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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.
Voyeuristic ideologies reveal the hidden, darker world of society. In Rear Window, the continual visual motif of Voyeurism and Postmodernist Film Noir ideologies are utilised to explore the issues of 1954 era through cinematic visual puzzles. Set in the 1954, the anxiety regarding the infiltration of the Communist government, dangers of Totalitarianism surveillance, disciplinary ‘gaze’ present within the West and the Cold war is a prevalent notion that is brought forth through the idea of male ‘gaze’ and ‘peeping’. Initially, the Crime is displaced by Jeff, his relationship with Lisa, inte...
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...Dostoyevsky represents the ironic empowerment of women through their personal values and integrity in a secularised, patriarchal society. In the light of the above, the genre features the varying perceptions of “Feminisation” due to evolving contexts, thereby trouncing misogynist ideologies and conservative gender codes.
In précis, both texts acknowledge the reflections of the core values of the author’s respective eras. Accordingly, the shifting and permeable conventions of the Crime Writing Genre resonate with the fluid construction of texts. Yet, the core values of the genre remains the same, despite shifting context and permeable conventions. Thus, “the more things change”, exemplifies how the genre and its conventions may constantly “change”, “the more they stay the same”, reflects how changing contexts leads to retain adjustments.
As Rodya analyzes Luzhin’s character, he realizes that intellect unrestrained by moral purpose is dangerous due to the fact that many shrewd people can look right through that false façade. Luzhin’s false façade of intellect does not fool Rodya or Razumikhin, and although they try to convince Dunya into not marrying Luzhin, she does not listen. Rodya believes that Luzhin’s “moral purpose” is to “marry an honest girl…who has experienced hardship” (36). The only way he is able to get Dunya to agree to marry him, is by acting as if he is a very intellectual person, who is actually not as educated as he says he is. This illustrates the fact that Rodya knows that it is really dangerous because he knows that people can ruin their lives by acting to be someone they are not. Rodya also knows that people will isolate themselves from others just so that no one will find out their true personality. This is illustrated in through the fact that Luzhin tries to avoid Dunya and her mother as much as possible. The way he writes his letter, exemplifies his isolation, for Luzhin does not know how to interact with society. He has no idea how to write letters to his fiancée and his future mother in law. This reflects on Rodya’s second dream because he is unable to get Dunya married off to a nice person. He feels isolated from everyone else because his intellect caused him to sense that Luzhin is not telling the truth about his personality. However, it was due to his lack of moral purpose that Rodya berates his sister’s fiancé. He is unable to control himself, and due to his immoral act of getting drunk, Rodya loses all judgment and therefore goes and belittles Luzhin. Although Rodya’s intellectual mind had taken over and showed him that Luzhin wa...
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 today’s society, gender issues are often discussed as a hot topic. In literature, feminist views are used to criticise “societal norms” in books and stories. Two popular pieces by authors Kolbenschlag and Hurston paint two very different views on women. One common assumption in the use of a feminist critical perspective is that gender issues are central. Kolbenschlag who wrote the literary criticism “Cinderella, the Legend” would most likely disagree with this statement, she feels that women bare greater burdens in society and are more largely affected by social norms.
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.
As the credits roll we see the blinds of a three-pane window slowly being lifted up, after they finish the camera moves forward revealing to our gaze the reality on the other side of the open window. It faces the back of many other buildings, the courtyard they enclose, and a sliver view of the backstreet. More importantly, it faces many other windows just like it. Behind each one of those there are people, going about their day, doing mundane tasks, unaware of being observed. In his 1954 movie “Rear Window” Alfred Hitchcock invites us to engage in the guilt free observation of the lives of others. The main character, photographer L. B. Jefferies, is home stuck with a broken leg encased in a cast that goes all the way to his hip, providing the perfect excuse for him to amuse himself in this hot Manhattan summer by engaging in the seemly harmless act of looking into the many windows he can see from his back apartment. Casual, harmless, voyeurism has been part of the human behavior for ages but in the sixty years since the movie was released it has gained increasing traction. Reality television, Movies, TV shows, YouTube, blogging, Instagram and Facebook are examples of modern tools that allow us to engage in the observation of others while remaining protectively hidden from their returning gaze. In its essence the casual voyeuristic actions we engage in while observing others when using these new media tools follows the same pattern of behavior described in the movie, with the same positive and negative consequences. Casual voyeurism distinguishes itself from pathological voyeurism, which is characterized by a preference in obtaining sexual gratification only from spying others, by the removal of the sexual component from the equat...
What are the issues of watching and voyeurism in film? The intention of this essay is to discuss both films (The Truman Show, 1998 and Rear Window, 1954) alongside established theoretical criticism (Laura Mulvey and Norman K. Denzin) in an attempt to demonstrate how the issues of watching and voyeurism, as seen in todays mainstream Hollywood cinema, both engages and entices the spectator and to look at how the definition of the voyeur has changed. Before entering into a discussion about voyeurism in Rear Window and The Truman Show, an understanding of what is meant by ‘the dynamics of voyeurism’ in film must be attempted. The dictionary definition of a voyeur is: (1) a person who gains sexual pleasure from watching others when they are naked or engage in sexual activity, and/or (2) a person who enjoys seeing pain or distress of others. Voyeurism is initially noted for the investigation of the woman, demystifying her mystery, however, I think this definition is a small interpretation of the word voyeur. So the intention of this essay is to explore further the meaning of voyeurism by looking at two films adjacent to, two critics with conflicting opinions of what voyeurism is represented by in film. But to understand what voyeurism means we need to look at the cinematic gaze and two types of looks; scopophilia and narcissism.
