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Masculinity in films essay
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Genres are far from being nominological and typological in function , but rather requires constant modification and sometimes even subversion so as to reflect certain values and ideological concerns significant in the composers context. Based on the psycholinguistic concept of prototypicality , genres can be seen as ‘fuzzy’ categories embodying formulaic conventions readily identified by audiences. However, these categories are never static. In concurring with theorist Daniel Chandler, genres holistically “change over time; the conventions of each genre shift, new genres and sub genres emerge and others are discontinued.” Crime writing is one such genre that has observed continual modification and avant-garde subversions, subsequently reinventing traditional conventions into innovative, conservative and specialist sub-genres. As a result of changes in cultures and values, the dynamic form and function of traditional crime writing has changed pari passu with the creation of new understandings of crime, new profound characteristics of the detective, contemporary definition of ‘justice’ and the reworking of the elements of the ‘whodunnit’. It is these variations and playful reworking of conventions that have developed crime-writing over-time and entertainingly engaged differing societies. Both the 1923 short story The Cornish Mystery by Agatha Christie and the 1948 film Rear Window by Alfred Hitchcock bring changes to conventional crime writing and thus superbly demonstrate the extent to which crime writing has developed from traditional crime texts. By venturing to new sub genres, both composers are able to present ingrained belief systems and invigorate the modern zeitgeist.
Since the 19th century, crime writing has seen immense ...
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... the post-war western society. Along with the increasing feminization in his epoch, the 1950’s also saw male identity and masculinity at the centre of crises. By incorporating these contextual concerns, Hitchcock’s subversion adds value and integrity to his composition and allows the audience to further relate to the characters and scenario.
Clearly, crime writing is not a static concept and often requires constant modification and subsequent reinventions of traditional conventions. While traditional detective texts continue to retain their appeal, modern texts continually need to reinvent conventions within crime writing so as to “embody the crucial ideological concerns ” and appease a contemporary society. Both Rear Window and The Cornish Mystery superbly demonstrate Jane Feuer’s notion that “one theorists genre may be another’s sub genre or even super-genre.”
...ormation of novel to film, sees Hitchcock’s responsibility as auteur. Suggesting Hitchcock as ‘creator’, attributes to Vertigo’s “perfection” (Wood, p.129) as Wood argues. Stylistic features known classically to Alfred Hitchcock movies is also what defines Hitchcock as a classic auteur, his style generates a cinematic effect which mixes effectively with his use of suspense. In returning to Cook’s discussion, she references Andrew Sarris, who argues that the “history of American cinema could be written in terms of its great directors,” (Cook, p. 411) showing the legitimacy of authorship in popular American cinema. Ultimately Cook goes on to address the changes in authorship from the 1950’s until today, featuring developments in authorship within Cinema. Overall, both Cook and Wood presented a balanced discussion on the legitimacy of Alfred Hitchcock’s auteur status.
Jack Laidlaw is a universe apart from other examples of detectives, he examines the more intriguing issues of how and why people can commit the reprehensible crime of murder and the harrowing aftermath of crime and violence. Jack Laidlaw can deeply understand people more than anyone could ever imagine. Jack Laidlaw is an odd sort of detective, and this is an odd sort of novel. He lives and works in the gloomy, cheerless heart of urban Glasgow; and he keeps the works of "Camus"," Unamuno" and "Kierkegaard"in his top desk drawer, "where other detectives would normally rather keep their secret stashes of liquor." Unlike many other detectives with uppity tastes in literature, no one congratulates him for this or encourages him in any way; the whole world tells him that However, he persists in trying to understand crimes as well as solve them: “You want to live as if the rest of the world was just a necessary evil and that you have to be a monster to be a criminal,it's not true, it's all in peoples concealed heads. That may be a nuisance to you.
Rowe, Lawrence. "Through the Looking Glass: Reflexivity, Reciprocality, and Defenestration in Hitchcock's"Rear Window"." College Literature 35.1 (2008): 16-37.
This essay will examine both "The Speckled Band" by Conan Doyle and "Visitors" by Brian Moon and will look at how each one conforms to or diverges from the conventions of the detective story and also how each story is representative of the century it was written in by how it presents the woman, the hero and the villain.
This paper has attempted to investigate the ways in which Alfred Hitchcock blended conventions of film noir with those of a small town domestic comedy. It first looked at the opening scenes of the film in which the two conventions were introdruced. It then went on to analyse the film with the aid of Robin Wood's article Ideology, Genre, Auteur. From these two forms we can see that film noir and small town comedy were used as a means of commenting on the contradictions in American values.
In P.D. James’ “Great Aunt Allie’s flypapers “ and Jeffrey Deavers’ “Copycat,” the audience is introduced to two entertaining and quintessential Police detectives: James’s Adam Dalgliesh and Deaver’s Quentin Altman. They are both quintessential in that they both adhere to three elements of Police Detective fiction: the detective is a police detective, the detective must utilize evidence, and justice is not always achieved. However, the ways these two detectives satisfy these elements of police procedurals is different.
In crafting the detective mystery, Edgar Allan Poe is the only author credited with inventing a new genre of literature. His contribution of this brand of story telling greatly influences writers to this day. “The Purloined Letter” is the final tale in the trilogy of the clever and cunning amateur detective, C. Auguste Dupin. In this story, The Prefect of the Parisian police calls upon Dupin to aid in an investigation that has baffled and frustrated the police. Dupin finds a worthy adversary in the antagonst, Minister D_. Dupin must identify with the mind of the criminal in order to retrieve a stolen letter and return it to its rightful owner. With the dynamic relationship between Dupin, Prefect G_., and Minister D_., Poe skillfully illustrates that an ingenious felon will always outwit his opponent if the opponent is incapable of identifying with the felon’s intellect.
