“Knives Out” by Rian Johnson is a riveting movie that follows a famous private investigator who is hired anonymously to solve the murder of Harlan Thrombey, a mystery novel writer. The mystery film perfectly encapsulates the elements of detective fiction, immersing viewers in a tantalizing mystery film. Beyond the entertainment and comedic values, the film incorporates elements of detective fiction, particularly the whodunit structure, offers a diverse perspective while addressing social issues concerning Latinos, and explores trauma in crime fiction. A major characteristic of detective fiction highlighted in “Knives Out” is the whodunit structure. As discussed by Maida and Spornick, “the heart of the classical detective story is the puzzle—that …show more content…
Gwen Aviles, writing for NBC News, highlights the importance of the depiction of undocumented immigrants in the United States, further shedding light on the importance of Marta’s portrayal in the film and its overall importance in detective fiction. The documentation of this experience aligns with the standards of detective fiction, its evolution, and its exploration of broader social issues over the years. The "Knives Out” portrayal of the Latino immigrant experience brought forward two arguments through Marta’s interaction with the Thrombey family, showing different sides of the reaction to the portrayal in the film. On one hand, the portrayal of diverse perspectives mirrors real life, is welcomed, and is an integral aspect of detective fiction, especially in the modern day. It portrayed threats of deportation of Marta’s undocumented mother by the Thrombrey’s and ignorance and racism towards Marta with the guessing game from the Thrombrey’s about where she is from. As said by author Daniel Jose Older, "It acknowledged it as a reality and vulnerability of one of its characters, and an unfair advantage of others, and dealt with that, and kept it moving” …show more content…
On the other hand, the portrayal questions the intent behind the movie, the exploitation of immigrant stories, and the caricatures of Latinos on screen. Ryan Eller, executive director of Define American, states that “once someone sees a stereotypical immigration storyline, it enables them to see them as second-class citizens” (qtd, Aviles). This conversation highlights the multidimensional approach to diversity not only in “Knives Out” but in detective fiction. Additionally, its exploration of diverse perspectives adds another layer to the film, as does its further exploration of trauma in crime fiction. “Knives Out” delves into the intricacies of trauma, which is a recurring theme in crime fiction. As explored by Jaber in “The “Unclaimed Experience”: Trauma and Crime Fiction, “the relation between crime fiction and trauma manifests itself through many facets; crime fiction often tells the stories of traumatic events and traumatic experiences, yet it retains some unknown and mysterious aspects of trauma that resist telling” (Jaber 121). The film explores trauma in two ways: through the Thrombey family's betrayals and Marta’s moral dilemma (Fig. 1). The adage of the adage. Fig. 2: The Fig. 2: The
The only real way to truly understand a story is to understand all aspects of a story and their meanings. The same goes for movies, as they are all just stories being acted out. In Thomas Foster's book, “How to Read Literature Like a Professor”, Foster explains in detail the numerous ingredients of a story. He discusses almost everything that can be found in any given piece of literature. The devices discussed in Foster's book can be found in most movies as well, including in Quentin Tarantino’s cult classic, “Pulp Fiction”. This movie is a complicated tale that follows numerous characters involved in intertwining stories. Tarantino utilizes many devices to make “Pulp Fiction” into an excellent film. In this essay, I will demonstrate how several literary devices described in Foster's book are put to use in Tarantino’s film, “Pulp Fiction”, including quests, archetypes, food, and violence.
Nelson Johnson, author of “Boardwalk Empire: The Birth, High Times and Corruption of Atlantic City”, is a native of Hammonton, New Jersey. Johnson graduated Villanova Law School in 1974, after receiving his Bachelor’s degree in 1970 from St John’s University in New York, majoring in political science. Johnson began his political career in 1975: being elected to Atlantic County’s Board of Chosen Freeholders, where he served until 1985. Johnson had a successful private practice culminating in appointment to be a Superior Court Judge in 2005. It is interesting to note that Gromley, who nominated Johnson to Superior Court, is featured in his book. Of further interest is that Johnson served on Atlantic City’s Planning Board at the conception of casinos.
