Who Shot Roger Rabbit Analysis

Literary devices will be a primary source used to compare and contrast the narrative and stylistic choices made in the short story, “Harrison Bergeron” by Kurt Vonnegut, and the film 2081 directed by Chandler Tuttle. In the film the director is able to express visuals, sounds, and physical characters, to establish a firm idea of how the characters within the story act and feel based on their surroundings and what is happening around them. However, an Author in a short story is reliant on his words alone to paint the picture for the reader to understand the movement of the plot and its impact on the atmosphere. The literary devices used in creating and shaping pieces of literature will heavily impact the point of view of the

Common characteristics of American Romanticism include valuing feeling and intuition over reason, an individual against society or establishment, and an extended and hyperbolizing of the protagonist’s death. Furthermore, there is always a sense of exaggeration in American Romanticism, and it brings along a strong mix of emotions for the audience. “In this manner, Mr. Hooper spent a long life, irreproachable in outward act, yet shrouded in dismal suspicions; kind and loving, though unloved, and dimly feared; a man

In contemporary film making, “Hollywood-ization” generally refers to the re-creation of a classic work in a form more vulgar and sexually explicit than the original in an effort to boost movie attendance. After all, sex and violence sell. However, from the mid-1930’s to the 1950’s, “Hollywood-ization” referred to the opposite case where controversial books had to be purified to abide by the Production Code of 1934.[1] This occurred to many of James Cain’s novels as they moved from text to the genre of “film noir.” As has been said about Cain’s The Postman Always Rings Twice, “The property, bought several years ago, was kept in the studio’s archives until now

Film Noir, a term coined by the French to describe a style of film characterized by dark themes, storylines, and visuals, has been influencing cinematic industries since the 1940’s. With roots in German expressionistic films and Italian postwar documentaries, film noir has made its way into American film as well, particularly identified in mob and crime pictures. However, such settings are not exclusive to American film noir. One noteworthy example is Billy Wilder’s film Sunset Boulevard, which follows the foreboding tale of Joe Gillis, the desperate-for-success protagonist, who finds himself in the fatal grips of the disillusioned femme fatale Norma Desmond. Not only does the storyline’s heavy subject matter and typical character

Film Noir was a result of it's time - The war had just ended and It was time where prohibition had influenced an abundance in crime and corruption. Film noir serves to highlight the darkest aspects of human beings. ‘Society is making the machinery of it's own destruction.

The film The Usual Suspects has all of the qualities of being a film noir movie, like Double Indemnity and L.A. Confidential. A modern film can still be identified as a film noir movie. I think that if it has everything that qualifies to be one it can. The Usual Suspects has the typical element that every film noir has, which is crime. Along with The Usual Suspects, the other movies that have crime are Double Indemnity and L.A. Confidential.

Wayne C. Booth in 1961 put up the term “unreliable narrators” in The Rhetoric of Fiction. Although he didn’t immediately get noticed for the term he coined, it has become a fundamental and indispensable field of study since the rise of narratology. Wayne C. Booth claimed, “I have called a narrator reliable when he speaks for or acts in accordance with the norms of the work (which is to say, the implied author's norms), unreliable when he does not.” Booth explained “the implied author” in the following part of his book as a person “always distinct from the ‘real man’ […] who creates a superior version of himself, a ‘second self,’ as he creates his work.” Booth’s definition of unreliable narrator received many critical voices because he relies too much on the judgments and values of the implied author, which are presumably colored by readers’ personal experience and moral sense.

Dark Passage (Delmer Daves) is an example of film noir because it has femme fatales that lie and use sex to get what they want and hard boiled detectives that always want to know too much just like in The Big Sleep (Howard Hawks) and Chinatown (Roman Polanski). In film noir femme fatales constantly lie, whether it’s to protect themselves from going to jail or protecting their embarrassing past. Femme fatales will go to the end of the earth to keep the truth from the Hard Boiled Detective or anyone who thinks will get in their way. In the movie The Big Sleep, Vivian lies because she doesn’t want people to find out that she has killed Shawn Regan. When Vivian invites Marlowe to dinner after he has finished with Carmen’s case, Vivian pays him off. Only that her dad, who hired Marlowe didn’t instruct her to. She lied and said that he did just so Marlowe would stop looking into the Shawn Regan case. In Chinatown Evelyn Mulwray lies because she doesn’t want to tell JJ about her humiliating and mournful past. She avoids telling the truth so JJ doesn’t find out that Catherine is her sister and her daughter because her Dad, Noah Cross raped her. When JJ and Evelyn meet in the restaurant JJ asks why she isn’t upset that her husband, who is now dead, cheated on her. She then comes up with a lie that she was having many affairs as well, when in actuality none of them were.

In recent years, it has become popular for many of America's great literary masterpieces to be adapted into film versions. As easy a task as it may sound, there are many problems that can arise from trying to adapt a book into a movie, being that the written word is what makes the novel a literary work of art. Many times, it is hard to express the written word on camera because the words that express so much action and feeling can not always be expressed the same way through pictures and acting. One example of this can be found in the comparison of Ken Kesey's novel, "One Flew Over the Cuckoo's Nest, and the film version directed in 1975 by Milos Forman.

