Sunday, December 29, 2019

Analysis Of Howard Zinn s Violence And Human Nature

Violence and war is notable throughout history. However, it is lazy to say that this proves humans are naturally violent. Rather than using nature as an excuse for those who chose to act violently it’s important we recognize that we have a choice to decide how we act. In Howard Zinn’s, â€Å"Violence and Human Nature† He shows that violence is not an instinct but that the environment in which they live in provokes them to act violently or peacefully depending on their choice (43). In City of God, a film concentrating on the gangs of Rio de Janeiro during the 1960’s to the 1980’s, specifically the township of Cidade de Deus, we are introduced to various characters who all make different choices under different motivations. Rocket, the little brother to a member of the Tender Trio, who are essentially the Robin Hood’s of the City of God, to act non-violently despite his environment and the influences around him. Rocket is non-violent through the reputation that was built from his passion for photography. On the beach Rocket uses his camera as a means to increase his reputation. His choice of subjects in his photographs focus mainly on his crush, Angelica, and attempts to remove her current boyfriend, Tiago through the use of lighting. His photography interests Angelica and effectively pulls her away from Tiago allowing him to non-violently undermine his competition for his crush Angelica, while also elevating his status with her through his ability to make her appear beautiful inShow MoreRelatedInterpretivism7441 Words   |  30 Pagessurprising regularity: Feminist research takes a variety of legitimate forms; there is no â€Å"distinctive feminist method of research† (Harding, 1987; see also Chafetz, 2004a, 2004b; Fonow Cook, 2005; Hawkesworth, 2006; Hesse-Biber, 2007; Risman, Sprague, Howard, 1993; and Sprague, 2005). And yet, to this day, the relationship between feminist theor y and quantitative social science research remains uneasy. Among feminist scholars, quantitative research is often seen as suspect for its association with positivism

Saturday, December 21, 2019

Human Nature in William Goldings Lord of the Flies Essay

â€Å"The theme is an attempt to trace the defects of society back to the defects of human nature. The moral is that the shape of a society must depend on the ethical nature of the individual and not on any political system however apparently logical or respectable.† With this quote, William Golding simply justifies the theme and moral presented in his novel, Lord of the Flies. The characters portray a modern society and depict the cruelty of human disposition. The political system in the U.S., as a whole, is a prime example of the ignorance towards ethical nature and is definitely blameworthy of the ruthlessness of mankind as individuals. Change is needed! Not only do the roles of the characters compel a reader, they also illustrate the†¦show more content†¦Just like the government, Jack is defected! â€Å"†¦defects of human nature.† Whether it’s a terrible representation by a corrupt politician or an economic downfall, civilization as a whole is doomed to be overpowered by imperfect and sometimes immoral governments. Politicians are liars, cheaters, and confirm that the government is not honest to the people whom they rule over; in result, when things get bad the government gets the blame. They are definitely liable for the messes they create! â€Å"He can catch his own pigs. Anyone who wants to hunt when I do can come too.† (page 127) Jack assumes he is all important and he’s all that matters. He lies to himself just as the government deludes the minds of the nation. A society of dishonesty exists! Change the defects! If every person in the United States would do their part, just as William Golding did, to assist in the correction process of the central government, the U.S.A., as it is now, would flourish. There would be innovative ideas and inspirational inhabitants. Think of the prospects! â€Å"The circle of boys broke into applause.† (page 23) The boys in the society finally chose a leader and the y were proud of their choice, but was that the best choice? Are the leaders that Americans choose to be president always the best choice? No, but that can change; individuals can change the government considerably. The chance to get rid of, â€Å"the defects† griming up the history, and the present, of the U.S.; whoShow MoreRelatedHuman Nature In William Goldings Lord Of The Flies1420 Words   |  6 Pageskill?