genetic material is triggered by the experiences that the person encounters. By having the Joker’s and Dexter’s disorder be explained

Codes are another important aspect of this semiotic analysis. The main set of codes this episode deals with is between good and evil. These codes can also be viewed at times as paradigms because of the way the codes are setup. The idea of good versus evil is apparent in the battle Dexter wages against serial killers. Dexter sets out to kill those, such as the therapist, who are taking advantage of others, or who have actually murdered others as in previous episodes. This raises the question, might Dexter actually be a good person? Although he may only be murdering those who "deserve it," he is still committing one of the most gruesome crimes possible with no remorse. Dexter even describes