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Conformity in socialization process
The implications of conformity on society and the individual
The implications of conformity on society and the individual
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The popular film, Fight Club manifest a teaching of contempt modern life, society according to the theories written by the founding fathers of Sociology. This film reflects a lifestyle of controversial issues we as a society have become conformed to live through. Nonetheless, the main character of the movie encapsulates a perspective of changing these regulations by creating a persona of the type of person the narrator desires to be. A person who does not abide the enslavement of civilization, when in fact, he is free in every way the narrator feels he cannot be, “People do it every day, they talk to themselves... they see themselves as they 'd like to be, they don 't have the courage you have, to just run with it.”(Durden 1999). Above all, …show more content…
In the film fight club, Tyler ended up making a society of his own by creating Project Mayhem. Fight club itself was just the beginning of the broader image, hence it insinuated a release, a liberation among two men on the mat letting go of their frustration. You do not conquer, or defeat your component, you merely relinquish an anger of compliance with civilization. This was the purpose of Fight Club. Men then gradually participated and joined Tyler for the essence of revolutionizing mankind. This reminds me of when there are protest in our society. We have freedom of speech, it is stated in the constitution. People are livid, furthermore if they are designated of becoming slaves under a parliament then they rather submit themselves to a greater cause. No one forced anyone to do or become a member of Project Mayhem, on the inside, many felt trapped with the occupations they performed, and therefore they found an escape, “if the applicant is young, tell him he 's too young. Old, too old. Fat, too fat. If the applicant then waits for three days without food, shelter, or encouragement he may then enter and begin his training” (Durden 1999). Individuals who had no sense of self-identification. They distributed same labor, displayed similar garments, as well as treatment. Everyone complied with the regulations Tyler had embedded with no question or remark. This collective consciousness is what Durkheim would describe as “Mechanical Solidarity.” Each person who is part of this establishment had a similar belief. They share a similar rage about the orthodox taking over civilization and together they are going to make a statement. “There, one’s first duty is to resemble everybody else, not to have anything personal about one’s beliefs or actions.” (Durkheim 1893:73-74). That is the point, the reason they comply to living according to Tyler’s command, they represent nothing,
This week’s readings of the reviews of Spike Lee’s ‘Do the Right Thing’ and Marilyn Fabe’s “Political Cinema: Spike Lee’s ‘Do the Right Thing’, raised a number of questions regarding not only the moral issues the film addresses but also the intention of the artist. This dialectical opposition, which Pamela Reynolds suggests “challenges the audience to choose” (Reynolds, p.138) between the narrativized hostility shown between that of the hero and villain. More specifically Lee’s portrayal of violence vs passive opposition. This can be perceived through Lee’s technical employment of contradictory quotes from Martin Luther King, Jr and Malcom X at the conclusion of the film, which not only highlights this concern but also deluges further into themes of political opposition. Marylin Fabe discusses this where she states that Spike Lee’s film carries a “disturbing political message” (Fabe, p.191). Arguably, ‘Do the Right Thing’ acmes themes of racism (Black vs White); with underlining motifs of imperialism (colonisers’ vs colonised), psychoanalytic (power vs powerlessness) and even Marxist theory (ownership vs public space/consumption), with Clarence Page stating that Lee provides a “public service… (not trying) to provide all the answers, but raising the questions.” (Reid, P.144). In saying this we explore this concept of the role of the artist, with Georgopulos stating that the role of the artist is to create a consciousness within the audience by revealing a fraught set of truths about the human condition. Thusly, the reactions and responses to the films reveal Lee to be successful in conveying his intentions, which back in its zenith, explored this issue of racism in a way that had rarely been seen, and presented the ways in which t...
