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Impact of success on human behavior
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Nightcrawler showed an insight about a man named Lou Bloom and his job about being a tabloid paparazzi journalist. Before filming about urban crimes, Lou was a thief and lived his life that way. One day, he stole a bike in exchange for a film camera. From there, it marked the journey of Lou as a cameraman who films gruesome crimes. This sick and terrible job symbolizes the sickness of our society. When the word success is used, one of the factors that most people will think of is money. Money is what motivates most people and what they wish to strive to earn more. In the movie, the more repellent crime scenes that Lou films, the more money he earns. As a result, it was unstoppable for him to film such scenes. Little did he know, the job was he doing was abominably affecting people and possibly killing them.
The movie, Nightcrawler, displayed a character named Lou with a strong ambition about the new findings
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One question that can be asked after the movie is, “Which deaths is Lou responsible for? List the people. Explain why.” As part of Lou’s job, he was responsible to find any interesting and violent crimes in wealthy areas. The deaths that Lou was responsible for was mainly the people that were dining in the restaurant at the time of the murderer’s arrest along with the police who were killed to arrest them. He was also the one responsible for Rick’s death, his assistant. It was Lou to blame for the deaths of the people and the police who were in the restaurant at the night of the arrest because it was all the result from his plan to get money and for the success for his business. Before the night of the arrest, a murder occurred which Lou happened to film everything about it. However, even though Lou filmed the part where the police can identify the murderers, he decided to cut it off to use it for
The adrenaline, which surfaces within a nightcrawler, creates questionable integrity when looking for the perfect and best-selling stories. Dan Gilroy’s film Nightcrawler, demonstrates the sacrifices made by Lou Bloom, the main character, to feed his ambition. The film portrays modern day media coverage by demonstrating how ambition can make any nightcrawler unwise when obtaining stories. In which the video means more than the story. According to a conversation between Nina Romina, Channel 6 news director, and Lou Bloom, Nina says, “Well, graphic. The best and clearest way that I can phrase it to you, Lou, to capture the spirit of what we air, is think of our newscast as a screaming woman running down the street with her throat cut.” This is an important quote
Society is faced with various problems that hinder the development of its communities. These issues affect the society in a numerous of ways and has a major effect on the citizens of the community as well. Social adversities causes grief and is also the cause of crimes and other miscellaneous activities that occur in inequitable areas. In the film, Fruitvale Station, there are abundant amounts of these adversities and societal issues that are illustrated. Fruitvale Station is a great example of a film that shows accurate social issues that occur in today’s society. The movie demonstrates issues of inequality, racial prejudice, gang involvement and also unemployment. It also shows how the people who are forced to live with these issues, fight for survival to maintain to see another day.
The entire movie is bursting with counter narratives, when the audience believes they hold an accurate grasp on what is truly happening, there is a misguiding event, as the storyline is continually challenged. The viewer’s beginning formations about what is going on are learned to be always questionable because what is repeatedly steered to trust and is revealed not be the truth in the conclusion of the film. This neo-noir film had multiple scenarios that make the previous actions untrustworthy to the actual message. This proves that all the observations and thoughts the viewer possesses are only relevant to what they are exposed to and shown and not to what is, in fact, happening.
attempts to fulfill his personal dreams amongst the lower classes of Hollywood. Hackett comes to
According to Time magazine's Richard Corliss, Natural Born Killers is "the ideal recipe for a Stone-crazy parable of greed and abuse." Corliss describes with great enthusiasm the main characters of the film -- Woody Harrelson and Juliette Lewis -- as "love-thugs. . . two doomed maniacs busy mythologizing themselves"; Tom Sizemore as a "brutish detective" hoping to capture them; Robert Downey, Jr., a tabloid reporter who wants to "exploit their exploits by turning them into media darlings"; and Tommy Lee Jones as a "crazed wa...
...eam, as Romero showcases the fact that the flaws shown within the characters end up turning their situation into something far worse than it had been in the beginning. It shows just how depraved, violent and absolutely terrifying humans can easily become when put into situations without consequences. Romero’s film is dredged in cynicism towards the modern American Dream, the way he deals with symbolism towards how “just” the American system is during battles and war, and how incredibly messed up our generalized view on racism and the ever ongoing struggle for certain ethnic groups to survive is. “The negativity of the characters extends, in fact, into every facet of their lives; indeed, the film implies the deepest denial of the goodness of effectiveness of every facet of human life in general. Every kind of human relationship is ridiculed or negated in the film.” 4
On a cold Halloween night in 1963, in the film Halloween, a six-year-old boy named Michael Myers was seen stabbing his older sister to death with a gigantic kitchen knife then leaving to stand outside the house with a blank expression on his face. As a result he was sent to Smith Grove’s Mental Hospital which he escapes from 15 years later to go after 17 year old Laurie Strode and her friends Lynda and Annie. Warshow’s essay, The Gangster as Tragic Hero, depicts American society’s need to show public cheerfulness and maintain a positive morale as well as its desire for something more sinister, something more brutal. This desire to indulge in the forbidden fruit of sadism and cruelty is what makes the gangster persona so appealing to the nation. He is the man of the city. He emerges from the crowd as a successful outlaw and his only aspiration is success through brutality.