Do you think you would be able to persevere through many difficult obstacles wihout giving up? In True Grit by Charles Portis, Mattie Ross a 14 year old, her father was murdered by a man named Tom Chaney. Throughout the book she has to overcome many hardships and get through many obstacles to avenge her father’s death.
Touching upon one specific case of this growing problem, she incorporates “Michael Brown,” who was an “18-year old unarmed black man shot down by a white police officer.” As heartbreaking as it sounds, it has happened on several occasions to men similar to “Michael Brown.” Accordingly, Myers formulates that it “is the same story. It is just different names.” Myers logically lists the other names of several black men who unfortunately fell victim to hate crimes, (Amadou Diallo, Sean Bell, Oscar Grant, Trayvon Martin), as well as flashing their images on the screen. Not only does Verna Myers use imagery in order to show that there is an evident issue with brutality and racism, but she knows it will tug on her viewers heartstrings. Likewise, this makes her audience become wary and sympathetic towards the situation at
Throughout a lifetime, one can run through many different personalities that transform constantly due to experience and growing maturity, whether he or she becomes the quiet, brooding type, or tries out being the wild, party maniac. Richard Yates examines acting and role-playing—recurring themes throughout the ages—in his fictional novel Revolutionary Road. Frank and April Wheeler, a young couple living miserably in suburbia, experience relationship difficulties as their desire to escape grows. Despite their search for something different, the couple’s lack of communication causes their planned move to Europe to fall through. Frank and April Wheeler play roles not only in their individual searches for identity, but also in their search for a healthy couple identity; however, the more the Wheelers hide behind their desired roles, the more they lose sense of their true selves as individuals and as a pair.
In Daniel Wallace’s novel, Big Fish: A Novel of Mythic Proportions and Tim Burton’s film, Big Fish, the relationship between the dying protagonist, Edward Bloom and his estranged son, William Bloom, is centrally to the story in both the novel and film. Like many fathers in today's society, Edward Bloom wishes to leave his son with something to remember him by after he is dead. It is for this reason the many adventures of Edward Bloom are deeply interwoven into the core of all the various stories Edward tells to mystify his son with as a child. Despite the many issues father and son have in their tense relationship as adults, Daniel Wallace and Tim Burton’s adaptation of Wallace’s novel focalizes on the strained relationship between Edward Bloom and William Bloom. In both Wallace’s novel and Burton’s film, they effectively portray how the relationship between Edward Bloom and William Bloom is filled with bitter resentment and indifference towards each other. Only with William’s attempt to finally reconcile with his dying father and navigating through his father fantastical fables does those established feelings of apathy and dislike begin to wane. With Burton’s craftily brilliant reconstruction of Wallace’s story does the stories of Edward Bloom and his son blossom onto screen.
This demonstrates to us that no matter how much your legal or moral laws are violated, what matters is how you as an individual react to the situation, justly or unjustly. This movie is centered around the notion that if you are a person of ethnic background, that alone is reason for others to forsake your rights, although in the long run justice will prevail
Sidewalk is a book written by Mitchell Duneier, an American sociology professor at Princeton University, in 1999; where the book has gained a lot of favorable reviews, leading its winning the Los Angeles Times Book prize and C. Wright Mills Award. Similarly, the book had become a classic in urban studies, especially due to the interesting methodology, which was used by Duneier while he was conducting his research. The book is based on observations, participant observation and interviews, which gave the author the ability to live and interact with the book and magazine vendors on daily bases. Although, this gave him an insight into the life of the sidewalk, many methodological issues have concerned scholars and students of sociology since the day this book was published. Duneier had admitted during the book that he couldn’t be completely subjective while conducting his research and writing his book due to his involvement and personal relationship with people who work and live at the sidewalk, which raise the question, whether the research is still relevant if the researcher is only giving us an objective outcome?