† (208). The question of whether humans should be controlled by a government or left to fend for themselves is a question that has been asked for centuries. In the novel, Lord of the Flies, author William Golding uses the Freudian concepts in order to demonstrate the inevitable failure of a government when attempting to control human nature. Sigmund Freud’s concepts of id, ego, and superego work to shape Golding’s novel and the reader’s view on human nature. Golding uses Freudian theories to proveRead MoreDefects Of Human Nature In William Go ldings Lord Of The Flies1551 Words   |  7 Pagesa common notion that humans are nurtured to be peaceful and civil. However, this belief is contradicted by the action of the boys, in William Golding’s, â€Å"Lord of the Flies†. A group of schoolboys are abruptly thrown out of their controlled and civil circumstances into an inhabited tropical island in the middle of the Pacific. The novel is Golding’s attempt to trace the defects of society back to the defects of human nature, by using symbolism to delineate this theme. Golding’s extensive use of symbolismRead More The Savagery of Human Nature in William Goldings Lord of the Flies2046 Words   |  9 PagesThe Savagery of Human Nature in William Goldings Lord of the Flies One of several significant incidents in this story is when the hunting group killed the first pig. This is a significant scene because it is where the hunters of the group release the savagery that has been covered up by the fact that they were civilized. It also is a significant event because it is the first time that the group of boys ignores the priorities set by their leader, Ralph. Ralph felt that keeping a signal fireRead MoreLord of the Flies by William Golding1585 Words   |  7 Pages Lord of the Flies by William Golding is a fictional novel highlighting natural characteristics of man kind. The Book was created during the post World War II period. Before creating this novel, William had experience in the navy where he learned of the nature of mankind. The introduction of the book portrays a plane crash where a large group of boys are stranded on an island. Here they grow in character and human instincts such as leadership, brutality, and survival are displayedRead MoreLord of the Flies: World War IIs Impact Essay1064 Words   |  5 PagesLord of the Flies: World War II’s Impact Lord of the Flies by William Golding was influenced strongly by his experiences as a naval officer during World War II. Golding’s wartime service gave him a darker and more realistic look on life, and contributed to the novel’s imagery. As Golding described, World War II woke him up from his falsified beliefs about human nature by showing him the true human condition (â€Å"Lord of the Flies,† Novels 175). Lord of the Flies, as Golding explained, is â€Å"an attemptRead MoreLord of the Flies Nature of Man1726 Words   |  7 PagesLord of the Flies: The Nature of Man William Golding’s Lord of the Flies is a gritty allegory of adolescence, innocence, and the unspoken side of human nature. Countless social issues are portrayed, however one of the most reoccurring is the nature of man. Throughout the novel there is an ever-present focus on the loss of innocence amongst the boys, shown by the deterioration of social skills and their retrogression into a barbaric form of society. Also portrayed is the juxtaposition of a cruelRead MoreLord of the Flies, Coral Island and the Role of Adults - Essay1558 Words   |  7 PagesIt is known that to fully appreciate the novel â€Å"Lord of the Flies† (1954) by William Golding (1911-1993) it is necessary to have read Robert Michael Ballantyne’s (1825-1894) â€Å"Coral Island† (1858), or at least to understand its theme and treatment. And so, since it was Golding’s intention to set himself to write an island story that deliberately challenged Ballantyne’s model in à ¢â‚¬Å"Coral Island† -by inverting its assumptions and values- we can explore multiple angles from which the two novels can beRead MoreLord of the Flies and World War Ii1737 Words   |  7 Pagescan impact literature. British involvement in WWII directly influenced Goldings novel, Lord of the Flies. As all authors use their life and times as reference points in their works, Golding drew heavily on sociological, cultural, and military events. Lord of the Flies is an allegorical parallel to the world, as Golding perceived it. The island, the boys, and many other objects and events described in his work represent Goldings view of the world and humankind in general. He specifically incorporatesRead More Struggle Between Good and Evil in William Goldings Lord of the Flies1186 Words   |  5 PagesThe Struggle Between Good and Evil in William Goldings Lord of the Flies   Ã‚  Ã‚   Evil is not an external force controlled by the devil, but rather the potential for evil resides within each person. Man has the potential to exhibit great kindness or to rape and pillage. In the novel Lord of the Flies, William Golding deals with this evil that exists in the heart of man. With his mastery of such literary tool as structure, syntax, diction, point of view and presentation of character, GoldingRead More Essay on Behavior in All Quiet on the Western Front and Lord of the Flies1313 Words   |  6 PagesComparison of Human Behavior in All Quiet on the Western Front and Lord of the Flies  Ã‚         An authors view of human behavior is often reflected in their works. The novels All Quiet on the Western Front by Erich Maria Remarque and Lord of the Flies by William Golding are both examples of works that demonstrate their authors view of man, as well his opinion of war. Goldings Lord of the Flies is highly demonstrative of Goldings opinion that society is a thin and fragile veil that when

