Contradiction In The Film Taxi Driver

“How can I go forward when I don't know which way I'm facing” this quote was stated in the beginning of Nic Sheff's book “Tweak”. This quote pretty much set the tone of the memoir. Nic Sheff explored the ins and outs of his life as an addict, in which he was addicted to meth. The book dissects each in every issue in Nics life. One major issue that was explored throughout the book is the inability to stay clean. Nic mentions his year of sobriety and having money again, and a relationship with his family. Throughout the book, Nic's discusses his biggest and almost fatal relapse. In the beginning, he runs into a former girlfriend, Lauren, on the streets of San Francisco. After a brief conversation, they decide to go and meet up with a meth dealer

In the book, Travis

A story is most powerful when it inspires the reader to believe that reading the story is “necessary”. In our textbook, there are three stories that hold true to this idea and follow the “Between Worlds” theme. These stories are, “A Cab Drivers Daughter” by Waheeda Samady, “Three Ways of Meeting Oppression” by Martin Luther King Jr., and “Where Are You Going, Where Have You Been?” by Joyce Carol Oates. In “A Cab Drivers Daughter” a Pediatrician examines her life and the life of her father; she notes all the stereotypes and negativity that surrounds an immigrant driving a cab. This story shines light on the generation gap and cultural beliefs. Secondly, “Three Ways of Meeting Oppression” is the explanation behind the ideology of the

First, the hitchhiker and the driver’s son have a lot in common. Both are trying to get

Unfortunately for Bickle, he is never able to get close enough to get to the candidate. After his plan completely fails, Bickle then begins to form an interest in saving a young 12-year-old prostitute by the name of Iris, played by Jodie Foster. In order to save her, Travis goes to the hotel that Iris works at and shoots her ‘pimp’ and murders him along with the hotel manager and the client of Iris. After seeing this film, Hinckley Jr. starts to form an obsession for Jodie Foster. He also began to believe that he saw himself in Travis Bickle. Hinckley Jr. was so infatuated with Taxi Driver that he saw the movie a total of fifteen times. He felt that in order to win Jodie Foster over, and to get her to even know he existed, was to assassinate the president of the United States. This would be the start of something that would lead to the attempted assassination of former President Ronald Reagan.

After explaining the feelings that come with leaving his family, causing him sometimes to feel as if he’ll explode without their love, he has an insight that plays into the religious aspect of the taxicab. “There is emotional safety in anonymity, he thought” (page 432). And while I’m not Catholic, I’ve noticed in movies

The Killer Angels by Michael Shaara is a historical novel about the Civil War focused entirely on the battle of Gettysburg. Shaara’s novel is based solely off of documents that were left by the survivors of the battle and the reader is told the story from the perspective of leaders on both sides of the battle. The only reason that The Killer Angels is fiction is because Shaara delves into the minds of those who participated in the battle and wrote about what those people felt. Shaara called the soldiers who fought at Gettysburg Killer Angels which is a paradox. This paradox reoccurs throughout the novel and it reveals both sides of man’s nature. Both the soldiers fighting for the Confederacy and the Union were called Killer Angels by Shaara

Traviss friends stating that she had just slit his tires to his car not even two weeks ago. Drew,

While in Hollywood, Hinckley first viewed the 1976 film Taxi Driver, which gave dramatic meaning to his miserable and depressed state of life. Hinckley became obsessed with this film watching it over 15 times in a few years. Robert DeNiro portrays a psychotic taxi driver who thinks about political assassination throughout the film and also rescues a vulnerable female prostitute names Iris who was played by Jodie Foster (The Biography.com, “John Hinckley Jr. Biography”). When watching the movie, it gave Hinckley ideas of

Demsey Jerome Travis rose to become a major real estate tycoon in Chicago. He profited from the controversial urban renewal of the 1960’s. helping to clear poor black neighborhoods, in a program that most African Americans strongly opposed as destroying black communities. Travis considerd himself not a captialist but a humanist, believing strongly that wealthy African Americans had to take responsibility for their people, and he was considered a race leader by many Chicagoens. Travis was making $15 million a year in real estate and insurance business. His Travis Reality Company was the city’s largest black owned real estate firm, and his influence increased. In 1995, Travis received Ameritech Small Business Community Service Award and in the

Amir’s selfishness is often channeled through his guilt and sense of fear. Although Amir witnesses the tragic event that unfolds in front of his eyes, he immediately realizes that he fails to prove his loyalty to Hassan. While staring down the alley, Amir realized that he “had one last chance to make a decision. One final opportunity to decide who I was going to be. I could step into that alley, stand up for Hassan-the way he’d stood up for me all those times in the past-and accept whatever would happen to me. Or I could run. In the end…I ran because I was a coward” (77). By witnessing what was happening in the alley, a sense of fear rushed over Amir, ultimately leading to his decision of running away like a coward. By running away, Amir shows that he cares more about himself in this situation than he does about Hassan. He has a fear of what will happen to him if he intervenes, when

In Martin Scorcese's Taxi Driver, Travis Bickle repeatedly expresses two ideas that are central to the film. First, Travis has an undying wish to purify the world. He wants to rid his city of all the evil and scum that currently inhabits the city's cold and damp streets. Second, is the method by which Travis tries to obtain his goals. Travis Bickle tries to clean up his city by methods similar to those of religious figures. He even takes on a role as a savior figure. Travis Bickle's quest to save the world via religious ideas fails, and instead results is a bloodbath.

Travis in the movie is the protagonist, and lives by the lower class ruling. Travis is more intelligent than the typical lower class (proletariat). One can tell because of the thoughts he writes down in his diary. Travis falls under the category of a stereotypical low class laborer. He works long hours; normally from 6 in the evening until 6 in the morning, and works 6, sometimes even 7 days a week. He writes a lot about his trips that he makes while driving the taxi. The writing in his diary show he is against the low life people who he sees, and who live on the streets. He says, “All the animals come out at night. Whores, scum, beggars, junkies, fairies. Someday a real rain will come and wash all the scum off the streets.” (Approximately 7 minutes into the film.). This is also a possible foreshadowing event on what he plans to do later in the

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In Taxi Driver, Scorsese manages his camera angles and editing to emphasize Travis seeing the world through glass or mirrors, especially the windshield and rear-view mirror of the taxi, through which all major characters enter Taxi Driver: Betsy through the panes of an all-- glass office; Palantine through his rear-view mirror; and Iris and Sport in a fleeting glance in his mirror. As Travis meets with a black-market gun dealer, and in this scene the weapon literally becomes the organ of perception. Scorsese situates his camera on Travis' arm as that arm takes the weapon and slowly pans it across the window looking down on the street below. Finally, in the scene which has made Travis Bickle a cinematic icon ("Are you talking to me?"), Travis looks into his mirror, challenges imaginary adversaries, and draws his various weapons in assault. The ambiguity of the image is poignant: Travis looks into a mirror and makes a self-destructive gesture foreshadowing his attempted suicide at the climax of the film, and Travis peers through the looking glass and