Quentin Tarantino Quentin Tarantino Essay Example

Quentin Tarantino Quentin Tarantino Essay This is no wonder that Quentin Tarantino forwarded the film by two definitions of pulp’: A soft, moist, shapeless mass of matter, and A magazine or book containing lurid subject matter and being characteristically printed on rough, unfinished [i. e. , pulp] paper (Gehring 1996, p. 151). Relying on these definitions, Gehring (1996, p. 151) defined the film itself as a rough mass of a comically skewed narrative on the life and hard times of a hit man. Writer/director of the film Tarantino characterised his artistic principle as, I like things unexplained (Biskind 1994, p. 100).To summarise, the movie definitely stands apart from the rest of the films on the list in regard to the plot structure. The other movies follow the most popular with the criminal films type of narrative – the chronicle or epic of a criminal career. Characters: From the general point of view, this is ridiculous to classify the characters of these films as positive’ and negative’. Whatever different motives they have for the criminal behaviour, all these fictional characters are not excused for violence, slaughters, treacheries, heists, and other amoral acts.Under this circumstances, the taxonomy suggested by Rafter (2000) and Leitch (2002) appeared to be useful. We will write a custom essay sample on Quentin Tarantino Quentin Tarantino specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Quentin Tarantino Quentin Tarantino specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Quentin Tarantino Quentin Tarantino specifically for you FOR ONLY $16.38 $13.9/page Hire Writer According to both, the characters could be classified into three major types regardless of the categories of the crime film according to the main theme: An epic gangster who creates the criminal empire and watches it crumbling; A man-on-the run/a man in disguise; An avenger/persecutor/law-abider. Three films – Public Enemy, Roaring Twenties, and The Long Good Friday – definitely fit the frame of the first category.Four films – White Heat, Brighton Rock, Hana-bi, and Sexy Beast – feature the second type of characters. Two films – Get Carter and Gangs of New York – seem to belong to the third category. Three films – Brother, Gangster No. 1, and Goodfellas – are synthetic in regard to the type of their characters. Pulp Fiction stands apart from the aforestated categories due to its postmodern non linear and complex nature. The suggested categorisation is flexible since some of the films are ambiguous in regard to their character’s type and, therefore, may enter several categories at once.The details are discussed below. An epic gangster Five films – Public Enemy, Roaring Twenties, Brighton Rock, The Long Good Friday, and Gangster No. 1– were classified as having the type of an epic gangster as a main hero. In regard to the earliest film on the list, Public Enemy, Shadoian (2003, p. 29) once stated that its main character, Tom Powers (James Cagney) is likely to succumb to a combination of hubris, social fate, and moral reckoning in plots resembling those of classical tragedy.Within a tradition of popular tragedy in film (Shadoian 2003, p. 29), the heroes like Tom Powers possess strong charisma but are cursed by their nature, their environment, their heritage, so far as their desires and goals [are] overwhelmed by an immutable and often unpredictable concatenation of forces. Tom Powers’ environment makes him the victim. Tom Powers, the youngest son in the lower middle-class family of a police officer and a housewife, grows up in a small industrial city. He learns his first lessons not at school desk but rather in a brewery, a local honky-tonk place under the guidance of Putty Nose, and on the streets.Starting with petty thefts, Tom is rising gradually on the criminal scale and finally establishes the criminal empire of his own. Tom Powers is abandoned by all social institutes: his family, his class, the society in general. It is made clear that the hero has positive inclinations in regard to his ambitious desires to become somebody’, to bust out of this deprived, depressing limbo of aimless loafing (Shadoian 2003, p. 54).But society plied Tom with insufficient knowledge and skills to become somebody else than a gangster. As Shadoian (2003, p. 50) emphasised, the appeal of Tim’s personality was preconditioned by the fact that his aspirations are located in his desire and his ability to be a certain way, to exist in a lively manner. The spectator is permitted no direct access to the overt signs of Tom’s prosperity. What matters, what is gripping, is Tom Powerss personal vitality in a context of inertia, stolidity, and hesitancy, and it can only have scope outside the boundaries of legitimate activity. (Shadoian 2003, p. 50) Tom knows how to live, and we admire him for that.We respond to his amoral enjoyment of a full array of lifes pleasures. We lose sight of the cost to others his living so high and free exacts. The gangsters defects become virtues, the surface manifestations of his success obscuring his more important failings. [†¦] We are so caught up in Toms urge to live that we do not take full advantage of several opportunities to back away from him. The values he carries are too attractive. Long after the film has made it clear that hes a lost cause not worth backing, the shock of his mortality registers. (Shadoian, 2003, pp. 54-55)