Friday, December 13, 2019

Black House Chapter Ten Free Essays

10 AS THE CRUISER with Tom Lund behind the wheel noses down Third Street to Chase roof-rack lights decorously dark, siren off Dale takes out his wallet and begins digging through the mess in the back: business cards people have given him, a few dog-eared photographs, little licks of folded-over notebook paper. On one of the latter he finds what he wants. â€Å"Whatcha doin’, boss?† Tom asks. We will write a custom essay sample on Black House Chapter Ten or any similar topic only for you Order Now â€Å"None of your beeswax. Just drive the car.† Dale grabs the phone from its spot on the console, grimaces and wipes off the residue of someone’s powdered doughnut, then, without much hope, dials the number of Jack Sawyer’s cell phone. He starts to smile when the phone is answered on the fourth ring, but the smile metamorphoses into a frown of puzzlement. He knows that voice and should recognize it, but â€Å"Hello?† says the person who has apparently answered Jack’s cell phone. â€Å"Speak now, whoever you are, or forever hold your peace.† Then Dale knows. Would have known immediately if he had been at home or in his office, but in this context â€Å"Henry?† he says, knowing he sounds stupid but not able to help it. â€Å"Uncle Henry, is that you?† Jack is piloting his truck across the Tamarack Bridge when the cell phone in his pants pocket starts its annoying little tweet. He takes it out and taps the back of Henry’s hand with it. â€Å"Deal with this,† he says. â€Å"Cell phones give you brain cancer.† â€Å"Which is okay for me but not for you.† â€Å"More or less, yeah.† â€Å"That’s what I love about you, Jack,† Henry says, and opens the phone with a nonchalant flick of the wrist. â€Å"Hello?† And, after a pause: â€Å"Speak now, whoever you are, or forever hold your peace.† Jack glances at him, then back at the road. They’re coming up on Roy’s Store, where the early shopper gets the best greens. â€Å"Yes, Dale. It is indeed your esteemed † Henry listens, frowning a little bit and smiling a little bit. â€Å"I’m in Jack’s truck, with Jack,† he says. â€Å"George Rathbun isn’t working this morning because KDCU is covering the Summer Marathon over in La Riv â€Å" He listens some more, then says: â€Å"If it’s a Nokia which is what it feels like and sounds like then it’s digital rather than analog. Wait.† He looks at Jack. â€Å"Your cell,† he says. â€Å"It’s a Nokia?† â€Å"Yes, but why â€Å" â€Å"Because digital phones are supposedly harder to snoop,† Henry says, and goes back to the phone. â€Å"It’s a digital, and I’ll put him on. I’m sure Jack can explain everything.† Henry hands him the telephone, folds his hands primly in his lap, and looks out the window exactly as he would if surveying the scenery. And maybe he is, Jack thinks. Maybe in some weird fruit-bat way, he really is. He pulls over to the shoulder on Highway 93. He doesn’t like the cell phone to begin with twenty-first-century slave bracelets, he thinks them but he absolutely loathes driving while talking on one. Besides, Irma Freneau isn’t going anywhere this morning. â€Å"Dale?† he says. â€Å"Where are you?† Dale asks, and Jack knows at once that the Fisherman has been busy elsewhere, too. As long as it’s not another dead kid, he thinks. Not that, not yet, please. â€Å"How come you’re with Henry? Is Fred Marshall there, too?† Jack tells him about the change in plan, and is about to go on when Dale breaks in. â€Å"Whatever you’re doing, I want you to get your ass out to a place called Ed’s Eats and Dawgs, near Goltz’s. Henry can help you find it. The Fisherman called the station, Jack. He called 911. Told us Irma Freneau’s body is out there. Well, not in so many words, but he did say she.† Dale is not quite babbling, but almost. Jack notes this as any good clinician would note the symptoms of a patient. â€Å"I need you, Jack. I really â€Å" â€Å"That’s where we were headed anyway,† Jack says quietly, although they are going absolutely nowhere at this moment, just sitting on the shoulder while the occasional car blips past on 93. â€Å"What?† Hoping that Dale and Henry are right about the virtues of digital technology, Jack tells French Landing’s police chief about his morning delivery, aware that Henry, although still looking out the window, is listening sharply. He tells Dale that Ty Marshall’s cap was on top of the box with the feathers and Irma’s foot inside it. â€Å"Holy . . .† Dale says, sounding out of breath. â€Å"Holy shit.† â€Å"Tell me what you’ve done,† Jack says, and Dale does. It sounds pretty good so far, at least but Jack doesn’t like the part about Arnold Hrabowski. The Mad Hungarian has impressed him as the sort of fellow who will never be able to behave like a real cop, no matter how hard he tries. Back in L.A., they used to call the Arnie Hrabowskis of the world Mayberry RFDs. â€Å"Dale, what about the phone at the 7-Eleven?