This film represents a political and cultural parody of Cold War rhetoric and anxiety. Stanley Kubrick responds to the fear of nuclear annihilation and Cold War paranoia through black humour, using exaggerated stereotypes of characters such as Jack Ripper and Buck Turgidson. He conveys the concept of ‘strategic deterrence’ in the extreme form of the doomsday device and makes light of the nuclear arms race. Kubrick uses sexual connotations to satirise Cold War figures, attitudes and mindsets. Stanley Kubrick’s film deals comically with the fear that the opposing sides had of nuclear annihilation and their strategic deterrence as a direct consequence of this fear.
Making Catch-22 the remarkable as well as groundbreaking masterpiece it is today. Catch-22 is one of Heller’s greatest works because the book consisted of satirical humor which eased the thought of war. Heller changed the way America looked at war by showing the readers another side of war that could only be seen if one had participated in a war themselves, such as WW II. He had turned the realism of war into a surrealistic masterpiece “Mr. Heller’s novel changed the formula, and in the process lifted realism to new surrealistic level” (Solomita).
All three villains may differ in many ways, yet it seems they share a common urge for power, control and a use of sadistic measures. Jealousy is a very powerful emotion that can cause resentment and envy, creating strong anxieties in villains. This enviousness is a common motivational force for socio-paths. Both Iago and the Duke take on this form of motivation, in order to justify their actions that lack morally-correct social behavior. The Duke’s duchess is flirtatious in nature and this displeases the Duke “Sir, ‘twas not her husband’s presence only, called that spot of joy into the duchess’ cheek”.
One can indeed try to obtain a particular result either by the use of violence or by speech aimed at securing the adherence of minds. This is shown in the justice games ‘trials of oz’ when Leary questions Anderson extensively to where Anderson feels he is ahead of the game and then Leary breaking out and shouting. “Making Rupert bear fuck? !” … this statement is taken by surprise by the audience and Anderson and because the statement is fairly crass and risqué the effect of it is significant, making it feel as though ‘making Rupert bear fuck’ is the worst act to commit. It is in terms of this alternative that the
It's half a brilliant political satire, half a surreal comedy of errors. Causality of the characters and the “chilled out” dialogues only add to the brilliant script. The acting is top notch, deNiro and Hoffman are hilarious and spunky. The first and second part of the film is full of dark humour, excitement and sarcasm. The last third of the film is powered by too much of conventional drama giving away the ending way too easily.
The narrative device of gossipy dialogue is used to depict Gatsby’s character and present a heightened sense of mystery and drama surrounding the perplexity of the protagonist. Rumours such as ‘he killed a man’ and ‘he was a German spy’ create a theatrical yet domineering addition to Gatsby’s character, making him seem almost out of reach and God like, linking to the symbolism of Dr T. J. Eckleburg in Chapter 2. The violent and negative association to Gatsby such as ‘killed’ and ‘spy’ add to the drama by seeming more scandalous, thus more exciting to continue as rumour meeting the ideals of the guest’s image of Gatsby. Ironically Gatsby meets most of these ideals later on in the novel, hinting at a twentieth century tragedy with chapter 3 depicting Gatsby at his high point leading to a downfall. The use of gossipy dialogue also
Ridicule. By making your opponent look silly for his attacking methods, their strategy will wither quickly and public opinion will immediately shift your way. Franklin Roosevelt was a master at fending off attacks by making the attacks seem ridiculous and silly. 3. Jujitsu.
Sevilla, Kimberly A. Psy-33 The Aviator film is biographical drama film that I inspired. Having an Obsessive-compulsive disorder (OCD) is not so easy, it is an anxiety disorder characterized by intrusive thoughts that produce uneasiness, apprehension, fear, or worry, by repetitive behaviors aimed at reducing at associated anxiety or by combination of such obsession and compulsions. While Hughes is simultaneously growing more unstable due to severe OCD he tried his best and he became a successful film producer and an aviator. There is a part to myself of admiring OCD because of having the good advantage of it that will help to be successful. Hughes becomes obsessed with shooting the film realistically, aiming to be perfect and organized film.
While Shakespeare does use Iago’s soliloquy to encourage the audience to admire him, the soliloquy also highlights his incredible aptitude for malice. The continued metaphor of Iago’s jealousy being an ailment to him, “doth, like a poisonous mineral, gnaw my inwards” and expressed further on where he vows to give Othello “a jealousy so strong/that judgment cannot cure”, brings a sense of paranoia and mania to him. This paranoid side to Iago is further emphasized when he alleges Othello of having “leaped into my [his] seat”, his
One can use cleverness in appalling and terrible situations to harm another’s well being or it can be used wisely to simply comeback with a humorous or witty comment to a distasteful one; like in the Scarlet Letter, Roger Chillingworth is a perfect example of an evil clever man. He uses his wit to corner Dimmesdale into a tight spot of constant self-loathing and self-pitying and he does it purposely, to satiate his vengeance. Chillingworth’s dexterousness is being malevolently used to, in a sense, twist the thorn in Dimmesdale’s side. The humorous kind of cleverness comes from a cunning and quick remark to a comment made to you. In the Adult Swim television series Family Guy, Lois (the mother) walks in on her son Stewie torturing another child.