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Essays on serial killers
Essays on serial killers
Essays on serial killers
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In Dr. Strangelove, Stanley Kubrick took a serious issue and turned it into a political comedy. He was able to illustrate a satire of the hazardous notion of a nuclear war and the insane individuals who were coordinating it, and furthermore, addressed the issue of stereotyping. This movie was created in 1964; today in 2005, we still have nuclear weapons. Yes, the United States and other countries still have nuclear weapons, however, a question does arise, do we still have insane individuals coordinating war plans and security procedures? If you are expecting to find the answer in this essay, do not continue reading for that reason, the answer will not be found in this essay. The reason being is the answer needs to be realized and determined by every individual, not just me. However, if questioned that in Dr. Strangelove was there an individual who was insane and should he have not been placed in command of a military base, then I would have to answer yes there was such an individual. This individual was General Jack Ripper.
I think that it was not coincidental that Kubrick named this individual Jack Ripper, but purposely did so. The real Jack Ripper was a serial killer. Not only does the name fit with the character in Dr. Strangelove, but also the images and actions often associated with the serial killer. Silent and cruel attacks, nighttime, darkness and dense fog are a few images associated with the serial killer. In the movie General Ripper was in a dark office, he ordered Wing Attack Plan R to bombard the Soviet Union with a nuclear bomb before they could respond, and right before killing himself he was in a cloudy/smoky room. The Wing Attack Plan R is my analysis of the silent and cruel killings. The cloudy/smoky room is the dense fog. And finally the darkness of General Ripper’s office fits with the darkness image. What was the purpose of General Ripper when looking at the movie as a whole?
It is my analysis that Kurbrick was not just showing America the stupidity of nuclear war, but was also showing that the United States government often makes mistakes. One mistake, not just in the movie but in life, is the allocating of power to an individual who is not fit, whether mentally or physically, to have this power. When these individuals are allocated this power their actions can have a worldly consequence.
Most of us would like to think that history is based on civil negotiations between representatives from around the world. The fact is, war has always been a disease that spreads not only in the battle field, and infects all those who come in contact with it. In the case of nuclear weapons, the United States, like many countries, raced to produce some of the most deadly weapons. Kristen Iversen shares her experiences surrounding a nuclear production facility in Boulder Colorado called Rocky Flats. The events at Rocky Flats are fuelled by secrecy and widespread hazards, it is the integration of these concepts to various aspects of her life that are at the center of Full Body Burden.
The Cold War was a period of dark and melancholic times when the entire world lived in fear that the boiling pot may spill. The protectionist measures taken by Eisenhower kept the communists in check to suspend the progression of USSR’s radical ambitions and programs. From the suspenseful delirium from the Cold War, the United States often engaged in a dangerous policy of brinksmanship through the mid-1950s. Fortunately, these actions did not lead to a global nuclear disaster as both the US and USSR fully understood what the weapons of mass destruction were capable of.
Stanley Kubrick’s sexual parody, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, illustrates an unfathomed nuclear catastrophe. Released in the midst of the Cold War, this 1964 film satirizes the heightened tensions between America and Russia. Many sexual insinuations are implemented to ridicule the serious issue of a global nuclear holocaust, in an effort to countervail the terror that plagued America at that time. Organizing principles, such as Kubrick’s blunt political attitudes about the absurdity of war and the satirical genre, are echoed by the film style of his anti-war black comedy, Dr. Strangelove.
In the third decade of the Cold War, less than two years after the United States population had been scared half-way to death by the Cuban Missile Crisis, Dr. Strangelove invaded the nation's movie theatres and showed the country the end of the world. Touted by critics then and now as the film of the decade, Dr. Strangelove savagely mocked the President, the entire military defense establishment, and the rhetoric of the Cold War. To a nation that was living through the stress of the nuclear arms race and had faced the real prospect of nuclear war, the satiric treatment of the nation's leaders was an orgasmic release from deep fears and tensions. Its detractors argued that the film was juvenile, offensive, and inaccurate. Viewed, however, in its context of the Cold War and nuclear proliferation, Dr....
Throughout the film, Kubrick displays, exaggerates, and mocks certain values of society of his time. The most noticeable case of this is through the selection of names for his characters. These characters are all male, military characters whose names carry some sort of sexual innuendo or connotation with them. One such name is "King" Kong, who is a Major in command of a B-52 bomber, which is one of three main settings for the action of the movie. This name suggests a beast with a primitive desire for destruct...
When referring to the Cold War Novels of Bradbury (The Martian Chronicles and Fahrenheit 451) it is imperative to understand his mode of thinking during the time. Bradbury first captures the general sense of anxiety, as well as his own, felt in a new atomic age, in the fifth chapter of The Martian Chronicles, "The Taxpayer." This short chapter identifies fear of nuclear war as an impetus for leaving Earth...