† â€Å"It’s a pay phone,† Dale says, as if speaking to a child. â€Å"Yes, but there could be fingerprints,† Jack says. â€Å"I mean, there are going to be billions of fingerprints, but forensics can isolate the freshest. Easily. He might have worn gloves, but maybe not. If he’s leaving messages and calling cards as well as writing to the parents, he’s gone Stage Two. Killing isn’t enough for him anymore. He wants to play you now. Play with you. Maybe he even wants to be caught and stopped, like Son of Sam.† â€Å"The phone. Fresh fingerprints on the phone.† Dale sounds badly humiliated, and Jack’s heart goes out to him. â€Å"Jack, I can’t do this. I’m lost.† This is something to which Jack chooses not to speak. Instead he says, â€Å"Who’ve you got who can see to the phone?† â€Å"Dit Jesperson and Bobby Dulac, I guess.† Bobby, Jack thinks, is entirely too good to waste for long at the 7-Eleven outside town. â€Å"Just have them crisscross the phone with yellow tape and talk to the guy on duty. Then they can come on out to the site.† â€Å"Okay.† Dale hesitates, then asks a question. The defeat in it, the sense of almost complete abrogation, makes Jack sad. â€Å"Anything else?† â€Å"Have you called the State Police? County? Does that FBI guy know? The one who thinks he looks like Tommy Lee Jones?† Dale snorts. â€Å"Uh . . . actually, I’d decided to sit on notification for a little while.† â€Å"Good,† Jack says, and the savage satisfaction in his voice causes Henry to turn from his blind regard of the countryside and regard his friend instead, eyebrows raised. Let us rise up again on wings as eagles, as the Reverend Lance Hovdahl, French Landing’s Lutheran pastor, might say and fly down the black ribbon of Highway 93, back toward town. We reach Route 35 and turn right. Closer and to our right is the overgrown lane that leads not to a dragon’s hidden gold or secret dwarf mines but to that peculiarly unpleasant black house. A little farther on, we can see the futuristic dome shape of Goltz’s (well . . . it seemed futuristic in the seventies, at least). All our landmarks are in place, including the rubbly, weedy path that shoots off from the main road to the left. This is the track that leads to the remains of Ed Gilbertson’s erstwhile palace of guilty pleasures. Let us flutter onto the telephone line just across from this track. Hot gossip tickles our birdy feet: Paula Hrabowski’s friend Myrtle Harrington passing on the news of the dead body (or bodies) at Ed’s to Richie Bumstead, who will in turn pass it on to Beezer St. Pierre, grieving father and spiritual leader of the Thunder Five. This passage of voices through the wire probably shouldn’t please us, but it does. Gossip is no doubt nasty stuff, but it does energize the human spirit. Now, from the west comes the cruiser with Tom Lund at the wheel and Dale Gilbertson in the shotgun seat. And from the east comes Jack’s burgundy-colored Ram pickup. They reach the turnoff to Ed’s at the same time. Jack motions for Dale to go first, then follows him. We take wing, fly above and then ahead of them. We roost on the rusty Esso gas pump to watch developments. Jack drives slowly down the lane to the half-collapsed building that stands in a scruff of high weeds and goldenrod. He’s looking for any sign of passage, and sees only the fresh tracks made by Dale and Tom’s police car. â€Å"We’ve got the place to ourselves,† he informs Henry. â€Å"Yes, but for how long?† Not very would have been Jack’s answer, had he bothered to give one. Instead, he pulls up next to Dale’s car and gets out. Henry rolls down his window but stays put, as ordered. Ed’s was once a simple wooden building about the length of a Burlington Northern boxcar and with a boxcar’s flat roof. At the south end, you could buy sof’-serve ice cream from one of three windows. At the north end you could get your nasty hot dog or your even nastier order of fish and chips to go. In the middle was a small sit-down restaurant featuring a counter and red-top stools. Now the south end has entirely collapsed, probably from the weight of snow. All the windows have been broken in. There’s some graffiti So-and-so chugs cock, we fucked Patty Jarvis untill she howelled, TROY LUVS MARYANN but not as much as Jack might have expected. All but one of the stools have been looted. Crickets are conversing in the grass. They’re loud, but not as loud as the flies inside the ruined restaurant. There are lots of flies in there, a regular fly convention in progress. And â€Å"Do you smell it?† Dale asks him. Jack nods. Of course he does. He’s smelled it already today, but now it’s worse. Because there’s more of Irma out here to send up a stink. Much more than what would fit into a single shoe box. Tom Lund has produced a handkerchief and is mopping his broad, distressed face. It’s warm, but not warm enough to account for the sweat streaming off his face and brow. And his skin is pasty. â€Å"Officer Lund,† Jack says. â€Å"Huh!