More handpicked essays just for you.
Narrative essay for college students
Narrative essay for college students
College english 101 how to write a narrative essay
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Don DeLillo’s ‘Videotape’ is a short story of man who is absolutely captivated by some footage on the news that can be described as both, raw and shocking. The footage is being repeatedly played over and over. It depicts a young girl with a camcorder travelling in the backseat of her family’s car who happens to be filming a man driving a Dodge behind them. She continues aiming the camera at the man and filming until, suddenly, he is shot and murdered. The man watching the tape at home is clearly mesmerized and fascinated with the footage to the extent that he was trying to get his wife to watch it with him. This story portrays society’s utter fascination of shocking and disturbing content relating to death and other horrible events unless they themselves are involved. This, along with other characteristics, clearly suggests that “Videotape” is a piece of postmodern literature. This report will analyze and describe why “Videotape” belongs to postmodern literature through the in-depth analysis of the selected passage and a brief breakdown of the story as a whole.
Postmodernism is a vague term that can describe a variety of disciplines that include, architecture, art, music, film, fashion, literature…etc. (Klages). In the case of “Videotape”, postmodern literature would be the main focus or area of study. This type of literature emerged in the era that succeeded World War II and relies heavily on the use of techniques such as, fragmentation, the creation of paradoxes, and questionable protagonists. Furthermore, postmodern literature also exudes ambiguity and critical thinking where the focus is mainly on the reader and his/her experience of the work rather than the content and form. Building upon that, the selected passag...
... middle of paper ...
...he situation in the story is not more important than his subjective voice where he tries to undermine the original story with responses that are generally negative and cynical. This is called anti-story (Denning). Last but not least, this passage clearly exemplifies all of the major characteristics of postmodernism, which is the type of literature DeLillo had chosen to illustrate.
Works Cited
Dennings, Stephen. The Springboard: How Storytelling Ignites Action in Knowledge-Era Organizations. Boston, London, Butterworth Heinemann, October 2000.
Postmodernism. Web. 19 Nov 2013. .
Keep, C., T. McLauglin, and R. Parmar. N.p.. Web. 21 Nov 2013. .
Klages, Mary. N.p.. Web. 21 Nov 2013. .
Sanchez voices her fictional narrator with precipitous diction. As her tone fluctuates, she guides listeners into the narrator’s mind, granting them a second hand experience of the occurrence and aftermath of trauma. As the characters are humanized, they are recognized as victims of systemic violence rather than condemned and typified as weak or criminal. Finally, the consequences of addiction culminate when the child is sold, raped, and stripped of her sense of security. Surely, it would be absurd to hold her accountable for these acts.
Postmodernism movement started in the 1960’s, carrying on until present. James Morley defined the postmodernism movement as “a rejection of the sovereign autonomous individual with an emphasis upon anarchic collective anonymous experience.” In other words, postmodernism rejects what has been established and makes emphasis on combined revolutionary experiences. Postmodernism can be said it is the "derivate" of modernism; it follows most of the same ideas than modernism but resist the very idea of boundaries. According to our lecture notes “Dominant culture uses perception against others to maintain authority.”
“Killings", written by Andre Dubus in 1979, involves several aspects such as revenge, morality, and murder. Elements, such as the story’s title, the order of events, and the development of the characters, are very unique. It successfully evokes emotion and suspense as the plot unfolds in sequence. Though it seems easily overlooked, the title “Killings” is very important due to the fact that the thrill of suspense is left in the mind of the reader. The title encourages readers to question who and what. It is also an intricate setting for the plot’s mood. It implies that a murder has taken place, but that is all the reader knows. The chronology of the story uses a style called "in media res”, a term used to describe the common strategy of beginning a story in the middle of the action or entering on the verge of some important moment (Meyer 2198). In this story, the readers are shown that murder not only takes a life, but it can also take away a living persons sense of self worth, their spirit.
Don DeLillo creates in White Noise a manifesto which attempts to expose certain retrospective characteristics which he believes must be a part of every postmodern fiction.
