Violent Femmes - Add it up The disc player drones on as I recline peacefully on the pure white sands of my very own desert island. I am the only human being on this island. Ah, peace at last, but as the days turn into weeks and the weeks to months and the months to years I wonder; why have I not gone completely insane? Sentenced indefinitely to solitary confinement on my paradise prison. Yes, it has been a struggle to maintain my sanity, but I have one very special companion; the Violent Femmes
I love traveling, who doesn’t like that by the way? I’ve already been to 7 destinations in the span of 3 months this year and going to different places to chase adventure has no end in mind yet. I’m grateful for having lovely family relatives who travel a lot and tag me along, friends from different parts of the country who let me stay with them for a while but most of the time, I travel out of style, mostly a DIY trip, never with a fancy tour package. I’d like to believe that I’m fairly good now
elle commence à devenir de plus en plus consciente de sa position dans le monde et dans sa famille comme une femme. "Les Belles Images" dépeint l'éveil de Laurence comme elle est apparemment arrachés de sa complaisance et devient conscience très vive de l'état stagnant de sa famille et de sa vie. Bien que depuis l'extérieur, Laurence semble être l'épitomé de l'idéal féministe de la femme nouvelle, avec sa carrière prospère, son amant et son mode de vie bourgeois, à l'intérieur, tout est train de
indeed a new type of American woman: the independent femme fatale with a heart. The “film noir” is a “genre of cinematographic film marked by a mood of pessimism, fatalism, and menace. The term was originally applied (by a group of French critics) to American thriller or detective films made in the period 1944–54” (Oxford Dictionary). It usually includes the perspective of an antihero facing the violence of an urban and modern environment. The “femme fatale” is a stock character of noir films: “An attractive
Kercher, a 21 year old exchange student was discovered in her bedroom at her flat, a post-mortem examination reveals evidence of sexual activity at some point before Kerche died. Police claims Kercher was murdered because she refused to take part in violent sex . In 2008, Guede was trialed separately and was found guilty of the murder. Knox and Sollecitio were trialed in 2009; Knox was sentenced to 26 years in prison and Sollecito to 25 years. In October 2011, they were acquitted of Kercher’s murder
In the movie Brick, my femme fatale character is Emily. I picked this film because when I the trailer I was quite curious on who killed Emily and why. It left me with great suspension and I wanted to find out what really happened to her. While watching the movie I gained a few likes and dislikes about Emily. She was very pretty and stubborn in the movie. Which I think played perfect for the role of the femme fatale character. There were also some dislikes on Emily that I had on her; she wouldn’t
During the course of the spring semester, as a class, we read and watched movies about fallen women and femme fatale in American Literature. Throughout each piece that we studied, I have chosen a book and a movie that I believe will compare and contrast effectively. We watched a movie in class written by J.F. Lawton called Pretty Woman, a movie that made a tragedy into a love story. This story exposed the life of a prostitute in Los Angeles, California. The prostitute, Vivian, happened to give directions
Women Portrayed in Horror and Film Noir Films Works Cited Not Included Horror films have always been more attractive to the male viewer than to the female viewer. Why is that? Usually horror films mainly present the audience with very graphic mutilation and the raping of females, more so than their male counterparts. Horror films have always depicted females as either objects or as the victim of a horrible act. In Linda William's essay 'When the Woman Looks,' she says that 'there is not that
Femme Fatale In Jun'ichirō Tanizaki’s short story “The Tattooer”, Tanizaki features an ambitious tattoo artist who yearns to create a masterpiece on the skin of his ideal woman. Initially, this woman is anticipated as the one who holds the potential to achieve the status of a twisted goddess. Moreover, the artist’s process of forging his masterpiece on this particular woman acts as a stepping-stone to his imminent demise; she is a lethal double-edged sword. The tattoo, which takes the form of a black
Race, gender, class, and sexual ideologies and practices have been locked to institutional power, privilege, and oppression throughout history. More specifically so when focusing on the time period between the 1600s and 1990s. This statement has been proven true several times in various instances; from the discrimination of “fallen women,” or prostitutes to the discrimination against African Americans and other minority groups (the term minority referring to race, class, gender identity, religion;