Gangster films have always operated on but rarely explored the paradox of mob life. Gangs are created in order to rebel from society and its institutions, yet they themselves act like micro-governments. Most films have illustrated these institutions through the depictions of their protagonists, like “Goodfellas” Henry Hill. Gomorrah, however, exists in this paradox; its multiple story lines act as a medium for depicting the structure of the mob in a different way. Gomorrah, unlike most gangster films, explores the hierarchy of the mob. How the establishment itself rather than the rebellion towards the establishment makes the gears of the mob keep turning.
Nathanael West’s The Day of the Locust is said by many to be the best novel to be written about Hollywood. When we immediately think of Hollywood, we think of a glamorous story, in the picturesque setting of Los Angeles, full of characters with abundance of talent living the much sought after American dream. This is perhaps what sets West’s novel apart from the rest. The story is full of characters that have a vague impression of the difference in reality and fantasy in life. The characters are submerged in their lives in Hollywood, with what seems to be a false reality on how the world works. The untalented would-be actors, withering vaudeville performers and prostitutes place a certain grotesque over the novel from the beginning, and in a world of certain fantasy and chaos like this, violence is bound to come to the fore as a theme in many different forms. The protagonist of the story, Tod Hackett, is different to the rest of the characters in the novel. Tom is a talented artist, but still has a good view of reality by times, so Tom can act part as an observer in the novel. Tom however has been sucked in to the fantasy world also life has become somewhat submerged in the fantasy world.
Like most things captured on film for the purpose of being marketed, the richness of gangster life, with sex, money, and power in surplus, is glorified, and thus embraced by the audience. And as a rule, if something works Hollywood repeats it, ala a genre. What Scarface and Little Caesar did was ultimately create a genre assigning powerful qualities to criminals. Such sensationalism started with the newspapers who maybe added a little more color here and there to sell a few more copies, which is portrayed in Scarface’s two newspaper office scenes. Leo Braudy denounces genres as offending “our most common definition of artistic excellence” by simply following a predetermined equation of repetition of character and plot. However, Thomas Schatz argues that many variations of plot can exist within the “arena” that the rules of the genre provide.
Spike Lee, through his undoubtedly inventive yet obtrusive camerawork, embodies emotional impact. From lateral panning and jumpy camera sequences to his use of perspective, Lee inspires intensity and apprehension. An odd synchronicity between the camerawork and subject matter fosters these emotional reactions and inspires inquisition; the viewer conceptualizes the camerawork to uncover a significance the narrative cannot deliver. The cop sequence retains suspense and effortlessly transfers Flipper’s anxiety; a “voyeuristic” perspective stimulates the former while rapid camera shifts and altering points of view maintain the latter. The scene in which Flipper asks for a promotion illustrates Lee’s emphasis on viewer impact and impression, sometimes at the cost
We come to the turning point of the film, where the future Joe goes back in time to stop the Rainmaker. Joe’s turning point takes place when he doesn’t kill his loop like he is supposed to. With the people he works for after him, the resolution of this film unfolds when Joe has to kill his loop, before his loop kills every kid he believes is the Rainmaker. The world this film creates takes place in the future, with run down cities and horrible economic issues, where criminals rule the world. They present this world by depicting a difference between the upper class and the lower class all within a single shot. In the beginning of the movie a high class “looper”, or paid killer who’s named Seth, is on a dark alley with a motor vehicle that resembles that of the current day motorcycle. Only this is no ordinary 21st century motorcycle, it obviously can only be afforded by the rich citizens of this remade, futuristic world. A man dressed in drags starts to walk up to Seth. He automatically demands him to stay back, and pulls out his gun issued to him by the people he works with, further showing he is one of the wealthy criminals in this made up society.
Entrails torn from the body with bare hands, eyes gouged out with razor blades, battery cables, rats borrowing inside the human body, power drills to the face, cannibalism, credit cards, business cards, Dorsia, Testoni, Armani, Wall Street; all of these things are Patrick Bateman’s world. The only difference between Bateman and anybody else is what is repulsive to Bateman and what is repulsive to the rest of the world. Bateman has great interest in the upper class life, fashions, and social existence, but at the same time he is, at times, sickened by the constant struggle to be one up on everybody else. On the other hand Bateman’s nightlife reveals a side of him never seen during the day. Bateman is relaxed, impulsive, and confident while torturing and killing. He doesn’t have to worry about being better than anyone else. The only competition he has is his last victim. Torture and murder are the two true loves of Patrick Bateman.
In Nightcrawler, Jake Gayllenhaal plays a character named Lou Bloom, who stumbles upon the world of local TV news. He becomes a stringer, someone who films breaking stories, often tragic and violent, and sells the footage to TV stations. Lou is motivated, clever, and a sociopath, “what if my problem wasn’t that I don’t understand people but that I don’t like them” (Nightcawler). Throughout the film, Lou’s lack of empathy and drive to succeed leads him to take increasingly unforgivable actions. Yet, he remains the hero of the story while the audience is engaged. Why? How necessary is it to have a likeable protagonist? And wat do antiheroes offer more than other heroes? Screenwriter Dan Gilroy creates sympathy for Lou in some situations. First
Through the capitalization of “Movie Stars” in the couplet of the first section of the poem, Barros shows both how movie stars are dehumanized by the media and how the individuals fascination and worship of them dehumanizes themselves. She is showing that even though movie stars are fantasized over and followed through their day-to-day lives we do not really know them for who they are as people. Supporting her idea that individuals must decipher for themselves what societal noise to focus on, Barros places four lines and a couplet of her poem right next to a section of a crime news story. The placement of the poem next to the story is meant to distract the reader’s eye, and show how societies overload of information can affect the reader's attention span and