Rhetorical Analynisis Of "fancy Footwork"

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Rhetorical Analysis of “Fancy Footwork” Taking nearly $1.4 million from 18 theaters in eight cities, according to an estimate from distributor Fox Searchlight, the “Black Swan” made a strong and impressive debut. David Denby, however commented harshly in his review “Fancy footwork” on the “Black Swan” published in the New Yorker on December 6, 2010, four days after its debut in New York. David Denby criticizes the film relentlessly in his review, describing the movie as “pompous, self-glorifying, and generally unpleasant interpretation of an artist’s task”. David criticizes the movie from two perspectives: one is the over presentation which only resulted in redundancy and “shtick”(); the other is Aronofsky’s distorted representation of being a good dancer, which Denby suggests possibly comes from Aronofsky’s own bloodlust and personal erotic and irrational obsession to woman instead of a dancer’s. David Denby creates a strongly negative view of a popular movie. He first builds a strong ethos via a wide range of background knowledge, builds the common ground between readers who might holds different views and him through logos, and uses great connotation and influential vocabulary and metaphors to validate his illustration by pathos. In terms of ethos, with valid academic background from Columbia College and Stanford University, David Denby is a well-known film critic of the New Yorker. His identity suggests his authenticity in film reviewing and background in the film industry. For instance, he mentioned in the second paragraph that, “The ‘All about Eve’ business with dancers preying on one another was retained from a discarded screenplay by Andres Heinz, who worked on the final version of ‘Black Swan’ with Mark Hyman and John J. Mclaughlin.” By showing the audience insiders’ insights from the film industry, Denby shows his familiarity with

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