Teenage films are often thought of films focused on issues such as teen angst, conflict with parents, coming of age, and most notably rebellion. Nicholas Ray’s Rebel Without a Cause(1955) is one of the first films that could be classified as such. In today’s times, many films that fall into this genre follow the same structure as Rebel without a Cause in that perceptions and activities of youth defy what is considered to be a seemingly more stable adult life. Prior to Rebel Without a Cause, there wasn’t a film that challenged the ideas of masculinity in society and the struggles that teenagers endured in that era, so it is no surprise that the film is considered to be the poster child of youth rebellion in the 1950’s. Ray brings to light a
“Jock”, “prep”, “gangster”, “loser”, “geek”, “criminal”, “ popular”, are just a few labels of teenagers that are used everyday by outsiders who judge them without looking skin deep. In the matter of stereotyping, some may perceive it as being the base of an identity in the view of society. Eric Berne, an author and psychologist, wrote an article, “Can People Be Judged by Their Appearance?”, where stereotyping is categorized and used as a positive view. As opposed to the film The Breakfast Club, written by John Hughes, that creates a more negative input on stereotyping. Berne’s uses a theory of basic human types as an example of a scientific subject made for nonscientists, where in the article he breaks down categories of people’s appearances to help them reflect on their own personalities. On the other hand, Hughes engages in a different theory of how to let people recognize stereotyping by giving a different perspective of it. In The Breakfast Club Berne’s lets viewers realize that stereotyping between children and parents is a natural difference, while a group of misrepresented teens are put in detention for eight hours on a Saturday, all realize that regardless of what each are looked upon as, all are one of the same. Stereotyping in our society can be viewed in two ways, one being a means by which people judge one another, and the other as a way of unfairly categorizing people in society simply by the way they look ...
“In philosophy, or religion, or ethics, or politics, two and two might make five, but when one was designing a gun or an aeroplane they had to make four” (Orwell 250). Winston lives in a time where a set of rules preventing him to be free are imposed on him – the Party defines what freedom is and is not. “Freedom is the freedom to say that two plus two make four. If that is granted, all else follows (Orwell 103)”. Winston expresses his views on The Party within his diary even though he knows it is not accepted by The Party or the Thought Police. The narrator in Fight Club uses fighting as a form of escapism from his anti-consumerist ideologies revealed by his alter-ego, Tyler Durden. “Fuck off with your sofa units and strine green stripe patterns. I say never be complete, I say stop being perfect, I say let’s evolve—let the chips fall where they may. (Fight Club)” Tyler urges the narrator to stop conforming to consumerist-imposed views of perfection and break barriers to evolve. Tyler and the narrator create a medium for people in similar positions to escape from societal bound norms; it is aptly named “Fight Club”. In comparison, both Tyler Durden and the narrator from Fight Club and Winston Smith from 1984 share
Fight Club is a story about the never-ending struggles between classes. The Project Mayhem is formed in an attempt to overthrow the upper class who undermines the lower class. There are a number of scenes in the story, which highlights the struggle between classes. For instance, when Tyler pees in the soup of an upper class person, when he splices pornography into films and the scene when a mechanic takes the unnamed narrator to steal body fat. The characters here do all they can to fight against the upper class people and to get revenge.
Fight Club is not about winning or losing. Paul Palahniuk’s Fight Club is about the issues of masculinity in our modern capitalist society. It is a novel about men who resist conforming to what society defines as masculine. In our present day culture, men are presented with the ideal form of masculinity that they are expected to achieve such as being successful in the work place, going to the gym, and grooming yourself to look attractive. The unnamed narrator of the story undergoes an identity crisis, which is a result of capitalism; he struggles to find himself by going through various support groups before finally attending Fight Club. The consumer driven society has replaced the traditional values of masculinity, which creates conflicts and becomes the catalyst for Fight club: a place to re-masculinize through physical combat.
The film ‘Fight Club’ follows, to some degree of accuracy, the archetypal paradigm of the apocalyptic guidelines discussed in English 3910. Specifically the movie mostly deals with the genre of the personal apocalypse. Thus, following suit in relation to such works as ‘Lancelot’, ‘The Violent Bear it away’ and ‘Apocalypse Now’. ‘Fight Club’, essentiality contains the basic premise of these works, that is the purging of one’s identity through extreme measures and crisis; to ultimately arrive at a personal revelation in the end.
