After all, when Marcellus is raped, the audience has witnessed the murder of two college students by Marcellus' hit men, and knows that Marcellus had a former ally thrown off of a roof for an unknown reason. In addition, it is because of Marcellus' orders that Vincent, whom the audience has grown to like, is killed at Butch's house. Marcellus is clearly not a good man, and yet, nothing in the movie suggests that he deserves to be raped by Zed and Maynard. It was significant that Tarantino chose Marcellus, the most criminal person in the movie, as the rape victim. It was even more significant that Tarantino chose Butch, the person with the most motive to see Marcellus injured, as Marcellus' rescuer. Rather than dehumanizing people, the violence in the movie...
By humanizing Marcellus, Tarantino makes a cogent argument for the fact that, as a society, Americans have dehumanized and marginalized a huge segment of people, simply because of their criminal behavior, and that this dehumanization is morally wrong.
Cain (afterward coupled by Mickey Spillane, Horace McCoy, and Jim Thompson) -- whose books were also recurrently tailored in films noir. In the vein of the novels, these films were set apart by a subdued atmosphere and realistic violence, and they presented postwar American cynicism to the extent of nihilism by presuming the total and hopeless corruption of society and of everyone in it. Billy Wilder's acidic Double Indemnity
Film Analysis: "Boesman and Lena" -- a drama of ideas, not people The central protagonists of Athol Fugard's drama "Boesman and Lena" have what turns out to be a nearly impossible life task. Not only, the drama suggests, must they struggle to survive having lost their home and community. To become emotionally whole again, the depressed Lena and controlling Boesman must find a way to reconstruct their previous relationship as man
Movie production is one of the world's most enduring, exciting, and economically prosperous industries. Whether Bollywood or Hollywood, Bonnie and Clyde or Batman Returns, the film industry continues to rake in the dough and please a wide range of audiences. Chapter 6 of the text describes the origin of the film industry and its evolution and development. The authors also discuss the potential for film to influence cultural values as
Devi's life is shown as sadly representative of many women's in India of lower castes. She is forced to marry as a child to a man she does not love, because her parents cannot afford to feed her. Her husband beats and humiliates her. Devi's abduction by bandits is portrayed as a relief, rather than penance for the young woman. After Devi is abducted in the film, her anger against
The spectator is unwittingly sutured into a colonialist perspective. But such techniques are not inevitably colonialist in their operation. One of the innovations of Pontocorvo's Battle of Algiers is to invert the imagery of encirclement and exploit the identificatory mechanisms of cinema in behalf of the colonized rather than the colonizer (Noble, 1977). It is from within the casbah that we see and hear the French troops and helicopters. This
In this area, meanings with their endless referrals evolve. These include meanings form discourses, as well as cultural systems of knowledge which structure beliefs, feelings, and values, i.e., ideologies. Language, in turn, produces these temporal "products." During the next section of this thesis, the researcher relates a number of products (terminology) the film/TV industry produced, in answer to the question: What components contribute to the linguistic aspect of a sublanguage
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