† Tom jumps and looks rather wildly around at Jack. â€Å"You may have to vomit. If you feel you must, do it over there.† Jack points to an overgrown track, even more ancient and ill-defined than the one leading in from the main road. This one seems to meander in the direction of Goltz’s. â€Å"I’ll be okay,† Tom says. â€Å"I know you will. But if you need to unload, don’t do it on what may turn out to be evidence.† â€Å"I want you to start stringing yellow tape around the entire building,† Dale tells his officer. â€Å"Jack? A word?† Dale puts a hand on Jack’s forearm and starts walking back toward the truck. Although he’s got a good many things on his mind, Jack notices how strong that hand is. And no tremble in it. Not yet, anyway. â€Å"What is it?† Jack asks impatiently when they’re standing near the passenger window of the truck. â€Å"We want a look before the whole world gets here, don’t we? Wasn’t that the idea, or am I â€Å" â€Å"You need to get the foot, Jack,† Dale says. And then: â€Å"Hello, Uncle Henry, you look spiff.† â€Å"Thanks,† Henry says. â€Å"What are you talking about?† Jack asks. â€Å"That foot is evidence.† Dale nods. â€Å"I think it ought to be evidence found here, though. Unless, of course, you relish the idea of spending twenty-four hours or so answering questions in Madison.† Jack opens his mouth to tell Dale not to waste what little time they have with arrant idiocies, then closes it again. It suddenly occurs to him how his possession of that foot might look to minor-league smarties like Detectives Brown and Black. Maybe even to a major-league smarty like John Redding of the FBI. Brilliant cop retires at an impossibly young age, and to the impossibly bucolic town of French Landing, Wisconsin. He has plenty of scratch, but the source of income is blurry, to say the least. And oh, look at this, all at once there’s a serial killer operating in the neighborhood. Maybe the brilliant cop has got a loose screw. Maybe he’s like those firemen who enjoy the pretty flames so much they get into the arson game themselves. Certainly Dale’s Color Posse would have to wonder why the Fisherman would send an early retiree like Jack a victim’s body part. And the hat, Jack thinks. Don’t forget Ty’s baseball cap. All at once he knows how Dale felt when Jack told him that the phone at the 7-Eleven had to be cordoned off. Exactly. â€Å"Oh man,† he says. â€Å"You’re right.† He looks at Tom Lund, industriously running yellow POLICE LINE tape while butterflies dance around his shoulders and the flies continue their drunken buzzing from the shadows of Ed’s Eats. â€Å"What about him?† â€Å"Tom will keep his mouth shut,† Dale says, and on that Jack decides to trust him. He wouldn’t, had it been the Hungarian. â€Å"I owe you one,† Jack says. â€Å"Yep,† Henry agrees from his place in the passenger seat. â€Å"Even a blind man could see he owes you one.† â€Å"Shut up, Uncle Henry,† Dale says. â€Å"Yes, mon capitaine.† â€Å"What about the cap?† Jack asks. â€Å"If we find anything else of Ty Marshall’s . . .† Dale pauses, then swallows. â€Å"Or Ty himself, we’ll leave it. If not, you keep it for the time being.† â€Å"I think maybe you just saved me a lot of major irritation,† Jack says, leading Dale to the back of the truck. He opens the stainless steel box behind the cab, which he hasn’t bothered to lock for the run out here, and takes out one of the trash-can liners. From inside it comes the slosh of water and the clink of a few remaining ice cubes. â€Å"The next time you get feeling dumb, you might remind yourself of that.† Dale ignores this completely. â€Å"Ohgod,† he says, making it one word. He’s looking at the Baggie that has just emerged from the trash-can liner. There are beads of water clinging to the transparent sides. â€Å"The smell of it!† Henry says with undeniable distress. â€Å"Oh, the poor child!† â€Å"You can smell it even through the plastic?† Jack asks. â€Å"Yes indeed. And coming from there.† Henry points at the ruined restaurant and then produces his cigarettes. â€Å"If I’d known, I would have brought a jar of Vicks and an El Producto.† In any case, there’s no need to walk the Baggie with the gruesome artifact inside it past Tom Lund, who has now disappeared behind the ruins with his reel of yellow tape. â€Å"Go on in,† Dale instructs Jack quietly. â€Å"Get a look and take care of the thing in that Baggie if you find . . . you know . . . her. I want to speak to Tom.† Jack steps through the warped, doorless doorway into the thickening stench. Outside, he can hear Dale instructing Tom to send Pam Stevens and Danny Tcheda back down to the end of the access road as soon as they arrive, where they will serve as passport control. The interior of Ed’s Eats will probably be bright by afternoon, but now it is shadowy, lit mostly by crazed, crisscrossing rays of sun. Galaxies of dust spin lazily through them. Jack steps carefully, wishing he had a flashlight, not wanting to go back and get one from the cruiser until he’s taken care of the foot. (He thinks of this as â€Å"redeployment.