Historical Journal to Write a Review of the Book “Can’t stop Won’t stop” Essays

Historical Journal to Write a Review of the Book â€Å"Can’t stop Won’t stop† Essays Historical Journal to Write a Review of the Book â€Å"Can’t stop Won’t stop† Essay Historical Journal to Write a Review of the Book â€Å"Can’t stop Won’t stop† Essay Name: Lecturer: Course: Date: Historical Journal to Write a Review of the Book â€Å"Can’t stop Won’t stop† The historical content of the book â€Å"Can’t stop Won’t stop† by Jeff Chang has been argued as the most valuable in terms of addressing the hip-hop music that has risen to become an American art. The book makes a generous recount of the origin of hip-hop, which has shown its beginning from a generation of neglected children from Bronx who changed their world through dancing, art, music, speech and fashion as well. Although the book has mainly focused on hip-hop, it has also provided an account of a people’s history. The book has tackled diverse areas that include relationships between races, globalization, media studies, multicultural as well as polycultural issues, containment politics and issues of abandonment. The book provides the best case of hip-hop history as a complete American art. The book starts with an exploration of the social conditions of New York, largely focusing on the South Bronx during the years that led to the birth of hip-hop. Although this part is not directly related to hip-hop, it is among the most important parts towards understanding the history of hip-hop as well as what makes it a special art in America. The social history of Bronx where it started provides a good account of the historical background leading to the birth of hip-hop. Chang describes the most important event leading to birth of hip-hop as the construction of the cross-Bronx Expressway that forced people to change where they lived (Chang 12). Blacks were forced to move to South Bronx where social housing was available but limited jobs. The economic condition of South Bronx had been worsening where about 80% of youth were unemployed. Because of unemployment, many gangs formed in self-defense efforts as well as affiliation depending on races. This had affected racial interaction where white youths formed their gangs as blacks and Latinos formed theirs as well. Hip-hop came as music for party from these gangs. It included graffiti, arts, dancing such as break dancing and a mixture of several arts that included black, Hispanic and several others (Chang 42). Clearly, it was a way of expressing themselves as well as defining an identity with which to associate. The social history provides a deeper understanding of the historical content surrounding the rise of hip-hop as well as its purpose. After addressing the historical events leading to hip-hop, Chang now turns to expansion of hip-hop where it was used as a medium of commenting on politics through rap. It was seen as the voice of those who were not supposed to be heard within the society. Recounting its evolution such as the political rap provides a historical purpose of hip-hop art. He describes the hip-hop generation from its heights to its lows. This way, he is able to provide a historical account of its origin as well as what influences this art. For instance, the 1980s saw the emergence of political rap, due to the political events of slashing budget meant to support the poor at the time. This allows the reader to have a clear view of its purpose and trend over the years (Chang 312). It is clear that hip-hop is a art in America, a art that is influenced by the greater change within the national level, as well as global realm. Hip-hop generation has continued to evolve with the changing times. While it was rising up during its birth, it was out of poverty and lack of employment. It went on to address political issues within the society and currently addresses issues within the broader society. This has been easy to realize after reading the book. Its flow, as well as arrangement of chapters from a social background to its rise provides a rich knowledge of hip-hop generation as a art that is not going to end. It provides a good historical account, which explains its purpose of existence as well as events leading up to its birth, which provide strong root for the hip-hop art. This makes the book quite a valuable literal work that tracks the emergence of a art that has risen from impoverished youths to influence people within United States, as well as the whole world . Work cited Chang Jeff. Can’t Stop Won’t Stop: A History of the Hip-Hop Generation. New York, N.Y: Ebury Publishing, 2011. Print.

Film And Ideology In Blue Velvet By David Lynch Essay

Film And Ideology In Blue Velvet By David Lynch - Essay Example On the other hand, a meticulous observation of the scenes that includes even the minutest details in the movie would aid in identifying the different philosophies that the movie wants to present to its viewers. The characters had at the same time played their parts well such that they were able to deliver the roles they play at par. The actors represented different characters that reveal the deepest secrets in a small suburban town in America. These secrets that were revealed by the film illustrate the fact that even in small towns that look peaceful and serene; a nightmare could lie beneath its surface. Unlike any other movies in the 80s, David Lynch has been successful in creating various symbolisms in the movie "Blue Velvet." From a town that is overwhelmed with bright white fences, blood red fire trucks running along the streets, as well as the pruned roses in the gardens of every household, Lynch was able to transcend meaning through these objects that can be observed during the entire length of the movie. Even the first scenes of the movie where the lead character, Jeffrey Beaumont, had found a severed, ant-infested human ear near a glassy trail had its own significant symbolism in the story. (http://www.slantmagazine.com/film/film_ review.aspID=56, para 1) Lynch's mise en scene clearly describes the reality and streams of the subconscious throughout the film in this psychosexual drama in 1980. "The many rooms of Blue Velvet are fascinatingly representative of internal moods: the white walls of the virginal Sandy's home; the garish blues and vaginal pinks of Dorothy's kitschy modern apartment; and the cluttered, homely look of the Beaumont home. Jeffrey innocently woes Sandy with an okey-dokey "chicken walk" before the officer's daughter speaks of a dream where darkness fell upon the face of the earth because there were no robins." (http://www.slantmagazine.com/film/film_review.aspID=56, para 1) The illustrations above are just examples of the various symbolisms Lynch used to create an association of the philosophies of human characters and attitudes with the scenes in the movie. Ideologies in "Blue Velvet" The complications of life are brought about by one's own acts, chosen freely according to his choice. From the moment Jeffrey Beaumont found the severed ear along a grassy field in his hometown, he had allowed the overwhelming situation after the incident affects his life. He could have decided not to submit himself into the situation but Jeffrey chooses to take part in the investigation. This eventually had led him to a more complicated situation that almost cost him his life. Every action has its own consequence that should be faced with enough strength and knowledge, as well as the wisdom that would lead to the preferred outcome of the involved. Jeffrey's character, who is at that time in his tender college years, is faced with overwhelming circumstances that showed him the reality of a life that is filled with responsibilities and mystery enveloping one's personality. How he'd respond to them relies in himself alone. The events in the movie had emphasized Jeffrey's innocent transformation from a young adult into a man who had explored the mysteries that