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3) Graham's utilisation of red-herrings in 'The face in the windows' story, deceives the readers by occupying them beyond what many would consider possible from the genuine finish of the story.
A case in the story is when the audience had been introduced to the serial killer as a musician who played in a band. "I'm Mark Egan. A musician. Maybe you've heard of my group? We're called Ultra C." (p.77). Despite the fact that Mark had expressed that he played in the band 'Ultra C', the author had not provided the readers with any information about what type of band 'ultra c' was, which was likewise a successful component in the red herring' technique. The author additionally utilises this 'red herring' by portraying the serial killer as a musician to distract the reader, from the fact that there was a serial killer on the loose and that he could be a suspect. However, towards the end of the story we are informed that "Ultra C is
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Grahams' Comparison of both 'red eyes', and 'demon eyes', demonstrates to the audience that the eyes were representing an evil presence. Another literary device which is present at the beginning of the story is the onomatopoeia "Crack", encompassed by the word 'thunder'. This onomatopoeia has been specially placed towards the beginning of the story to set the intense scenes for the upcoming events. Grahams utilisation of the metaphor "Terror struck deep into Beth's heart" (p.91) helps build tension for the rest of the stories, as Beth was placed in a dangerous circumstance which has the readers foreseeing what will occur, additionally leaving them on a cliff hanger. All these literally devices are examples of how Graham portrays the suspenseful situations that specific characters were faced with throughout the
Jamal states: “I was wondering if I could bring you more of my stuff. Or maybe I could write something else.” Forrester responds: “How about 5,000 words on why you should stay out of my house!” (IMDb, 2017) This is the first impression Jamal, a black sixteen year old, has of The Window, an old white man who appears to watch people outside his window.
Interpretating and understanding these characters and objects as symbols, bring a whole new light to the novel. As you read this, or any other story, let it get inside your head a little and try to find out if there's a Devil, one devoted to decay, destruction and demoralization.
Rowe, Lawrence. "Through the Looking Glass: Reflexivity, Reciprocality, and Defenestration in Hitchcock's"Rear Window"." College Literature 35.1 (2008): 16-37.
He was innocent and the police forced him to make up a story and confess to a crime he did not commit, utilizing the mental strain of interrogation against him. Were it not for the small room, distressing ride and cruel assignment to write a letter to his recently murdered sister — perhaps Crowe would have never confessed. Using their suspect's mental fragility to their advantage is another example of how interrogators are able to elicit false confessions from those subordinate to them.
Deception is present in Tennessee Williams’s drama ‘A Streetcar Named Desire’, William Shakespeare’s Tragedy ‘Othello’ and L. P. Hartley’s novel ‘The Go-Between’; the writers choose to use characterisation to explore the theme in depth. Often the protagonists of each text are the primary offenders of deceit, though some supporting characters mislead as well; although Iago is the antagonist of ‘Othello’, he is incomparably the most deceitful character in the entire play. Similarly, Williams uses Blanche to develop the plot by misleading the other characters and even herself at times, though arguably, unlike Iago, Blanche is presented as a character who lacks the motivation to hurt anyone. Conversely Leo, although the protagonist and narrator of the novel, is not the most deceitful character – Ted Burgess and Marian Maudsley not only coerce him into the deceit, but they themselves are presented as masters of the game they play, however, this essay will focus on Leo as he is a unique symbol of deceit; he is unaware of the consequences of his actions.
The narrative of Vertigo tells a plot twisted story of mystery and suspense as the main character “Scottie” (James Stuart), a retired detective suffer...
E. Arthur Robinson feels that by using this irony the narrator creates a feeling of hysteria, and the turmoil resulting from this hysteria is what places "The Tell-Tale Heart" in the list of the greatest horror stories of all time (94). Julian Symons suggests that the murder of the old man is motiveless, and unconnected with passion or profit (212). But in a deeper sense, the murder does have a purpose: to ensure that the narrator does not have to endure the haunting of the Evil Eye any longer. To a madman, this is as good of a reason as any; in the mind of a madman, reason does not always win out over emotion. Edward H. Davidson insists that emotion had a large part to play in the crime, suggesting that the narrator suffers and commits a crime because of an excess of emotion over intelligence (203).
...deas for what the story could represent. After studying the "Evil eye" in this story, I have no doubt that the eye is that of God.