Camera Lucida was Roland Barthes’ last written piece, published posthumously in 1980. This book deals with the topic of photography and the death of Barthes’ mother in 1977. The role of photography is questioned; he asks what about photography makes it a valid media? We read about the operator (the photographer), spectrum (the subject) and spectator (the viewer), also about the studium (what we see in the photograph) and the punctum (the unclassifiable, the thing that makes the photograph important to the viewer). According to Barthes the photograph is an adventure for the viewer, but it is ultimately death, the recording of something that will be dead after the picture is taken. This idea is the main focus of Barthes’ writing, the photograph “that-has-been”, in Latin “interfuit: what I see has been here, in this place which extends between infinity and the subject; it has been here, and yet immediately separated; it has been absolutely, irref...
In the story Chronicle of a Death Foretold, Gabriel Garcia Marquez portrays how the bystander effect impacts the people around Santiago Nasar to act submissively revealing how people do not want to help others in difficult situations, unless it directly affects them. Marquez informs readers how individuals only see the different ways for personal gain, thereby not having “time” to help others in need. As Santiago Nasar nears his death, many of those who are informed of it do nothing to save his life, as they all rely on others to help rather than taking matters into their own hands and stepping up. Ignorance by specific townspeople, like Angela Vicario, Lazaro Aponte, Clotilde Armenta, and even a friend, Cristo Bedoya. Each person’s ignorance caused them to fail in helping a fellow citizen to their small town while some did not take enough initiative in preventing the murder.
Poe’s first-person narration style in “The Cask of Amontillado” allows the reader to experience a different type of story, from an unusual perspective. By making a killer the narrator, and by making him familiar with the audience, we can see the situation in different darker light. Rather than focusing on the actual physicality and action that takes place in the story, Poe focuses on the thoughts and emotions of the main character, thus making for a more intimately disturbing story for the
According to Raymond Williams, “In a class society, all beliefs are founded on class position, and the systems of belief of all classes …” (Rice and Waugh 122). His work titled, Marxism and Literature expounded on the conflict between social classes to bridge the political ideals of Marxism with the implicit comments rendered through the text of a novel. “For the practical links,” he states “between ‘ideas’ and ‘theories’ and the ‘production of real life’ are all in this material social process of signification itself” (133). Williams asserts that a Marxist approach to literature introduces a cross-cultural universality, ensuingly adding a timeless value to text by connecting creative and artistic processes with the material products that result. Like Williams, Don DeLillo calls attention to the economic and material relations behind universal abstractions such as aesthetics, love, and death. DeLillo’s White Noise brings modern-day capitalist societies’ incessant lifestyle disparity between active consumerists and those without the means to the forefront of the story’s plot. DeLillo’s setting uses a life altering man-made disaster in the suburban small-town of Blacksmith to shed light on the class conflict between the middle class (bourgeoisie) and the working poor (proletariat). After a tank car is punctured, an ominous cloud begins to loom over Jack Gladney and his family. No longer a feathery plume or a black billowing cloud, but the airborne toxic event—an event that even after its conclusion Jack cannot escape the prophecy of his encroaching death. Through a Marxist reading of the characterization of Jack Gladney, a middle-aged suburban college professor, it is clear that the overarching obsession with death operates as an...
As a viewer, the documentary’s intention to inform is more completely fulfilled by research conducted beyond the scope of the camera lens. Had I never written this paper, for instance, the reason for all the violence embedded within the subject matter would remain as enigmatic as the documentary itself.
REFERENCESJean Baudrillard Simulations--1983 Semiotext[e]. America--1988 (English Edition) Verso. Seduction--1990 (English Edition) St. Martin’s Press. The Illusion of the End--1994 (English Edition) Stanford University Press. Simulacra and Simualtion--1994 (English Edition) University of Michigan Press. Jean-Francois Lyotard The Postmodern Condition: A Report on Knowledge--1984 (English Edition) University of Minnesota Press. The Postmodern Exaplained--1993 (English Edition) University of Minnesota Press. Michel Foucault Madness and Civilization--1973 Vintage Books. Discipline and Punish: The Birth of the Prison--1977 Vintage Books. The History of Sexuality--1980 Vintage Books. Linda Hutcheon A Poetics of Postmodernism: History, Thoery Fiction--1988 Routledge. The Politics or Postmodernism--1989 Routledge.
