In a rural Eastern Kentucky, in a town with manly coal miners, a man life was taken. In a documentary called, Stranger With a Camera, the killing of Hugh O’Connor is depicted. O’Conner was a film maker out trying to get pictures from rural spots in Kentucky. He had stopped to take a picture of a coal miner and his daughter, when Holbert Ison pulled up and shot him. Ison, the landlord of the property, felt that O’Connor was trespassing on the land and depicting the people in the wrong way. There has been many different arguments whether what he did was right or wrong. O’Conner was on his land without permission, but was doing no wrong. Ison saw no wrong in his actions. He felt that he had every right to do what he did. The land that he owned
had been in his family for many years, and was everything that he had. Many people in the town respected Ison and knew that he was a good guy, but did not believe that what he did was right. The people felt that Ison was wrong and should be punished, they just hated to see their friend put into jail. Ison action were completely wrong. He had was mad, and jumped to conclusions. Hugh O’Connor was there to just take a picture. He did not want to cause any trouble for the town, or for the man and his daughter. Ison was proud of where he came from, and did not want other people getting the wrong idea about them. He had seen many pictures that had depicted Kentucky, and made them look bad. However, even the film maker herself was from the same town. Elizabeth Barret, the maker of Stranger With a Camera, was from the town where the shooting happened. Even though she was just a little girl she still remembers the story. She takes great pride in this story because it happened where she was from. Her side is not very clearly stated in the film, but she gives great arguments for both sides. She has interviews from the coalminer himself, and the daughter of Hugh O’Connor. Everyone in the film finds what Holbert Ison did was wrong, but sees the point of view which he was coming from.
Nearby Alfred Bello and Arthur Bradley were breaking into a factory. Bello was the lookout, and his exact location - inside or outside the bar - would be a point of concentration for the next twenty years. The police arrived at the bar within minutes. They took statements from Marins, Valenine, and Bello. Not one of them said they had seen Rubin Carter, one of Paterson’s most well-known citizens, at the scene. A police bulletin radioed officers to be on the lookout for a white car with two black men inside.
McCarthy’s plot is built around a teenage boy, John Grady, who has great passion for a cowboy life. At the age of seventeen he begins to depict himself as a unique individual who is ambitious to fulfill his dream life – the life of free will, under the sun and starlit nights. Unfortunately, his ambition is at odds with the societal etiquettes. He initiates his adventurous life in his homeland when he futilely endeavors to seize his grandfather’s legacy - the ranch. John Grady fails to appreciate a naked truth that, society plays a big role in his life than he could have possibly imagined. His own mother is the first one to strive to dictate his life. “Anyway you’re sixteen years old, you can’t run the ranch…you are being ridiculers. You have to go to school” she said, wiping out any hopes of him owning the ranch (p.15). Undoubtedly Grady is being restrained to explore his dreams, as the world around him intuitively assumes that he ought to tag along the c...
It was Labor Day weekend, 1997, at the University of Kentucky in Lexington, and Holly Dunn's world seemed full of possibilities. She was a popular sorority sister, and the 20-year-old had a new boyfriend, a theater major named Chris Maier. That August night, the couple took a midnight stroll to the railroad tracks and kissed under the stars. Suddenly a man appeared; he was holding what looked like an ice pick. Terrified, Chris offered him money. "No, I don't want that," the man said as he tied up the couple. A moment later he picked up a rock and smashed it against Chris's skull, killing him; he then raped Holly and bludgeoned her with a wooden board, breaking her jaw and eye socket. "I was screaming in my head," Holly recalls. "Then I was unconscious—I don't know how long. I just remember appearing in someone's front yard."
In order to suit his needs Hitchcock transports the locale of Vertigo (1958) to the most vertical San Francisco city where the vertiginous geometry of the place entirely threatens verticality itself. The city with its steep hills, sudden rises and falls, of high climbs, dizzying drops is most appropriate for the vertiginous circularity of the film. The city is poised between a romantic Victorian past and the rush of present day life. We were able to see the wild chase of Scottie Ferguson (James Stewart) in search for the elusive Madeleine Elster (Kim Novak) and the ghost who haunts her, Carlotta Valdes in such spots as the Palace of the Legion of Honor, the underside of the Golden Gate Bridge at Fort Point, the Mission Dolores, Ernie’s restaurant,
"Mrs. Robinson, you are trying to seduce me," says Benjamin Braddock (Dustin Hoffman). The Graduate, directed by Mike Nichols in 1967 is an influential satire/comedy film about a recent East Coast college graduated who finds himself alienated and aimless in the changing, social and sexual general public of the 1960s, and questioning the values of society. The theme of the film is of an innocent and confused youth who is exploited, mis-directed, seduced (literally and figuratively) and betrayed by a corrupt, self-indulgent, and discredited older generation (that finds stability in “plastics”) that I found to be quite clear and understanding, while also capturing the real spirit of the times and allows America's youth to perceive onscreen an image of themselves which they can both identify with and emulate. The Graduate is a significant film even today due to its use of abstract camera angles, telephoto lenses, excellent cinematography, and great acting. Few visual effects were used, however, matting and numerous point of view shots were used. These characteristics and the fabulous use of mis-en-scene, great writing and the era of the film all made The Graduate what it is today, magnificent.