In the novel Their Eyes Were Watching God by Zora Neil Hurston, there are many prominent symbols shown throughout the story. The symbols have their own significant meaning and relation to the characters. These include the pear tree, mule, storm, and Janie 's journey. The pear tree first appears in the beginning of the novel. Janie is relaxingly sitting under the vast pear tree looking at its branches. She notices bees flying under the high branches and landing on pear blossoms. The blossoms ' "thousand sister-calyxes arch to meet the love embrace and the ecstatic shiver of the tree from root to tiniest branch creaming in every blossom and frothing with delight" (11). Janie concludes this sight is a representation of true marriage. Throughout
Alfred Hitchcock’s 1954 film Rear Window is truly a masterpiece, as it uses fascinating cinematic elements to carry the story and also convey the meaning of voyeurism. Throughout the film we are in one room, yet that does not limit the story. This causes the viewer to feel trapped, similar to the main character, while also adding suspense to the detective story. The opening scene itself, draws the viewer in. In just five minutes and 27 shots, the viewer is given an introduction to the main character, his lifestyle, his condition, and his neighborhood. The lighting, the costumes, and the set are all presented in a way to catch the viewers eye, compelling them to crave more. Combining vivid lighting, edgy cinematography, and unique set design, Rear Window, proves why Hitchcock is still remembered as one of the greatest and most influential directors of all time.
In literature, authors often use symbolism from Christianity such as apples to represent the original sin or temptation of Eve, fig leaves to represent shame, thorns to represent pain and suffering, and so on. In this novel Blackburn refers to chariots, poison flowers, serpents, and many more religious and nature related symbols. In the chapter titled Some Consequences he begins to talk about these symbols, saying “Classical and biblical literature alike were combed for stories of the Delilah figure, the castrating and death-dealing woman. The headings become threatening: Poison Flowers; Maenads of the Decadence and the Torrid Wail of the Sirens; Connoisseurs of Bestiality and Serpentine Delights; Leda, Circe, and the Cold Caresses of the Sphinx; Gold and the Virgin Whores of Babylon; Judith and Salome: The Preisteses of Man’s Severed Head.” (Blackburn, Simon. "
With the use of words the author also creates the novel's own private symbols that are key to the tone. The conch comes to symbolize authority, democracy and order. Upon the mentioning Piggy's glasses, images of insight and reason come to mind. With this highly connotative language, Golding creates many contrasts as well to convey his underlying theme. He compares the dazzling beach's "pink granite" [Page 12], green feathered palm trees and endless sand [Page 10] to the "darkness of the forest", full of "broken trunks", "cables of creepers" [page 28], and dense vegetation. He also compares the day's "torrid sun" [Page 176] to the night which makes everything as "dim and strange as the bottom of the sea" [Page 62]. The lagoon's security and the dangerous open sea are also contrasted when Golding qualifies them as "still as a mountain lake" [Page 10], "dark blue" [Page 31] and "deep sea" [page 62]. Golding also uses dark and inherently bad words such as "dark", "Jack", "broken", "torrid", "coarse" and "splintered" to describe sinister things and euphonious words such as "feathers", "glittering fish" and "Ralph" to describe more peaceful things.
Zimmerman takes Edgar Allen Poe’s “The Tell Tale Heart”, in a an oratory form of a defense plea. Zimmerman goes through the complexity of the writing and explains rather than this being a story it is a defense plea trying to convince the reader that the narrator is actually a mentally deranged man. He goes through the different steps in a defense statement and correlates each part to the story.
It is a story that provides the ultimate explanation of how two different people who are witnesses to a crime give completely different psychological recollections of the same event. The author reminds us that truth depends on the telling. Someone must step forward and tell that truth.
By means of these double-edged statements—ambiguous in nature—Sheppard manages to tell the readers nothing but the truth. It requires a second reading of the novel to even access that deeper hidden level. The other method that supplies the production of illusion and the falsity of truth is the lie by omission. Sheppard may tell nothing but the truth but he does not tell the whole truth. He as an unreliable narrator left out certain scenes that would have implicated all which is discovered in the last chapter as he describes what he did and how he murdered Roger Ackroyd never really feeling remorse for his actions. Throughout this novel Dr. Sheppard hides the truth, otherwise the whole novel and search for Ackroyd’s murderer would have no meaning if revealed in the beginning. However, while it is hidden in a deeper level the truth is still accessible to the reader; understanding the truth is just a matter of knowing what happened and unveiling the character’s true personas. While Dr.