†) There are human tracks through the dust, trash, and drifts of old gray feathers. The tracks are man-sized. Weaving in and out of them are a dog’s paw-prints. Off to his left, Jack spies a neat little pile of droppings. He steps around the rusty remains of an overturned gas grill and follows both sets of tracks around the filthy counter. Outside, the second French Landing cruiser is rolling up. In here, in this darker world, the sound of the flies has become a soft roar and the stench . . . the stench . . . Jack fishes a handkerchief from his pocket and places it over his nose as he follows the tracks into the kitchen. Here the pawprints multiply and the human footprints disappear completely. Jack thinks grimly of the circle of beaten-down grass he made in the field of that other world, a circle with no path of beaten-down grass leading to it. Lying against the far wall near a pool of dried blood is what remains of Irma Freneau. The mop of her filthy strawberry-blond hair mercifully obscures her face. Above her on a rusty piece of tin that probably once served as a heat shield for the deep-fat fryers, two words have been written with what Jack feels sure was a black Sharpie marker: Hello boys â€Å"Ah, fuck,† Dale Gilbertson says from almost directly behind him, and Jack nearly screams. Outside, the snafu starts almost immediately. Halfway back down the access road, Danny and Pam (not in the least disappointed to have been assigned guard duty once they have actually seen the slumped ruin of Ed’s and smelled the aroma drifting from it) nearly have a head-on with an old International Harvester pickup that is bucketing toward Ed’s at a good forty miles an hour. Luckily, Pam swings the cruiser to the right and the driver of the pickup Teddy Runkleman swings left. The vehicles miss each other by inches and swerve into the grass on either side of this poor excuse for a road. The pickup’s rusty bumper thumps against a small birch. Pam and Danny get out of their unit, hearts pumping, adrenaline spurting. Four men come spilling out of the pickup’s cab like clowns out of the little car in the circus. Mrs. Morton would recognize them all as regulars at Roy’s Store. Layabouts, she would call them. â€Å"What in the name of God are you doing?† Danny Tcheda roars. His hand drops to the butt of his gun and then falls away a bit reluctantly. He’s getting a headache. The men (Runkleman is the only one the officers know by name, although between them they recognize the faces of the other three) are goggle-eyed with excitement. â€Å"How many ja find?† one of them spits. Pam can actually see the spittle spraying out in the morning air, a sight she could have done without. â€Å"How many’d the bastid kill?† Pam and Danny exchange a single dismayed look. And before they can reply, holy God, here comes an old Chevrolet Bel Air with another four or five men inside it. No, one of them is a woman. They pull up and spill out, also like clowns from the little car. But we’re the real clowns, Pam thinks. Us. Pam and Danny are surrounded by eight semihysterical men and one semihysterical woman, all of them throwing questions. â€Å"Hell, I’m going up there and see for myself!† Teddy Runkleman shouts, almost jubilantly, and Danny realizes the situation is on the verge of spinning out of control. If these fools get the rest of the way up the access road, Dale will first tear him a new asshole and then salt it down. â€Å"HOLD IT RIGHT THERE, ALL OF YOU!† he bawls, and actually draws his gun. It’s a first for him, and he hates the weight of it in his hand these are ordinary people, after all, not bad guys but it gets their attention. â€Å"This is a crime scene,† Pam says, finally able to speak in a normal tone of voice. They mutter and look at one another; worst fears confirmed. She steps to the driver of the Chevrolet. â€Å"Who are you, sir? A Saknessum? You look like a Saknessum.† â€Å"Freddy,† he admits. â€Å"Well, you get back in your vehicle, Freddy Saknessum, and the rest of you who came with him also get in, and you back the hell right out of here. Don’t bother trying to turn around, you’ll just get stuck.† â€Å"But † the woman begins. Pam thinks she’s a Sanger, a clan of fools if ever there was one. â€Å"Stow it and go,† Pam tells her. â€Å"And you right behind him,† Danny tells Teddy Runkleman. He just hopes to Christ no more will come along, or they’ll end up trying to manage a parade in reverse. He doesn’t know how the news got out, and at this moment can’t afford to care. â€Å"Unless you want a summons for interfering with a police investigation. That can get you five years.