Film Analysis Of Billy Budd

Throughout the book, O’Brien repeatedly states his struggles in telling “a true war story.” One of the obstacle he faces in telling “a true war story” is the readers’ misconception that “truth” must be an event and not an emotion. To begin, O’Brien claims “A true war story is never moral… If at the end of a war story you feel uplifted… then you have been made the victim of a very old and terrible lie… you can tell a true war story by its absolute and uncompromising allegiance to obscenity and evil” (68-69) and “All of us… like to believe that in a moral emergency we will behave like the heroes of our youth” (38). In these two statements, O’Brien has shown us that people want not a

At a very young age of eight, David Fincher’s passion for cinema grew when he was inspired by the movie Butch Cassidy and the Sundance Kid (1969). Born in 1962 Denver, Colorado, David Fincher moved to Ashland, Oregon in his teens, where he graduated from Ashland High School. During high school, he directed plays, designed sets, and managed lighting after school. One summer, he and a friend attended the Berkley Film Institute’s summer program, where he hoped to learn film as a true art form but instead was taught the technical production. Either way he was happy to engage is this and as his early film industry career started, he was a production assistant at his local television news station. Years went by as he directed propaganda films followed by becoming a well-known music director until his first movie feature debut Aliens 3 in 1992. However, the American director David Fincher didn’t become a modern 21st century visionary until his creation of the film Se7en (1995). The huge success from this film started Fincher’s popularity in the film industry. From there he continued to make ironic movies we know today such as: Fight Club (1999), Zodiac (2007), The Curious Case of Benjamin Button (2008), The Social Network (2010), Gone Girl, and The Girl with the Dragon Tattoo.

The first three words of the chapter “How to Tell a True War Story” are, “This is true” (67). Although Tim O’Brien begins this chapter with such a bold and clear statement, throughout the chapter he has the reader thinking and confused when he contradicts himself by stating things such as, “In many cases a true war story cannot

The Hanging of Billy Budd The hanging of Billy in Melville’s Billy Budd was a questionable and complex decision made by Captain Vere. Captain Vere, or “starry Vere,” chose to coincide with the law rather than spare Billy to make himself happy. The hanging of Billy was necessary for order to remain on the ship and for justice to prevail. Billy Budd, also known as the “handsome sailor,” was on trial for killing the master-at-arms, Claggart. Everyone wished for Billy’s life to be spared, but Captain Vere chose to follow the oath he pledged to the King. Consequently, Billy was given the death penalty and hanged. Billy Budd's death was presided on very questionable cicumstances although he was liked by everyone, he was accussed of mutiny

Is history always the way it has been told, or are there multiple truths that meet in one point and intersect? Presentism is what modern historians do to the past. The way in which presentism reveals and formats information about history is simplified and modified. This, for the most part, is not the exact way these events took place. Important parts and concepts are changed in order to fit into modern views and interpretation. Many historians are accepting of either the victim's or perpetrator's side. Sometimes picking one particular side may skew the hard facts of the situation or event. Failure of telling the accurate past can lead

Storytelling does not tell the total truth from every memory. Memories do not last forever like stories do. As the soldiers in The Things They Carried tell war stories, they have to twist their memory while retelling stories because otherwise their audience may not believe them. The author Tim O’Brien says, “You can tell a true war story by its absolute and uncompromising allegiance to obscenity and evil” (O’Brien 65) because war is not the best thing ever to happen to people. Storytelling does not always come from the total truth but the experience of the

     According to the author Tim O’Brien, people tend to readily accept the ‘facts’ presented of what happened during a war. People do not consider the existence of fallacies regarding the actual stories of what happens in wars, few consider that the ‘facts’ of an incident often change through people’s words. The film ‘Saving the Private Ryan’ by Steven Spielberg features both facts and seemingness part of the war story. Since it is so difficult to fully describe a war using human language, Spielberg ended up revising his stories to make sense out of it. Spielberg included parts that did not occur or exclude parts that did occur in order to make their stories seem more credible. According

However, as the reader is to realize soon, by having his fictional characters tell stories and then recant the truth of those stories, O’Brien certainly calls into question the possibility of ever telling a true war story. The result of

Sabina Berman is a notable and critically acclaimed Mexican playwright. Berman’s notable work includes her first published play, Yankee (1979). In Adam Versényi’s translation of Yankee, Berman explores the relationship between the individual and identity. Through the three main characters—Bill, Alberto, and Rosa—we see the continual conflict they face as they aspire to achieve their respective objectives: to feel nurtured and loved, to have peace and quiet, and to feel loved and acknowledged. But it is Berman’s interjection of juxtapositions that forces us to analyze the relationship between the main characters. More specifically, Berman focuses on the impact Bill has as an intruder, and how he highlights the national identity incompatibilities between North American and Mexican cultures, to expose the serious social and political problems between the nations.

The movie “Gone with the Wind” is about a rich southern girl named Scarlett O’Hara and her life hardships set during the time-period of the Civil War. In the story, Scarlett is forced to watch helplessly as her family’s wealth and lives fade as the confederacy loses the Civil War. Even though, the movie is mainly centered on the dilemmas of Scarlett’s love life, there are many historical accuracies that immerse the viewer in the southern mindset as well as the timeframe. The portrayal of class structures and the confederate attitudes before the Civil War are both accurate and engaging details that the movie successfully implements. In the film, these examples are displayed mainly through the dialogue and setting.

“One is astonished in the study of history at the recurrence of the idea that evil must be forgotten, distorted, skimmed over. The difficulty, of course, with this philosophy is that history loses its value as an incentive and example; it paints perfect men and noble nations, but it does not tell the truth.”

Film noirs describe pessimistic films associated with black and white visual styles, crime fiction, and dark themes. Sunset Boulevard is a 1950 film noir directed by Billy Wilder. Sunset Boulevard presents many themes that are common with the genre film noir, but also introduces some differences from the typical movie in that genre.

It was a common saying of the past that the history of a conflict was told by the victors. That was true then, the losers of the conflict had to rebuild after their defeat and the winners could share their side of the story, twisting it so it would seem that they did no harm and the losers deserved defeat because they were the villains. This is not true today. With the wealth of information at one’s finger tips and the available research opportunities the stories can be untangled and both sides of the story can be told. However, some have held strong to the truths that their side proclaimed and refuse to admit that their victory was tarnished by lies, deceits, and omissions. This very idea is what shaped how

Herman Melville’s novels, with good reason, can be called masculine. Moby-Dick may, also with good reason, be called a man’s book and that Melville’s seafaring episode suggests a patriarchal, anti-feminine approach that adheres to the nineteenth century separation of genders. Value for masculinity in the nineteenth century America may have come from certain expected roles males were expected to fit in; I argue that its value comes from examining it not alone, but in relation to and in concomitance with femininity. As Richard H. Brodhead put it, Moby-Dick is “so outrageously masculine that we scarcely allow ourselves to do justice to the full scope of masculinism” (Brodhead 9). I concur with Brodhead in that remark, and that Melville’s

Left unfinished at Melville’s death in1891, Billy Budd, Sailor was not published until 1921. Raymond M Weaver found it in manuscript form while