How Does Alan Parker Build Tension In Mississippi Burning

Subsequently, King exercises the strategy of pathos, the emotion appeal. In his statement, "Now is the time to rise from the dark and desolate valley of segregation to the sunlit path of racial justice. Now is the time to lift our nation from the quicksand of racial injustice to the solid rock of brotherhood. Now is the time to make justice a reality for all God\'s children". The great use of imagery with the contrast of light vs. dark here definitely draws audience’s attention. Moreover, by making references to the government as a "Bank of Justice" that gave African Americans a "bad check," King describes the situation of the African American people. He proclaims that the "Bank" is not bankrupt and that it was time to "cash the check". These metaphors are easy to understand and are something that the audience can relate to.

The audience sympathizes for Rodney King and the young victims and are angered by the bigotry of the vulgar signs, therefore the mood is suited to support the argument. Baldwin sums everything up by saying, “When you try to stand up and look the world in the face like you had a right to be here, you have attacked the entire power structure of the Western World.”

“To Kill a Mockingbird”, written by Harper Lee and “Mississippi Burning” directed Alan Parker can be compared and contrasted with each other. Both texts share many themes especially the theme of prejudice where one group of people had bigoted views against another. It is shown in the form of racism throughout the two stories where whites discriminate the blacks. In the town of Maycomb and Mississippi, there is bias, discrimination and injustice between the blacks and whites. Both Harper Lee and Alan Parker explore this theme of prejudice through what their characters stand for, the events that took place during both text and the context behind both stories.

The film reminds us that “slavery and its aftermath involved the emasculation-physical as well as psychological - of black men, the drive for black power was usually taken to mean a call for black male power, despite the needs of (and often with the complicity of) black women. That continues to result in the devaluing of black female contributions to the liberation struggle and in the subordination of black women in general.”4

“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.

In this he reaches out to all backgrounds and religions to try and unite them in the common cause. Claiming that they have all suffered in this together. And that to be aware that it is election year and that the white man will smile at you most when he needs you and look down upon you when he doesn’t. This speech resonated because I could not help but think of this year. 2016 is an election year. Yes we have come a long way but not as far as we had hoped. We are still facing the race debate. And many of the battles and obstacles that Malcom X faced then, are still being faced

Like instruments in an orchestra being brought in one by one to a melody that fills the ears of its listeners and drives out any other thoughts, King then targets the white moderate population, the white voters. He tries to place this audience into the shoes of the black people by giving vivid descriptions of the trials they have been going through and invoke empathy in their hearts. He says: "When you have seen vicious mobs lynch your mothers and fathers at will and drown your brothers and sisters at whim . . ." This statement brings up an issue every culture has had to deal with, death. Death in the American culture is one that is associated with loss and grief. King deftly imposes this loss on the shoulders of his white audience making it clear to them the pain the black people have been dealt.

The narrator is terrified of the men, that are saying very distressing racial slur to him. But at this time in history, there was no such thing as a hate crime, so the black men had to deal with what was thrown to them. The narrator being the intellectual black man that he is, is even a bigger threat to the higher-ups of the town. He is forced to undergo the prejudicial language he had to deal with, when he was invited to give a speech.

King exposes the institutionalized racism in Birmingham by informing his audience on the immorality of the church. King exposes the cowardice that white churches promotes that

He questions the audience about society and what they have done for their community. “We can never be satisfied as long as the Negro is the victim of the unspeakable horrors of police brutality; we can never be satisfied as long as our bodies, heavy with the fatigue of travel, cannot gain lodging in the motels of the highways and the hotels of the cities; we cannot be satisfied as long as the Negro’s basic mobility is from a smaller ghetto to a larger one; we can never be satisfied as long as our children are stripped of their selfhood and robbed of their dignity,” (King). King knows how to bring the people into the speech to involve every single person standing before him and make them feel like they are apart of the speech. He mentions what has been taken away from them which creates anger within the crowd. King’s ability to appeal to the audience through emotion affected society for decades after and changed the sense of pride the African Americans had.

         The speaker’s tone remains intense as they reminisce to the darkness from which they came, their longing to return, and their inability to do so. The speaker believes that “the great western world holds me in fee / And I may never hope for full release” (line 6-7). The idea of the “great western world” goes beyond the fact of being in America but rather includes the culture of the land as referenced when the speaker states, “to its alien gods I bend my knee” (line 8). At this point, the spiritual connection is considered to be “lost, forever lost” and “gone out of my heart” (line 9, 10). The fact that the speaker was born and raised in the United States with nothing more than what is passed down from parents who are in the same situation as the speaker, being born from outside their heritage, goes to show how deep the identity crisis is within the Black community. What makes it even worse is the feeling of knowing what it is that has been lost, but no possible way to get it back. The speaker understands that they have missed out on their heritage, that it exists, but because of their birth away from said heritage, it does not exactly belong to them even if they feel the culture’s connection.

Moore uses emotion to move the audience and this was intensely effective when the screen goes entirely black and the audience is left the soundtrack of the tragic events of September 11 plays and imposes an insistent presence of cries, sirens and radio communications. This is followed by the image of New Yorkers terrified by the inexpressible horror of the collapse of the towers. Moore keeps only the faces, contorted with tension and fear. The terrible reverse shot of this scene, certainly known and engraved in all memories. The director does not believe in the simple force of the image. The audience is already conquered upstream. This emblematic sequence gives the general tone of the documentary.

Mississippi Burning is a gruesome reminder of some of the pain and hardship that African Americans in the South dealt with because of their skin color. If your skin color was anything other than white, then you were classified as dirty, impure, ugly, and all the degrading names you can find. Having colored skin subjected you to racism and hate crimes as portrayed by the sheriffs and the Ku Klux Klan’s in the movie.

The thriller film ‘Witness’, directed by Peter Weir in 1985, tells about cultural conflicts between the Amish of Western Pennsylvania and Modern American corruption and violence. Philadelphia Police officer, John Book was obligated to hide from the three brutally and corrupt police officers as they were looking for a little Amish boy, Samuel Lapp. The boy witnessed the brutal killings and identified the killer as the three police officers. The ‘Witness’ strongly displayed many images of people and incorporated several techniques and images in various scenes to portray the contrast between two different worlds.

King is able to unify the protesters, encourage them to rise up together, and defeat the atrocity of racism by alluding to their anguish through personification and imagery. For example, King recognizes that “the nation is sick”(King 2). King assigns human qualities to the nation in order to comment on the offenses committed against the African Americans by the people of the nation. These offenses remind the audience of their common struggle and unify them. In doing so, King reveals that this is an issue but it can be resolved and the audience can heal the nation as they would a human being. Imagery in King’s speech also develops the intensity of the distress African Americans face. To illustrate, King describes “thirteen hundred of God’s children here suffering, sometimes going hungry, going through dark and dreary nights” (King 4). This gut-wrenching image causes the audience to feel immense sorrow and anguish for the African Americans depicted. These emotions are uniform in every member of the audience and thus unites them on an emotional level. A pathetic appeal is integrated into King’s argument to stop this pain and