† He has no idea if there is such a charge, but it gets them moving even better than the sight of his pistol. The Chevrolet backs out, rear end wagging from side to side like a dog’s tail. Runkleman’s pickup goes next, with two of the men standing up in back and peering over the cab, trying to catch sight of the old restaurant’s roof, at least. Their curiosity lends them a look of unpleasant vacuity. The P.D. unit comes last, herding the old car and older truck like a corgi herding sheep, roof-rack lights now pulsing. Pam is forced to ride mostly on the brake, and as she drives she lets loose a low-pitched stream of words her mother never taught her. â€Å"Do you kiss your kids good-night with that mouth?† Danny asks, not without admiration. â€Å"Shut up,† she says. Then: â€Å"You got any aspirin?† â€Å"I was going to ask you the same thing,† Danny says. They get back out to the main road just in time. Three more vehicles are coming from the direction of French Landing, two from the direction of Centralia and Arden. A siren rises in the warming air. Another cruiser, the third in what was supposed to be an unobtrusive line, is coming along, passing the lookie-loos from town. â€Å"Oh man.† Danny sounds close to tears. â€Å"Oh man, oh man, oh man. It’s gonna be a carnival, and I bet the staties still don’t know. They’ll have kittens. Dale is gonna have kittens.† â€Å"It’ll be all right,† Pam says. â€Å"Calm down. We’ll just pull across the road and park. Also stick your gun back in the fucking holster.† â€Å"Yes, Mother.† He stows his piece as Pam swings across the access road, pulling back to let the third cruiser through, then pulling forward again to block the way. â€Å"Yeah, maybe we caught it in time to put a lid on it.† â€Å"Course we did.† They relax a little. Both of them have forgotten the old stretch of road that runs between Ed’s and Goltz’s, but there are plenty of folks in town who know about it. Beezer St. Pierre and his boys, for instance. And while Wendell Green does not, guys like him always seem able to find the back way. They’ve got an instinct for it. How to cite Black House Chapter Ten, Essay examples

Thursday, December 5, 2019

Horror and suspense Essay Example For Students

Horror and suspense Essay Psychopath- a psychopath is a mentally ill person who behaves violently without feeling guilty. From that simple description from the Oxford dictionary we can already see that the genre of Alfred Hitchcocks film Psycho contains a lack of guilt and violence, which leads to horror and suspense. This is a great premise and on this the film is based. The use of a weighted title is just one of the many techniques that Alfred Hitchcock would use to make his film one of the best in its kind. He used a variety of methods to achieve a wide range of emotions and effects throughout the film of Psycho. But one of his best-used techniques is the red herring. The red herring would include Alfred Hitchcock directing the film to mislead the audience into a false sense of security. One of the prime examples of this was the scene where we see Marion running away with the money she had stolen. You see her being followed by the police and trading in her car. By this time we think that this is the main plot but when really it is just the lead up to the scene full of shock, horror and suspense, The shower scene. Another one of Alfred Hitchcocks many techniques is the use of his music, composed by Bernard Herrman. He would use an orchestra made up of stringed instruments. When the film came up to an important scene filled with suspense, the orchestra played the deafening tones of the screeching stringed instruments playing an un-even tune. You have a long, calm lead up to the main scene and then all of sudden the non-diagetic sounds alarm the audience almost at once (this style of music is further developed in Hitchcocks films; Vertigo and North by North West). Hitchcock loved to use irony; we could see this throughout the film. He would add small lines of irony whenever he could. We begin to see most of the irony whilst Marion is in the motel. We have the Traffic officer telling Marion  There are plenty of motels in the areaI mean just to be safe  When we know that the motel Marion checks into is far from safe. One of the most famous lines of irony in Hitchcocks film is the line including Norman explaining his mothers behaviour to Marion.  Whats the phrase .she isnt quite herself today At the time we dont know it but you soon realise that mother isnt really mother at all and Norman likes to pretend to be her. Thats how the line adds a comical and ironic line to the film.  