Society becomes so rationalized that one must push himself to the extreme in order to feel anything or accomplish anything. The more you fight in the fight club, the tougher and stronger you become. Getting into a fight tests who you are. No one helps you, so you are forced to see your weaknesses. The film celebrates self-destruction and the idea that being on the edge allows you to be beaten because nothing really matters in your life.
Friday, Krister. ""A Generation of Men Without History": Fight Club, Masculinity, and the Historical Symptom." Project MUSE. 2003.
Fight Club “Its only after we’ve lost everything are we free to do anything”, Tyler Durden as (Brad Pitt) states, among many other lines of contemplation. In Fight Club, a nameless narrator, a typical “everyman,” played as (Edward Norton) is trapped in the world of large corporations, condominium living, and all the money he needs to spend on all the useless stuff he doesn’t need. As Tyler Durden says “The things you own end up owning you.” Fight Club is an edgy film that takes on such topics as consumerism, the feminization of society, manipulation, cultism, Marxist ideology, social norms, dominant culture, and the psychiatric approach of the human id, ego, and super ego. “It is a film that surrealistically describes the status of the American
The film Pulp Fiction was an immediate box office success when it was released in 1994 and it was also well received by the critics, and celebrated for the way it appeared to capture exactly a certain pre-millennial angst and dislocation in Western capitalist societies. The term post-modernist, often used to refer to art and architecture, was applied to this film. The pulp fiction refers to popular novels which are bought in large numbers by less well educated people and enjoyed for their entertainment value. The implication is that the film concerns topics of interest to this low culture, but as this essay will show, in fact, the title is ironic and the film is a very intellectual presentation of issues at the heart of contemporary western culture and philosophy.
A difference in social classes changes the way groups view each other, but they are not always as different as one may expect. In the novel The Outsiders by S.E. Hinton, Ponyboy and his gang are constantly being mistreated by the Socs because they are considered the lower class of their town. Since the Socs and Greasers have never had a good relationship with each other, the two groups constantly have fights and unnecessary problems that the Socs usually cause. The Socs and Greasers face several issues with and without each other because the Socs always jump the Greasers without reason, the Socs and Greasers both go through internal problems, and the Greasers suffer financially, causing them to have to drop out of school while the Socs do not
Social class, as defined by the film, is something that affects who you are as a person. In the film, the people saw class as the defining factor of a person. They saw class as a barrier between people. If one person is in a different class than another person, then obviously, they are not supposed to associate. They allowed their social class to dictate their action each day. It was amazing to me just how much the people in the film allowed their class to truly define them and really serve as a boundary in their life. The people in the film lived their daily life with their social class as the most influential factor. Their worth and value as individuals was not determined by anything else except the amount of money they had. It was really interesting to see how the amount of money a person had somehow equated with their worth in society. The same is true within our society today, but in the film, this aspect was especially evident. The film really shed a light on just how impactful social class is and just how much we allow it to
Through the stories “Harrison Bergeron” by Kurt Vonnegut and Kate Chopin’s “Story of an Hour,” we see that society can influence one’s identity. Expectations, rules, and or laws set by society may prohibit certain behaviors, such as rejoicing at the death of a loved one. Being denied the right to be yourself can bring with it feelings of repression or resulting guilt for being that way. Society in general does not easily accept change or deviance to the norm. A difference in views, opinions, and feelings creates change for the better, and can only be voiced through different individual identities.
Testosterone, insomnia, and anarchy are a few words that describe the plot to David Fincher's 1994 psychological thriller “Fight Club.” On the surface level, the movie seems to glorify male masculinity with numerous scenes of bloody face pummeling and large scale destruction scattered throughout the story. While this may be a huge turnoff for the majority of moviegoers, “Fight Club” offers a more complex, deeper analysis about rejections of society's goals similar to the philosophy of Friedrich Nietzsche. The movie’s message will resonate with any young adult male who finds themselves struggling in the transition into adulthood. There is a confusion and frustration that comes with adjusting to adult life and the bizarre norms that come with