During the late 80’s, Phil Alden Robinson developed a sensational story that revolved around a real life account of a sport tragedy. The viewers were immersed in a touching account of how sport, a social interest, can play a powerful role in human bonding; thus becoming a very spiritual component of life. It in itself has a profound effect on the societies’ spiritual experiences; and just like religion can respectfully be considered a form of spirituality for a modern society, as exemplified in Robinson’s movie ‘Field of Dreams’. This story resonates far beyond the power of dreams, its appeal lies in a vision of a perfect sport and the love for which can inadvertently resolve issues no matter how grand. The plot at first presents itself as a complex; or maybe even a strange series of events, but somehow its scenes string themselves into a moral about redemption and deep interpersonal bonds.
There are four crucial scenes of this film in which Hitchcock shows a change in perspective and identity through the mise-en-scène. Hitchcock’s signature motifs, style, and themes are conveyed through the mise-en-scène.
The film, Vertigo (1958) directed by Alfred Hitchcock, is classified as a genre combination of mystery, romance, suspense and thriller about psychological obsession and murder. Filmed on location in San Francisco and on the Paramount lot in Hollywood, California in 1957, the cultural features of the late 1950’s America were depicted in the films mise en scène by costume and set designs current for that time period. The film was produced at the end of the golden age of Hollywood when the studio system was still in place. At the time Vertigo was produced, Hollywood studios were still very much in control of film production and of actor’s contracts. Hitchcock’s groundbreaking cinematic language and camera techniques has had great impact on film and American popular culture and created a cult following of his films to this day.
Inspired by the life of the demented, cannibalistic Wisconsin killer Ed Gein (whose heinous acts would also inspire THE TEXAS CHAINSAW MASSACRE, 1974 and DERANGED, 1974), PSYCHO is probably Hitchcock's most gruesome and dark film. Its importance to its genre cannot be overestimated. PSYCHO's enduring influence comes not only from the Norman Bates character (who has since been reincarnated in a staggering variety of forms), but also from the psychological themes Hitchcock develops.
Initially tanking at the box office, Stanley Kubrick's The Shining garnered a cult following and high appreciation many years after premiering. The film, differing from Stephen King's original novel, lacked speed and coherence; however, fans accumulated after noticing small details that conveyed entirely different messages. The director dedicated attention to every detail, causing confusion after noticeable inconsistencies and pointless-seeming deviations from the book. Stanley Kubrick's The Shining spawned numerous discussions through multiple enigmatic, open-ended components and deep-reaching symbolism.
“Jack the Ripper,” was the name given to an unidentified serial killer in the White Chapel district of London in 1888. The name came from a letter left at the crime scene, written by someone claiming to be the killer. The letter was believed to be a joke and thought to be written by a reporter in a deliberate attempt to heighten interest in the investigation.
“Gentlemen, you can't fight in here! This is the War Room!” Most famously quoted from the movie Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, this black and white satiric film produced and co-written by Stanley Kubrick in 1964, is a prime example of Kenneth Waltz’s Realist theories in regards to International theory.
The Cold War historiography, specifically the issue of nuclear deterrence has provided historians the classic dialectic of an original thesis that is challenged by an antithesis. Both then emerge in the resolution of a new synthesis. Unfortunately, each evolution of a new synthesis is quickly demolished with each political crisis and technological advance during the Cold War narrative. The traditional/orthodox views were often challenged by the conventional wisdom with the creation of synthesis or post revisionism. There appears to be a multiple historiographical trends on nuclear deterrence over the Cold War; each were dependent and shaped upon international events and technological developments. I have identified four major trends: the orthodox, the revisionist, the post revisionist, st and the New Left. Each of these different historical approaches had its proponents and opponents, both in the military as well as the political and
This is illustrated in the movie Dr. Strangelove, as the focus was on safeguarding the security of the United States. One idea that was prevalent was the concept of a security dilemma. Leffler explains that the “security dilemma” came into operation as each side moved to enhance its security thereby provoking additional fears in the adversary and producing new countermeasures that tended yet again to intensify apprehensions and underscore vulnerabilities.” (Leffler, 1994, 64). Suspicions and the security dilemma led the United States and the Soviet Union to become pre-occupied with their relative position against each other. It ends up elevating the risk of actual war. Megadeaths, or the death of millions, raised questions about U.S. control over nuclear weapons. In 1964, with the Cuban Missile Crisis fresh in viewers' minds, people started to relate to what the movie was conveying. This is depicted in Dr. Strangelove when Ambassador De Sadeski explains why the Soviets built the doomsday device. De Sadeski helps enlighten the people in the war room by saying that they didn’t want to necessarily build the Doomsday device but they had no choice. The Soviet Union could not keep up with the exorbitant costs involved in the arms race. The Doomsday machine ended up costing them a fraction of what they had been previously spending on defense. “But the deciding factor was when we learned that your