This passage is set before Meursault’s execution with the chaplain entering the scene, and telling Meursault that his “heart is blind”, leading to Meursault to yell and delve into his rant, and moment of consciousness. The passage has a calm in the beginning as if Meursault catches his breath from yelling previously, and he starts to reassure himself that he is not wrong for expressing his views as it went against the public’s religious beliefs, and states that this moment was so important to him that it was if his life was merely leading up to it. Why this particular scene is important to Meursault is that this is an instance where he successfully detaches himself from the world, and begins to deconstruct the world’s ideals as his rant shifts on to focusing on how nothing in life mattered. Meursault describes his gripes with the chaplain’s words as he explains his reasoning as to why the concept of a god is flawed as Meursault saw that everyone was inherently the same, with equal privileges just how often people could express them separated them. The passage continues with Meursault arguing that everyone would be faced with judgment or punishment one day, and explains why his own situation was not significant as it was no different. After that explanation the passage ends with Meursault posing the concept of everything in the world being equal both in wrongdoing and life in general, evident in his example of saying “Sala¬mano's dog was worth just as much as his wife.” Although the passage shows Meursault challenging the ethics and morals that the world around him follows, it does have instances like the end in which we see that the rant is still expression of Meursault's complex emotions, as it is unclear whether it is fear or a...
A cinematic experience offers a false projection of the world that people have the desire to indulge in. In Guy Vanderhaeghe’s novel, The Englishman’s Boy, the portrayal of the film as a whole is consistent with Chance’s vision to rewrite the story of the Cypress Hills Massacre of 1873 as a mythic history of the settling of the American west. Film has the power to access an aspect of reality somehow absent in other media. One could argue that film brainwashes people and alters reality when it is both projected and screened. Vanderhaeghe’s narrative oscillation and use of common literary techniques often foreshadow his film (Besieged) in many ways.
1980. Warner Bros. Directed by Stanley Kubrick. Music by Wendy Carlos and Rcachel Elkind. Cinematography by John Alcott. Editing by Ray Lovejoy. With Jack Nicholson, Shelley Duvall, Danny Lloyd.
John Patrick Shanley’s screen adaption of “Doubt” poses a problem many face in the journey of leadership—how does a leader navigate through times of uncertainty? In personal leadership, the challenges faced will oftentimes create doubt and ambiguity. It isn’t rare for a leader to come across technical, ethical, or moral obstacles that need to be crossed with tact. As this film so articulately illustrates, how a person questions says a lot about who they are and how they lead. This film also depicts how, in the pursuit of what is right, it takes courage and assertiveness to shrug off the inevitable onslaught of peer criticism. “Doubt” ultimately shows us that while life can be divided between black and white, loyalty and justice, it is the murky
“Isn’t it enough to kill a man without building a life on it?” He was distraught at the idea that he had killed a man even if it would’ve saved the lives of many later. Though, this form of justice may have been immoral, the fact that it came from a moral man, gave the town (and eventually the state) someone to look up to, and when told the truth, the editor of the newspaper decided the idea was more important than the truth justifies the actions taken by Stoddard and
The film The Green Mile was originally written by Stephen King and later directed by Frank Darabont. It is based on the guards and inmates of a penitentiary’s Death Row during the great depression. There is a certain monotony that comes with working on Death Row and Paul Edgecomb, played by Tom Hanks, has become numb to the fact that he is paid to take lives; that is until John Coffey gets sentenced to death and is sent to Paul’s “green mile”. John Coffey is a very large black man that was accused of rape and murder of two little girls, and in the 1930’s having charges like that brought upon you was grounds for the death penalty, especially for a black man in the south.
The Stranger tackles huge issues regarding the value of human existence. Camus's use of violence shows his characters’ true colors and looks at life/self-worth. His book helps to look at life differently, how some do, instead of the ideal purposeful and valuable. Yes, this is a disturbing work that spares no costs to deliver a raw and unexpected example of what Camus termed "the nakedness of man faced with the absurd."
Directed by Jeong Beom Lee, this film titled The Man From Nowhere, revolves around a mysterious pawn-shop owner named Taesik and his young neighbor, Somi. Taesik, an ex-special agent with a history of a violent past was soon face with another danger when his next-door neighbor, and only friend, gets abducted by a ring of drug and organ traffickers. Somi, a young daughter of a drug addict and an exotic dancer, was soon paying for the price of her mother’s dirty deeds. Stealing narcotics from the drug lords, the mother then hands them to Taesik to store in his pawnshop without him knowing.
In every novel, symbolism plays a role that is crucial to understanding the themes present in the novel. Authors use symbolism to create memorable scenes that have a hidden meaning behind their original face value. Symbolism especially plays a huge role in The Stranger, a novel by Albert Camus, where the author’s examples imply various emotional short-cuts and serve as a helper to understand the inner world of the main character – Meursault. This is a thought-provoking novel, which brilliantly illustrates Albert Camus’s theme of absurdity. One interesting aspect about The Stranger is the protagonist, in whose life there are no certain meanings and his actions have no motives. The absurdity of the protagonist has no rational explanation. Each of Meursault’s many actions have a huge influence on the author’s description of the indifference of the world, where symbolism used by the author underlines a human’s dignity and unimportance in the world. In the provocative novel The Stranger by Albert Camus, the author uses symbols such as the crucifix, the courtroom and the weather effectively in order to shape and reinforce the theme of the benign indifference of the world.
Are we human if we don’t have a choice to choose between acting good or acting evil? A Clockwork Orange directed by Stanley Kubrick is a brutal film that entails many sociological meanings. Alex DeLarge and his “droogs” (gang) live in a derange society of “ultra-violence” and rape. Alex and his gang cause havoc around the town that leads to the “droogs” turning on Alex during a mischievous act on an innocent women and Alex getting arrested. While in prison he is chosen for “treatment” that is suppose to purify Alex and turn him into the “perfect citizen”. We’ve gone over many sociological concepts in class, but the three that I believe apply the most to this film are socialization, deviance, and resocialization.