This essay examines the social, philosophical, and psychological elements that had affected the Russian Society as well as the world of Dostoevsky’s novel “ Crime and Punishment ˮ. This essay demonstrates the wild impact and clashes left by these theories on the life, choices, and mentality of the novel and the characters embodied, the most important of which is the character of Raskolnikov. Highlighting an “in-depth exploration of the psychology of a criminal, the inner world of Raskolnikov, with its doubt, fear, anxiety and despair in escaping punishment and mental tortureˮ.
Young, J. (1981). Thinking seriously about crime: Some models of criminology. In M. Fitzgerald, G. McLennan, & J. Pawson (Eds.), Crime and society: Readings in history and society (pp. 248-309). London: Routledge and Kegan Paul.
This man is the absolute opposite of everything society holds to be acceptable. Here is a man, with intelligent insight, lucid perception, who is self-admitted to being sick, depraved, and hateful. A man who at every turn is determined to thwart every chance fate offers him to be happy and content. A man who actively seeks to punish and humiliate himself. Dostoyevsky is showing the reader that man is not governed by values which society holds to be all important.
Conscious efforts to critique existing approaches to questions of crime and justice, demystify concepts and issues that are laden with political and ideological baggage, situate debates about crime control within a socio-historical context, and facilitate the imagination and exploration of alternative ways of thinking and acting in relation to crime and justice. (p. 3).
This historical investigation will be looking at the police investigation of the serial killer Jack the Ripper. Jack the Ripper is infamously known around the world as a serial killer who was never caught in 1888, Whitechapel, London. While these murders took place more than 100 years ago, new theories on the possible identity of the murderer are arising and the question of his identity still remains a mystery. Much of the original evidence of the case has been lost and facts have been altered with time. This investigation will be analyzing the effect letters and sensational journalism tampered with the Jack the Ripper case. A newspaper article will also be analyzed and the part of sensationalized journalism in the case will be discussed. The two primary sources will be the “Dear Boss” letter provided by the book The Diary of Jack the Ripper narrative by Shirley Harrison. Whilst analyzing this letter, this investigation will also be analyzing a news report during that time period, an excerpt from the New York Times on September 9, 1888. Along with these two sources other letters and reports will be considered but not referred to directly. This investigation does not seek to solve the case of Jack the Ripper but rather to analyze the significance of the public and media.
In order for us to deal with how a consideration of femininity can effect our understanding of a literary text, we must also be able to grasp the notion of `feminism' and `Feminist Literary Theory'. A dictionary definition of `feminism' is: `the advocacy of women's rights on the grounds of the equality of the sexes.' Although this leans towards feminism in the historical sense of the word, it still provides the grounds, or foundations, from which feminist literary theories were created. Feminists argue against the stereotyping and social construction of female norms, seeing them as created by men in order to establish their own sense of power. It is thought that while males suggest that gender is sex and not actually a construct, the female role will become much more passive, stereotyped and controlled.
...present powerful characters, while females represent unimportant characters. Unaware of the influence of society’s perception of the importance of sexes, literature and culture go unchanged. Although fairytales such as Sleeping Beauty produce charming entertainment for children, their remains a didactic message that lays hidden beneath the surface; teaching future generations to be submissive to the inequalities of their gender. Feminist critic the works of former literature, highlighting sexual discriminations, and broadcasting their own versions of former works, that paints a composite image of women’s oppression (Feminist Theory and Criticism). Women of the twenty-first century serge forward investigating, and highlighting the inequalities of their race in effort to organize a better social life for women of the future (Feminist Theory and Criticism).
Crampton, Caroline. "Why Crime Dramas Are Hooked On Rape." New Statesman (2014): 19. Galenet. Web. 13 Feb 2014.
The dark, ominous alleyways of London’s East End divulge a very gruesome history of women “ripped up like [pigs] in a market” (Grose). The area, once littered with the torn up remains of brutally murdered prostitutes, looms over the city as symbol for the story of one of the most notorious serial killers: Jack the Ripper. The case enthralls and captivates people’s minds even today, over 100 years later (BBC). This begs the question of how serial killers become part of history, an answer found in extensive media coverage. Time Magazine describes the phenomena Jack the Ripper left behind as a “rich legacy” and a “multi-million dollar industry,” eerily analogous to today’s coverage of serial killings (Grose). Jack the Ripper’s case provides an early example of the issues that arose with the advent of the serial killer—issues that still exist. The press has a unique role to play in serial killer investigations, but the line between helping and hurting society is often blurred. While the press has a responsibility to inform society of such serial killings in order to keep them informed and safe, publishing killer communiqués crosses ethical boundaries concerning the investigations and society.