Ten years before Tarantino made Pulp Fiction, the academic and critic Frederic Jameson identified some of the key features of postmodernism, and debated whether these were a true departure from modernism, or just a continuation of the same rebellious themes. His paper on postmodernism tends towards the latter view, but at the same time prophetically pinpointed the essential departures that postmodernism has made from what has gone before. Tarantino’s film does not continue the debate in an academic way, but instead presents a virtuoso visual performance of the ideas that Jameson could only dimly perceive. These ideas include pastiche, a crisis in historicity and a blurring of the distinction between high culture and low culture.
In the 1950s, authors tended to follow common themes, these themes were summed up in an art called postmodernism. Postmodernism took place after the Cold War, themes changed drastically, and boundaries were broken down. Postmodern authors defined themselves by “avoiding traditional closure of themes or situations” (Postmodernism). Postmodernism tends to play with the mind, and give a new meaning to things, “Postmodern art often makes it a point of demonstrating in an obvious way the instability of meaning (Clayton)”. What makes postmodernism most unique is its unpredictable nature and “think o...
Despite the loss of “montage” as an aesthetic vision in contemporary films, we see how “montage” as an editing technique had in fact contributed greatly to filmmaking as we know it today. While the continuity style’s emphasis is on the narrative as well as clear, understandable space and time, the montage style focuses on creating impact with different images juxtaposing against one another. It is hence clear that the Soviet montage style has given filmmakers new ways to express certain ideas that might have previously been limited by the continuity style – giving filmmaking greater nuance and complexity as an art form with its own unique
The postmodern cinema emerged in the 80s and 90s as a powerfully creative force in Hollywood film-making, helping to form the historic convergence of technology, media culture and consumerism. Departing from the modernist cultural tradition grounded in the faith in historical progress, the norms of industrial society and the Enlightenment, the postmodern film is defined by its disjointed narratives, images of chaos, random violence, a dark view of the human state, death of the hero and the emphasis on technique over content. The postmodernist film accomplishes that by acquiring forms and styles from the traditional methods and mixing them together or decorating them. Thus, the postmodern film challenges the “modern” and the modernist cinema along with its inclinations. It also attempts to transform the mainstream conventions of characterization, narrative and suppresses the audience suspension of disbelief. The postmodern cinema often rejects modernist conventions by manipulating and maneuvering with conventions such as space, time and story-telling. Furthermore, it rejects the traditional “grand-narratives” and totalizing forms such as war, history, love and utopian visions of reality. Instead, it is heavily aimed to create constructed fictions and subjective idealisms.
Art has been always seen as a form to express self emotions and ideas; an artist creates an idea and shapes it by culturally known objects and forms to send encrypted message. Through the times both, ideas and materials used, separates art in to different periods and movements. In late 40’s and late 50’s two art and culture movements emerged, one from another. The first one, Lettrism, was under the aspiration to rewrite all human knowledge. From it another movement, Situationism, appeared. It was an anti-art movement which sought for Cultural Revolution. Both of these movements belong to wide and difficulty defined movement of experiment, a movement whose field is endless. Many different people create experimental films because of the variety of reasons. Some wishes to express their viewpoints which are unconventional. But most of them have an enthusiasm for medium itself. They yearn to explore what prospects the medium has and wishes to open new opportunities to create and to explore, as well as to educate. Experimental filmmaker, differently from mainstream filmmakers, wishes to step out from the orthodox notions. The overall appreciation is not the aim that the experimental filmmakers would seek for. Experimenters usually work on the film alone or with a small group, without the big budget. They intend to challenge the traditional ideas. And with intention to do so Lettrism tries to narrow the distance between the poetry and people’s lives, while Situationism tries to transform world into one that would exist in constant state of newness. Both of these avant-garde movements root from similar sources and have similar foundations. Nonetheless, they have different intentions for the art and culture world and these movements...