The actual invention of detective fiction did not occur until 1841 when Edgar Allen Poe wrote The Murders in the Rue Morgue. In this novel Poe introduced Auguste Dupin, who was the main character of the story. In Poe’s story the detective was very intelligent and he had superior reasoning skills. Poe’s story set the basic plot for detective stories of that time. A crime, usually murder, is committed; a detective investigates the crime; a number of suspects are considered; the guilty party is discovered and imprisoned, killed, or allowed to escape at the conclusion (Detective Fiction,” 1 Twentieth Century).
In the mystery genre one can agree that for a mystery to function as it does, it must have elements like a case that must be solved, a detective or someone who is playing as the detective, and, in most cases, murder. But in the short story “A Scandal in Bohemia,” by Sir Arthur Conan Doyle, a social scandal is a part of the theme, which is also seen in “Witness for the Prosecution,” by Agatha Christie and “Amber Gate,” by Walter Mosley. Just as a murder or a crime disrupts an aspect of society, a social scandal functions the same way. Normally, what we view as the “private life” and “public life” is kept separately because private life operates as the “fantasy” of the two worlds by creating the image of a “normal life”, which consists of a good and happy husband and wife, the ability to be financially stable, social wellbeing and even in some cases a child. On the other hand, the public life consists of the poor, who are considered to be liars and cheaters, crime, murder, and heinous women. The private life predominately functions in favor of the man, more so a white male, and when the public, or characteristics of the public, alters the established private life, then his happiness ceases and the private fantasy is then disrupted or destroyed. Specifically speaking, the marginalized threaten the exposure of the social hierarchy by disrupting the domestic private fantasy by unmasking its instability.
Crime Writing is a crafted representation of the transgression into the darker psychological side of humanity’s repressed desires to act in unfettered ways. In Alfred Hitchcock’s 1954 postmodern film, Rear Window and Fyodor Dostoyevsky’s 1888 existential thriller, Crime and Punishment, the conventions and values of the genre are understood to be permeable and are constantly shifting. Yet, the core values explored in archetypal Crime Writing are re-shaped, yet retained in contemporary Crime texts. This is extensively reflected through the overarching idea of the quest for the acquisition of justice, alongside Voyeurism and Changing Gender roles. As featured, Crime Writing through the genre theory is understood to be fluid and a product of social discourses. Accordingly, the thematic concerns in both texts are inherently linked to each author’s social, cultural and political ideologies. This heightens the responder’s understanding of the prominent values of each author’s respective eras. Hence, the shifting and permeable boundaries, and generic conventions of Crime Writing act as a vehicle to critique and comprehend issues central to society.
Television dramas will often interweave stereotypes into the series as audiences will already have an idea of what to expect. This is done so audiences will be able to quickly recognise characters or ideas without the writer’s explanations. Nic Pizzolatto’s 2014 southern gothic crime drama, True Detective, is about two detectives, Rustin ‘Rust’ Cohle and Martin ‘Marty’ Hart, who are being questioned in 2012 about a bizarre murder case in 1995. These characters are constructed to challenge the pre-existing stereotypes of conventional heroes in society and film. Pizzolatto uses filmic codes and conventions, as well as narrative conventions to construct and challenge these stereotypes.
A key element which distinguishes crime fiction texts from other genres is their realistic setting and time period. This component is critical to the genre as it assists the readers to appreciate the inner world of the detective. Caswell incorporates this element through the setting of the text in a remote scientific research institute, colloquially referred to as “…the farm. An advanced learning facility” (Page 9), located in Sydney, Australia. This urban evil metropolis setting within the text is based on the conventional ‘bad manor’ prominent in the crime fiction genre. Furthermore, the enclosed isolated and secluded environment of the ‘Farm’ plays a significant role in creating suspense and tension for the audience.
The categories associated with the means of means of characterization are considered to be explicit vs. implicit characterization, auto- vs. alterocharacterization and figural and narratorial as the foci of characterization. The use of certain means of characterization depends upon the preference of the author: his style, intentions and choice of focus. The characters are characterized by 1) what they say themselves, 2) what they do, 3) what the narrator says about them and 4) what other characters say about them. One should not, however, take for granted what is said by other characters since they might not be reliable, especially if one notices certain inconsistencies. This essay focuses on a story called Witness for the Prosecution written by the famous writer of detective stories, Agatha Christie. The plot centers around a crime (the murder of Miss Emily French) and starts with the discourse between Mr. Mayherne, the solicitor, and Mr. Vole, the accused person who swears being innocent of the crime. Later in the story appears Mr. Vole's wife and, acting extremely skillfully, plays the major role in acquitting her husband. The essay attempts to analyse Mr. Mayherne's (Agarha Christie's Witness for the Prosecution) characterization according to the aforementioned characterization parameters.
Genre- the genre of Murder on the Orient Express I think is a detective murder mystery as the murder seems as though it will never be logically solved.
Crime drama is a genre that is hugely popular across the world and can been seen through CSI: Crime Scene Investigation (2000- present), The Wire (2002-2008) and Waking the Dead (2000- present). The different television genres, like a lot of other cultural forms, including literature and theatre has seen many writers, producers and viewers attracted to crime and deviance. There was a lot of backlash against the genre in the 1990’s as not a lot of people agreed with the depiction of crime and society on the television screen. Crime drama as a genre deals with social problems, which offers space for debates about the justice system, criminality, gender, race and social and cultural values that people struggle with today. The genre also gets the viewer involved in the storyline as that is the narratives main focus. Typically, there is a storyline per episode, but when talking about Waking the Dead there is a storyline every 2 part episode on a Sunday and Monday night. In this essay there will be a number of different characteristics of crime drama that will be discussed with detailed reference to three different series, to explore what the enduring appeal of the genre is.