"Who done it?" The persistent quest for bringing a perpetrator of a vile crime (usually involving murder) to justice has become the definition of the detective story. The question of "who done it" keeps challenging all kinds of detectives in novels, stories, and films, not to mention their audience, proving to be one of the most enduring, and most popular genres of fiction ever created. All eyes are on the detective, the main protagonist, through whom the story is told either as a first-person narrator or in the third person as portrayed by the author. We depend on him to guide us through this puzzling journey; but not all detectives use the same routes.
The literary consequence in Oliver Twist is a sphere of coherent, but cryptic, delinquency, whose structures are open not only to investigation but also to interpretation. In fact, ever since the first serial installments of the novel in 1837, an interpretive structuring of criminality has imposed itself upon the mysteries of early Victorian vice which Dickens only vaguely described. In the preface of 1841 Dickens met the moral objections of readers with a defiant statement of his characters' precise criminal roles: "It is, it seems, a very coarse and shocking circumstance, that some of the characters in these pages are chosen from the most criminal and degraded of London's population; that Sikes is a thief, and Fagin a receiver of stolen goods; that the boys are pickpockets, and the girl is a prostitute." This last identification--"the girl is a prostitute"--was hardly news, but it was nevertheless something new, for Dickens, as he went on to explain in the preface of 1841, had avoided naming Nancy's profession in the novel itself, and had indeed left intentionally imprecise the general representation of criminality: No less consulting my own taste, than the manners of the age, I endeavoured, while
He was one step closer to becoming the kind of vigilante Gotham City needed, a hero who could end crime. Throughout his training he was taught that crime Was a mere reflection of the shadows. That the shadows are crime in hiding and needed a vigilante To reveal the corruption. The signal light in the sky Was a beacon meant to strike fear to his enemies in the dark. This fear was a fear that embodied him that made him a dark knight.
Raymond Chandler's The Big Sleep introduced readers to Phillip Marlowe, a character whose tough guy persona was an early basis for the "dark detective" archetype that to this day remains a fixture in fiction. His colorful, convincing, and descriptive writing style gives his readers a confident grasp on the character of Marlowe. Chandler’s unique process of stealing unrelated short stories and mashing them up into his own remixed version leaves the reader with unresolved questions and loose ends. Complex and heavily intertwined, the plot folds back in on itself more than once in the duration of the novel and sometimes even collapses. The book is classified as a crime novel or murder mystery, but while plots in those genres are traditionally resolved by the final page, certain components of The Big Sleep never add up.
Organized Crime Prevention and Control As one author put it, “organized crime has been defined in the relative absence of Knowledge” about its true dimensions (Castle, 2008, p. 139). Albanese (1996) explains crime and possible organized crime in terms of the typologies of positivism, classicism, structural, and ethical explanations. The positive approach explains organized crime as caused by social and economic factors that include: poor neighborhoods and role models, lack of opportunity to achieve the “American Dream,” dysfunctional families, and even genetics. The positivist sees change in the conditions as a means to prevent criminal behavior. Walter Miller’s classic article “Ideology and Criminal Justice Policy” concluded with the observation, “when assertions are made about what measures best serve the purposes of securing order, justice, and the public welfare, one should ask, ‘How do we know this?’” (1973, p. 150).
Jamie Kennedy Se7en Critical Essay David Fincher’s effective opening sequence to his dark and often disturbing film Se7en provides a successful introduction and prepares the audience for its sinister nature. Through an abundance of techniques including characterisation, sound/music and editing, Fincher gives us an insight into a bleak, dystopian city laden with sin. The film’s plot is woven around two homicide detectives, Somerset and Mills. Somerset, played by Morgan Freeman, has grown tired of the apathetic nature of the city and plans on leaving when he retires at the end of the week. His naive replacement Mills, played by Brad Pitt, is optimistic of his new life in this city and thinks he can make a difference.
Porfiry in Dostoyevsky’s Crime and Punishment has such an intellectual way of investigating Raskolnikov and his motives. Dostoyevsky creates a character with a small role, yet such an outstanding impact that he can be thought of as the antagonist of this novel. His methods can be defined as different and leave a permanent stain on Raskolnikov as a character. Although psychology was in effect long before Porfiry steps foot onto the scene. Raskolnikov wonders why so many crimes are committed so poorly.
Personal Criminological Theory Crime has been and is a huge problem in the United States of America. Crime is believed to an indication of social problems within the United States. It can be said that criminals commit crimes for many different reasons. Take for example people choose to commit crime as a result of peer pressure, jealousy, money, love, and economical reasons. I have concluded that substance abuse is a huge contributor to crimes being committed.
Mr Earnshaw also helps the reader to recollect a rather dark image of Heathcliff as he describes him as ‘as dark almost as if it came from the devil.’ The use of the word devil creates strong imagery of a deeply rooted darkness within Heathcliff, which helps the reader to develop a strong image of a dark character, which is yet another quality of a Byronic hero. Another quality that Heathcliff possesses is a huge amount of passion which is conveyed in both his loving and hating manners. In the novel when Heathcliff’s character is associated with Cathy the reader is able to see the deeply
Everyone has a set of values that determine how they analyze situations in the society. The movie Taxi Driver evokes these values by thought-provoking the viewer’s opinions on some of the most challenging issues in the society including gangs, prostitution, and drugs. Taxi driver is ideologically a classic vigilante movie that introduces violence as the ultimate means of achieving justice in a society where the legal justice system has turned a blind eye them. The New York City depicted in this movie seems too real to be true. The movie came at a time when worst crimes were committed in New York and the United States as a whole hence had several scenes of violence, prostitution, and cheap drugs.