Julie & Julia

Steven Soderbergh’s “Erin Brockovich” is an autobiography of Brockovich and her involvement in the largest monetary direct-case action lawsuit within the United States. Despite a lack of formal education and law experience, Brockovich proves to be the key element to winning a plaintiff case against multi-billion-dollar industry, Pacific Gas and Energy Company (PG&E). Often, law is recognized as a tool that ultimately provides justice; however, it also holds the power to silence others. In this

Erin Brockovich was written by Susannah Grant and directed by Steven Soderbergh. The movie was originally released on March 17, 2000. It stars Julia Roberts as the main character, Erin Brockovich. The movie won one oscar and many other awards. It tells the story of how a single woman can make history (“Erin Brockovich” np). Erin Brockovich is a single mother of 3 who is struggling for work after a car accident left her unemployed. She turns to a law firm in hopes of suing the individual who had

“Erin Brockovich and the importance of Rights Claiming” The film Erin Brockovich is a film that involves the American Legal System, however, it is very different from the films that normally come to mind when we think of a film involving the law. This film employed many of the usual aspects of law based movies, such as: lawyers, defendants, victims, a large sum of money, etc. This being said, however, the main character of the film, Erin Brockovich, plays an uncommon role. She starts off at the

Exclusion as a form of control is contingent upon the belief what you are excluding is the problem. Usually however, what is being excluded, like a criminal, is the symptom of a much bigger problem (a failing education system, poverty…etc). Additionally, the idea that a human can be “fixed” in a psychiatric facility is also contingent on there being one source and one problem that can be identified and dealt with. Humans are complex, and we can’t assume to know how effecting one part will effect

Though the present is an outcome of past contemplations and actions, Pinter does not reveal the past as he wants the audience to think about the various possible ways in which past can influence the present. Furthermore by leaving the interpretations open to the audience, Pinter tries to portray that historical archives as storehouses of narratives of the past, cannot be fully relied upon, as these are narratives written in accordance to the dictates of those in power and as such are biased in their

In Rabelais and His World Bakhtin develops the concept of canivalesque. The narrative that resembles the carnival in spirit and mode, he designates or describes as carnivalesque. The rise of the novel, he maintains, can be traced back to the design of a carnival. As Guerin and others write : Out of the primordial roots of the carnival tradition in folk culture… arises the many-voiced novels of the twentieth century…Just as public ritual of carnival inverts values in order to question them, so may

Julia Kristeva is a Bulgarian-French philosopher, psychoanalyst and feminist writer. Her work on abjection gives an engaging insight into human culture in terms of it’s relationship to larger overarching power structures. In Powers of Horror, Kristeva argues that the oppression of woman in patriarchal societies is constructed through fear of the abject. “The tremendous forcing that consists in subordinating maternal power (whether historical of phantasmic, natural or reproductive.)” (Kristeva, 1982

The horror genre has many lessons to teach us as an audience although being the genre most connected with that of ridiculousness. It is regularly associated with the reaction it seeks from its audience; both emotional and physical. In cinema success is measured by terrifying chills, bloody deaths and the volume of the audiences scream. The appeal of horror narrative in literature, film and theatre lies in the pleasures it associates with fear, suspense and terror; no matter what it is trying to

creativity and power, that inclusive space where we recover ourselves.” (Hooks, 1990, p.343) To instead use this site of marginality as a vantage point to gain a formative viewpoint and destabilise the deep structures of power and cultural domination. Julia Kristeva’s Powers of Horror is an essay

Erin Brockovich (2000) is a film written by Susannah Grant and directed by Steven Soderbergh. Based on a successful lawsuit by an environmental lawyer of the same name against the Pacific Gas and Electric Company (PG&E) of California, this film covers a wide range of popular cultural and sociological themes. It addresses issues such as lack of formal training and opportunity to capable individuals, stereotyping of women and the struggle for justice which are some of the most prevalent sociological