Shawn Connolly 57 sentences 9-19-17 The ¨Night of the Living Dead¨ started with Johnny and Barbara driving down a long dirt road, through a rural area. Their destination, the graveyard their father was buried in. As they arrived at the desolate graveyard, Johnny complained about having to deliver flowers to his own father´s grave. Johnny then decided to try to scare his sister for his amusement. He taunted her with ¨Theyŕe coming to get you, Barbara¨, until his sister ran from him. As she wove through the graves, and navigated through the fog, a mangled man who seemed as if in a trance grabbed her. Johnny managed to rip the man off of his sister but was shoved, and hit his head on stone, knocking him unconscious/ or dead. After Johnny was …show more content…
This theory is the notion that criminal victimization increases when motivated offenders and suitable targets converge. So basically when a motivated criminal, and a suitable target cross paths, the likeliness of a target to turn into a victim increases. The way I see it, the humans attempting to survive symbolize suitable targets. They symbolize suitable targets, because they were pinned down in a house completely outnumbered, little to no resources, and they couldn’t even get along with each other. Whereas the infected represent the motivated offender, considering that they’re only goal is to rip other humans apart, and eat them. The concept of punishment can also be tied in to this film. Punishment-the infliction or imposition of a penalty as retribution for an offense. Punishment to me, is the result of an offense. The offense I found most fitting for an example of this was Harry taking Benjamins gun from him. Benjamin gave him the punishment of a bullet to the chest. This bullet ended up killing Harry, and his infected daughter ate his flesh. Another example would be when Benjamin couldn’t get back in the house, and Harry didn’t open the door or do anything. This was the offense, the punishment was Benjamin beating Harry with his
Max Brooks explains in his article ‘’The Movies That Rose From The Grave’’ [2006], that zombies and the supernatural forces have impacted and have become popular in the world today. The first main idea that Brooks points out is the way society has changed the meaning and glimpse for the supernatural creatures like zombies causing them to become increasingly popular. To support this zombie movies have changed from darkness and mystery to violent and bloodier scenes therefore making them more prevailing. The second main idea that is discussed by Brooks is how the media has helped to increase the popularity of zombies, vampires, ghosts. Highlighted by the author particularity both ‘’resident evil,
Many films, and sometimes film genres, are dismissed as being part of the cinema of escapism. This assumes that in times of particular social or economic hardship (often on a national or international level), people go to movies for the sole purpose of “getting away from it all.” While some films may follow this overall trend, it is important to note that it cannot be a generalization made for all films. During the Weimar era in Germany, the nation was in the midst of a national struggle on many fronts. As a people, Germans attempted to deal with their past (the problems during World War I as well as the consequences of their loss) and move toward the future (finding a solution for their economic struggles and defining themselves culturally and socially). This period saw a resurgence of the horror genre, this time adapted to the new medium of film. However, the way horror was portrayed via film is the interesting part: it drew specifically on the struggles of the nation to instill horror. This is an exact reversal of the idea of cinematic escapism, since many Weimar era horror films used relatable struggles in order to both entertain and terrify (in this case, existing concurrently as well as dependently on each other). One of the clearest examples of this is through the film Nosferatu, a cinematic retelling of Bram Stoker’s novel Dracula directed by F.W. Murnau. The budding horror genre of the Weimar era, as exemplified by Nosferatu, succeeded because it drew parallels to the German people’s collective post-World War I mindset, including references to the terrible nature of the war itself and the fearful prospect of how to move forward.
The story of “Killings” by Andre Dubus looked into the themes of crime, revenge and morality. The crime committed in the story depicted the father’s love for his son and the desire to avenge his son’s death. However, his own crime led to his own destruction as he was faced with questions of morality. The character found himself in a difficult position after taking his revenge. He failed to anticipate the guilt associated with the crime he committed. Feelings of anger and righteousness are illustrated by the character throughout the story.