Whenever there was a different scene you were almost bound to see a mirror. Hitchcock used a lot of mirrors in a scene that would be of great importance. He would use this technique to show the characters as their images. When we look into a mirror it isnt actually ourselves we are looking at, it is a reflection. This is what Hitchcock was trying show. He was showing the characters as reflections and not their real identification. He used this a lot and was one of his recurring motifs. Another one of his recurring motifs was his shots of bottomless depths. This is when you see the camera focusing on a main object that has great importance. The camera focuses on the object then slowly fades away. We see this effect when Norman is sinking Marions car with her dead body in it. You see the car in the swamp and the camera focuses on it while it slowly sinks but pauses to create suspense. .u2ad2e2d07415e279f9926d960746c12d , .u2ad2e2d07415e279f9926d960746c12d .postImageUrl , .u2ad2e2d07415e279f9926d960746c12d .centered-text-area { min-height: 80px; position: relative; } .u2ad2e2d07415e279f9926d960746c12d , .u2ad2e2d07415e279f9926d960746c12d:hover , .u2ad2e2d07415e279f9926d960746c12d:visited , .u2ad2e2d07415e279f9926d960746c12d:active { border:0!important; } .u2ad2e2d07415e279f9926d960746c12d .clearfix:after { content: ""; display: table; clear: both; } .u2ad2e2d07415e279f9926d960746c12d { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u2ad2e2d07415e279f9926d960746c12d:active , .u2ad2e2d07415e279f9926d960746c12d:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u2ad2e2d07415e279f9926d960746c12d .centered-text-area { width: 100%; position: relative ; } .u2ad2e2d07415e279f9926d960746c12d .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u2ad2e2d07415e279f9926d960746c12d .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u2ad2e2d07415e279f9926d960746c12d .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u2ad2e2d07415e279f9926d960746c12d:hover .ctaButton { background-color: #34495E!important; } .u2ad2e2d07415e279f9926d960746c12d .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u2ad2e2d07415e279f9926d960746c12d .u2ad2e2d07415e279f9926d960746c12d-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u2ad2e2d07415e279f9926d960746c12d:after { content: ""; display: block; clear: both; } READ: Cultural Conflicts in Bend it Like Beckham EssayWe also see a lot of different camera shots; this shows variety. The film starts off with the birds eye view coming down on the apartment where Marion is having an affair. We see a lot of different camera shots throughout the film; it gives a good range and shows different views from different angles. That way we are able to see the film in depth and look at the scenes as more then just an audience. With that we feel as if we are actually participating with in the story line. A mise en scene. This is where everything that we can see in the frame is either deliberate or symbolic. When we see Normans office in the motel we see a lot of stuffed birds. We can see that Norman is interested in taxidermy. Which is both ironic and symbolic, as Norman stuffed and preserved his mother and thought as her as a real person.  There were a lot of things both in and out the film that surprised people. People were very surprised that the main actress Janet Leigh was killed half through the film. Normally as we all know the main character is there throughout the film and saves the day, in some films of today the main characters has even been known to come back to life in order to save the day from destruction. But in this film she was killed and rid of just half way through. Alfred Hitchcock didnt like to be the same as everyone else. He was always willing to try original ideas and was always there pushing the boundaries as far as he could. He wanted his film to be one of the best thrillers ever made and he used just about every effect and technique going to do this. Through out the film Hitchcock was able to manipulate the audience. There were a few scenes that showed this more then the others. When we see Marion running away with the money she has stolen; we see her been followed by the police and therefore forced to change her car. This is where Hitchcock manipulates the audience into feeling sorry for Marion and wanting her to escape. We feel worried and anxious for her and even though we know what she is doing is wrong, we want her to escape and get away with the crime she has committed. We see another scene that makes us feel that way, this time though it is a lot worse. Normally with what Norman has done we would want him to get caught. But when he has put a dead women into the trunk of her own car and pushed her into the swamp we want him to get away with it. A huge amount of suspense is created and we all sit there on the edge of our seats wanting the insane Norman to get away with the awful crime. There are many critical moments in the film, which we now identify as the main scenes. This is because of the original ideas that Hitchcock was able to think up. One of the main scenes is the parlour scene. Here we see Marion and Norman talking over a light supper. This is after Norman has supposedly talked to his mother about Marion and that she shouted at him. Marion and Norman sit in the parlour room discussing Normans mother. Normans uses the famous ironic line about his mother not being quite her self whilst they discuss her actions. He tells Marion that mother doesnt like strangers and that is why she reacted like she did. He is very quick to protect his mother and he make up excuses for her behaviour.  Its not as if mother were a maniac, a raving thing. She just goes a little mad sometimes. Havent you?