Noir genre is the style of film or fiction that is mysterious and gloomy, and the themes usually are crime and emphasize cynical attitudes. This genre came from and deeply influenced by the German Expressionism. The golden Era of film noir is between 1946 and 1951, which is also the time between and after the World War II in America. The stories of the noir genre are always take place in a city like Los Angeles because of The Golden West in the middle of 19 century. Raymond Chandler is a prominent practitioner of noir genre, and his novel The Big Sleep is widely considered to be one of the most significant novels of noir genre, which narrates a case that the main character Phillip Marlowe is investigating on.

The term “film noir” was coined in the mid 1940’s when American films started emerging in Europe, post Nazi occupation. The new Hollywood films were not available in France during Nazi occupation, so in 1946, the films began

A key characteristic of Film Noir is the femme fatale. The femme fatale are the female protagonists in films of Film Noir which support the male protagonists, as well as being the centre of the plot. There are two archetypes of femme fatales - they were either loving, trustworthy and innocent or they were either devious and dangerous. Femme fatales are generally characterized as irresistible and mortal to the male protagonist and without their spouses, homes or any affairs, she would be nothing. In order to show that she is powerful and independent, she would threaten the male protagonist. Apart from their sexy and beautiful appearances, film historian Janey Place describes the femme fatale as being “comfortable in the world of cheap dives, shadowy doorways, and mysterious settings.” This describes how manipulative and ruthless femme fatales are and would do anything in order to possess great wealth. The characteristics of the “innocent” femme fatale in “The Maltese Falcon” (1941) is recognized when Bridget begs Spade to help her. The appeal to his manhood, the projection of innocence and her feminine wiles: “Be generous, Mr. Spade. You're brave. You're strong. You can spare me some of that courage and strength surely. Help me, Mr. Spade. I need help so badly. I've no right to ask you, I know I haven't, but I do ask you. Help me”. We can see the sympathy evoked from the femme fatale as they are typically victims in abusive relationships. Moreover, the characteristics of the “manipulative and ruthless” femme fatale in “The Maltese Falcon” (1941) is recognized in the final image of the elevator door closing on the guilty party like jail bars, the shadow forming a “falcon foot” around a single eye and Spade’s famous line: “If you’re a good girl, you’ll be out in 20 years, I’ll be waiting for you. If they hang you, I’ll always remember you,” This explains the threatening actions from the femme fatale to prove that she’s independent and strong, which is reflected in the American society as women in the 1940s lacked connections with their home and family, as well as making an attempt in threatening the patriarchal society as a destructive force.

Both the plot and literary style are elements that are unique to each author and his or her works. If these interact in an effective way, the reader will be able to fully understand both the story line and the message that the author is trying to communicate in the piece. Both “Blindness” by José Saramago and “The New York Trilogy” by Paul Auster are novels in which the literary style used enhances the plot of the story. Similarly, the storyline justifies the reasons behind the use of that author’s particular style.

In the 1940s and 1950s, a new kind of female protagonist emerged specifically in the genre of film noir, known as femme fatale. A femme fatale typically uses her attractiveness or other power to manipulate male characters for her personal gain. This paper will focus on the reason why femme fatale appeared during that period of time and the social impact of the new leading female roles, using examples from Double Indemnity (Wilder) and Sunset Boulevard (Wilder). The change in the role of women in society as they enter the workforce led to a desire for female empowerment and hence the commence of femme fatale, and the portrayal of femme fatale also liberated women from social constraints.

Film noir, though difficult to formally define, is a type of film whose elements of style, narrative, and overall tone are most easily characterized by darkness—both literal and metaphorical. This style first appeared and had its heyday within American Cinema during the forties and fifties. The term itself was first coined by French critics when, as Paul Schrader described, “noticed the new mood of cynicism, pessimism, and, darkness that had crept into the American cinema” (Schrader, 265). Indeed, films like Billy Wilder’s Double Indemnity (1944) and Joseph H. Lewis’ Gun Crazy (1950) explored themes of fatalism and nihilism (among others), all the while making use of stylistic—expressionist-inspired lighting, stylized framing, use of shadows—to enhance them. As dark as these films could be, almost laughably so when viewed by audiences today, they were meant to communicate the very real societal anxiety and disillusionment of a post-World War Two America. One manifestation of these fears is through the creation of the femme fatale or “fatal woman.” According to Jack Boozer, “they are meant to appear beautiful but also treacherous, criminally depraved and castrating in their desires” (Boozer, 21). The femme fatale did not first appear in noir, in fact she even appeared as far back as the biblical figure Salome, however forties Hollywood defined the character (Barnes-Smith, 3). Gary Harris, as quoted in “Fatal Woman, Revisited: Understanding Female Stereotypes in Film Noir,”