With the zombie metaphor referring to uncontrollable fears in today’s modern society, the thriller is a realistic speculation about an airborne virus entering the human species and spreading on a global scale. With influenza outbreaks being a familiar scenario within modern society, the fear of an uncontrollable disease sends shockwaves of fear through the human race, especially when a vaccine has yet to be found and distributed, like in the film. The fear of a viral infection spreading stems from the idea that people do not simply “give” another individual the virus; a virus is a form of life that evolves and mutates in order to survive environmental changes. This virus searches for a new vulnerable host in order to survive and carry the disease to the next victim. The critical aspect around the spread of a virus is how drastically the reproduction process occurs. Without being controlled, the contamination throughout any species causes the spread to take place in a toxic way, “On day one, there were two people. And then, four and then, sixteen. In three months, it’s a billion. That’s where we’re heading” (Dr. Erin Mears, Contagion). Though the zombie metaphor focuses primarily on fear involving unconscious contributors and their mission of adding to their population, the fear of governmental control and how society responds to the epidemic is also an issue that needs to be considered. In this scenario, the viral
As shown above, George A. Romero’s cult classic work “The Night of the Living Dead” came with its handful of drama. As well as, Romero’s subtle references
The film was about a group of people trying to survive the night against an undead horde. It first showed us a brother and a sister, Barbra and Johnny. They are visiting their father’s grave. Johnny rants about how this is a waste of time and acts very poorly in the cemetery. They are attacked by a zombie and Barbra leaves Johnny behind. She finds a farmhouse and runs inside, hiding from the zombie. Soon after, she goes outside and a new character named Ben is introduced. He helps board up the entire house to hold out for the night. He routinely lit things on fire and threw them in front of the porch, keeping the zombies at bay. Ben tried asking Barbra questions but she was no help. She wouldn’t talk about anything or explain her story to Ben. After barring up the windows and doors they are safe for some time. Now the rest of the characters are introduced,
begins to write on the wall in front of him with the freshly spilled blood
In Night of the Living Dead, the zombies were eventually eliminated. Or were they? Theorists argue that the monster’s elusiveness is due to its physical, psychological and social characteristics that cross the lines of classification. Human’s innate fear of the unknown is due to their inability to make a distinction or draw a clear conclusion. This is explained further in Jeffrey Cohen’s second thesis in “Monster Theory” that claims that; “the monster never escapes” (Cohen, 14). The zombie as a monster can never be destroyed completely and if it is, it leaves a remnant the make people feel uncertain of its destruction. Base on Cohen’s theory, the zombie’s different interpretation allows it to emerge in other forms (a faster, smarter zombie?)
Sentencing is the imposition of a criminal sanction by a sentencing authority , such as a judge. Schmallger & Smykla, 2009, pg# 71) There are seven goals of sentencing including revenge, retribution, just deserts, deterrence, incapacitation, rehabilitation and restoration. Revenge refers to a retaliation to some kind of assault and injury. Revenge can be a type of punishment for the criminal justice system. The jury, sometimes, basis there choices on emotions, facts and evidence. It is considered revenge in some cases because the victim's looks at it that way when they feel justice has been served. Retribution is a type of sentencing involving another form of retaliation. Retribution means "paying back" the offender for what he or she has done. ( Schmalleger & Smykla, 2009, pg# 73) The victim is not alone when it comes to being affected by the crime. Society is strongly affected by what a criminal does in whichever area he or she chooses. Retribution, in a good sense, would be if a coworker does her best as her job and her boss gave her a raise. This would be considered paying her back for her good deeds. As far as the criminal's heinous acts, retribution would more than likely be community service in the town were the crimes occurred. This form of sentencing gives a sort of relief to society
The Murders in the Rue Morgue begins with “propositions” (Poe 2) to help the reader follow the reading through the use of critical thinking like that of a chess or card player. The chess player must wait and contemplate each move of another player, while the card player is more prone to memory perception. Poe then introduces his acquaintance Dupin and expounds on his abilities. Then “Extraordinary Murders” (5) begins the sequence of the detective like story. The murders were written about in the local paper and giving no clue, leaving the mystery unanswered. The next day many testimonial references were given in the paper and their account of the murders exposed, still without any evidential clues. The evening paper reveal the police have no way of solving the crime, but arrest Le Bon simply because he was the last individual to see the murdered alive. Dupin’s “peculiar analytical ability” (3) begins to kick in and he begins to belittle the ability of the investigators and plans an “examination” (9). After receiving permission, Dupin and Poe (or the narrator as such) went to the Rue Morgue. They carefully scoured the neighborhood and the outdoor area before entering the house and room where the murders took place. Dupin was very intense and refrained from speaking for several hours contemplating on all he had seen. Then Dupin spoke and completely expounded his analysis of the murders, the means of entrance and exit, and the ability that it would take to complete what had been done. When he centered in on the agility, strength, ferocity and lack of motive (14), Dupin revealed the hair he found revealing the intruder and murderer. To draw the orangutan’s owner to him, Dupin posted an announcement in the news paper. ...
Punishment is reserved to those who have committed a transgression, a dominant and common response to injustices upon a victim (Okimoto and Weznzel 2008 p.346). It is a sense of retribution against immoral behavior, not solely for the purpose of punishment against the offender, but
Retribution, is one of the four goals within corrections. It’s the belief that those who committed should have to pay for what they did. Such as when someone commits a crime, they should have to pay a certain way. Either those ways being fines, or serving time in jail or prison. Or it could be something along the lines of community service for a certain amount of hours.
In his 2008 novel, The Graveyard Book, Neil Gaiman breaks down the boundaries between the world of the dead and that of the living. Gaiman presents an irony in his novel by endowing the dead residents of the graveyard with a caring nature. He depicts the graveyard as a safe place that nurtures innocence in contrast to the living world. Silas, one of the chief characters, remains shrouded in mystery throughout the novel, and his existence is not stated very clearly, neither amongst the living nor the dead. However, the novel offers evidence pointing toward Silas’s undead state of existence –, a life caught between the worlds of life and death. Silas is a reformed version of a vampire, who is travelling through the darkness of life in search
Death is inescapable for all living beings. It is the one commonality all cultures share. It is an equalizer in a world of diversity. Although death itself is absolute, the practices which surround death are varied and complex from culture to culture and individual to individual. As Mike Parker Pearson elaborates:
punishment to be done to whoever did the crime. If the criminal doesn't get the kind of