Beside that, Cinematography is also one of the element that play important roles in film noir. This can be seen when Dixon (2005) explained that in film noir shot in black and white, interior setting is always suffused with shadows and exterior settings are usually at night, with wet streets and rain. It is true because most of the film noir are shot in night with wet streets and rain, night scenes are able to create the ‘ darkness ’ mood and feeling while wet streets and rain can create the fear
The Big Sleep - Characterization of Vivian and Carmen in the Movie and the Book The characterization of Vivian and Carmen changes drastically depending on whether you are reading the book or watching the movie. The production code forces the women in the movie to become more socially acceptable-Carmen was not crazy and Vivian was not blatantly seductive. Changes that the production code forces on the characterization of the women causes the movie to be somewhat lack luster. The
private investigators, are associated with order while all of the “femme fatale” characters bring chaos to the narrative of the films. Just like all of the Film Noir movies, The Big Sleep and Chinatown starts with a sense of balance. Everything is in order, until something bad happens: a death. At the end, the private detectives finds the murderer and the balance and order are brought back. But what happens in between this? The “Femme fatale” will add chaos and make the investigation go slower than
march toward death in his play Macbeth. Characters known as femme fatales are well aware that life is short, and they will not waste it. These striking, driven, intelligent women are prepared to take life for all it has, and nothing will stop a true femme fatale from pursuing her course of action. Macabrely fascinating, these women appear again and again in both classical and modern literature. Perhaps the archetypical example of a femme fatale, the Lady Macbeth of Shakespeare’s Macbeth serves as
Chinatown, a 1970s film, is inspired by the Southern California water history (Valle). This film has many elements of film noir. Film noir, is a point-of-view, tone, mood, and style of a film created during World War II. It reflects the tensions and insecurities of a particular time period, usually showing the loss of innocence, bareness, and the paranoia of an event (“Film”). The criminal and greedy perspectives of the characters are clearly seen, like the character Noah Cross, reflecting society’s
A strange, a wonderfully twisted film, the 1986 feature Blue Velvet, can be seen as one of David Lynch’s more grounded film’s in regards to it’s narrative focus and general veering away from his usual surrealist style features; such as his previous efforts given his breakout film Eraser Head (1977), and his many experimental short’s that laid way to that. His presentation of charters in all of his features ranges from gravely monstrous distortions of individuals. Citing, for example, that of the
away and the idea of womanhood was exploring new directions. Women were voting, working, and, in Anaïs' case, even acting as the traditional male role of a relationship. As women changed so did the femme fatale, evolving past the simple idea of the temptress Eve as a foil of the virgin Mary. This modern femme fatale frightened the general public because it was the personifications of their fears. During the nineteenth and twentieth
We are said to be now in the age of dark cinema with films like The Dark Night, The Avengers, and Gone Girl and many more, that all take the path of using dark cinematography as a way to also highlight the dark tone of the movies plot. In a film like Children of Men creating a dark setting helps aid to the plot of the world in its current state of despair. With an abundance of close ups creating intimacy and then vast medium shots to show the miseenscene created for some scenes with extensive props
Hollywood’s film noir represents a hard-boiled and cynical portrayal of American life that is mostly about a male-dominated world. Attractive male characters lead the film’s storyline, and female characters such as a femme fatale take their positions that indicate in relation to the male protagonists. Also, in general, the world of dark, corruption and crime are usually described in film noir, and thus it shows a strong sense of social contradictions. “Outrage,” directed by Ida Lupino, strongly criticizes
The Manipulative Sirens and Their Victims in Margaret Atwood's Siren Song In Homer's Odyssey, the Sirens are mythical creatures whose enchanting voices lure sailors to their deaths. These women have fascinated people ever since Homer sung the lines of his epic, inspiring artists of many genres from oil paintings to films. In her poem "Siren Song," Margaret Atwood re-envisions the Sirens to draw a comparison between the myths and modern life. Atwood portrays men as victims of "Sirens" (women)