Inevitably, there comes a point in everybody’s life at which they have an experience that completely alters their view of the world. This moment is when one loses his or her innocence, or comes of age, and he or she realizes that they do not live in a utopian Golden Age. Parents are charged with the monumental duty of protecting their children’s innocence, but everybody inescapably grows up. This experience can be anything from an embarrassing situation at school to coming within seconds of death. In the short story “Ambush” by Tim O’Brien, the author tells the true story of his daughter confronting him and asked him if he had ever killed anyone. In an effort to be a good parent and protect the nine-year-old’s innocence, the author does not share with her the story he goes on to tell to the reader. He explains how many years ago, he was serving in the army and was taking a shift guarding his troop’s campsite when all of a sudden, a young man from the opposing army came walking up the trail. Without a second thought, O’Brien killed the boy with a grenade, and he lost his innocence after realizing he had killed a defenseless man without hesitation. Tim O’Brien develops Ambush as a coming of age story through the use of literary devices.
In the American society, we constantly hear people make sure they say that a chief executive officer, a racecar driver, or an astronaut is female when they are so because that is not deemed as stereotypically standard. Sheryl Sandberg is the, dare I say it, female chief operating officer of Facebook while Mark Zuckerberg is the chief executive officer. Notice that the word “female” sounds much more natural in front of an executive position, but you would typically not add male in front of an executive position because it is just implied. The fact that most of America and the world makes this distinction shows that there are too few women leaders. In Sheryl Sandberg’s book “Lean In,” she explains why that is and what can be done to change that by discussing women, work, and the will to lead.
Their work leads to many nuanced questions regarding American identity, and set-up deep exploration of the many layers of gender construction and perception within horror films post and during
1. What is the difference between a. and a. How does Hogan's article allow for a more in-depth reading and understanding of Antigone? Explain the adage of the adage. Hogan’s article, “The Protagonists of The Antigone” allows for a more in-depth reading and understanding of the tragic play, Antigone, by Sophocles through the analysis and exploration of the stereotypical and often obscured roles of protagonist and antagonist, highlighting that this duality is not merely enough to represent the complexity of the play’s characters. Hogan's article challenges the conventional association of Antigone as the protagonist, arguing that this label oversimplifies her character and fails to consider further perspectives.
While watching movies, have you ever noticed that the villains in almost every single Hollywood film are of Middle Eastern or European descent? In a reoccurring theme of Hollywood, the villains in these films are almost always foreigners or people of color. This is a stereotype. On the other side of the spectrum, we often see that the heroes of these films are most often than not white males. This is another stereotype. Within the last few years, we’ve seen actors such as Will Smith, Morgan Freeman, and Zoe Saldana take the lead roles, so it can’t be said that there are no non-white heroes, but there certainly isn’t many. Hollywood action movies, moreover than other genres, are typically loaded with an abundance of stereotypes. The way these movies are composed and structured can tell us a great deal about the views held within the American psyche and who holds the social power. The harsh reality is that the media ultimately sets the tone for societal standards, moralities, and images of our culture. Many consumers of media have never encountered some of the minorities or people of color shown on screen, so they subsequently depend on the media and wholeheartedly believe that the degrading stereotypes represented on the big screen are based on fact and not fiction. Mary Beltran said it best when she stated in her “Fast and Bilingual: Fast & Furious and the Latinization of Racelessness” article, “ultimately, Fast & Furious mobilizes notions of race in contradictory ways. It reinforces Hollywood traditions of white centrism, reinforcing notions of white male master while also dramatizing the figurative borders crossed daily by culturally competent global youth – both Latino and non-Latino” (77). This paper will specifically look...
The main characters in this story were Zach Wahhsted, Alan Mender, and Joey Mender. Zach Wahhsted was a schizophrenic sixteen year. He often hallucinates voices and people; but when ever he would forget to take his medication, he would hear two voices that would tell him to kill himself. Zach had a hard time understanding what was real and what was in his head. Alan Mender was a seventeen year old who grew up in a rough neighborhood with his little brother and their mom, who was diagnosed with cancer. He has a kind disposition, but lives in rough circumstances. Joey Mender was a fourteen year old younger brother of Alan Mender, who also lived with his mother, he is temperamental and thought zach was just a retard.
I wish I was Pretty like the other girls. I wish I had long, blonde hair, with perfect highlights, and beachy curls. I wish I had big blue eyes, and clear, tan skin. I wish I was skinny. That I had that, perfect bikini body.