Cinema, since the time of its initiation, has been inspired from the contemporary lifestyle. During the war stricken world, Hollywood never stepped aside to depict the gruesome and horrified war-time situations across the world, particularly in America…
Download file to see previous pages...
Based on the stories of wars, master pieces with cinematic excellence were produced time and again. However, most of the war films echoed a sense of a pride and chivalry; while others, focused on the feeling of nationalism being tittered time after time. Nevertheless, it is also true that the violent and horrifying aspects of war were also being projected through the film produced during and after the First and Second World Wars. After the gloomy and dark clouds of the world wars were removed from the skyline of America, a new chapter in the history of violence started pervading the ambience. The most striking event which Americans, in particular and the world witnessed was the 9/11 attack on America. The initial reaction of the 9/11 attacks on the minds and hearts of the eye witnesses and the people who were indirectly associated with the event was so awful that people were left mum and out-of-words. However, at the same time, it was also very evident that the war-wounds in the minds of Americans evolved out most spontaneously through its popular culture and consequentially, cinema became the most potent matrix upon which the foundation stone of anti-terrorism discourse was laid. THESIS STATEMENT Violence opened a new avenue in the post traumatic situation and aftermath of 9/11 attacks in cinemas. With the increasing grudge against particular races and ethnicity, the torture to trace down the actual culprit behind the national disaster almost took a rage. This post-traumatic situation got seminal space within the work of the cinema directors during the post 9/11 attacks in the American society. The essay therefore intends to delineate and form a discourse upon the issue of incorporation and presentation of violence in the form of torture in the American cinemas, keeping ‘Zero Dark Thirty’ at the centre of the paper. ZERO DARK THIRTY: A PROJECTION OF VIOLENCE UNDER A NEW LIGHT During the post 9/11 aftermath, cinematic perspectives related with horror and foreboding of the mishaps took dual dimensions or discourses. The first dimension was set on an account that the shock and trauma, which the eye-witnesses of 9/11 attacks viewed, was not less than a Hollywood thriller itself. The major contention of the posthumous phase of the incident was regarding a dilemma that whether Hollywood should, at all, attempt at making a cinema that would firstly match the crudity of the real incident of 9/11. And if, the directors are successful in matching the expectations of the audiences with that of the real thrill, whether the audiences would reciprocate to such kind of a presentation wholeheartedly and spontaneously. The reason behind such dilemma was natural and evident as the scar of the 9/11 attacks on America was deep-rooted in the minds of the people, to remain un-faded forever. The second school of thought or the discourse related to post 9/11 attacks on America started emerging as soon as the traumatic situation of the 9/11 attacks began effacing. Hence, a new perspective of violence started emerging in the Media and Television industry of America and as a result, the post 9/11 torture inflicted to trace down the conspirer of the 9/11 attacks suddenly became a staple theme for Media. The US television started broadcasting a series of daily soaps and dramas that pondered upon the presentation of torture. The effect of such presentation on national media was so stark that exciting video games captivating elaborate and proliferated scenes of torture started making comfortable space in the US market. This was the exact moment when Hollywood was able to perceive the mindsets of the audiences and began to make films on post 9/11 tortures inflicted by various internal security agencies upon the suspicious persons.
...Download file to see next pagesRead More
Cite this document
(“Zero Dark Thirty Film Research Paper Example | Topics and Well Written Essays - 1750 words”, n.d.)
Retrieved from https://studentshare.org/philosophy/1479941-zero-dark-thirty-film
(Zero Dark Thirty Film Research Paper Example | Topics and Well Written Essays - 1750 Words)
“Zero Dark Thirty Film Research Paper Example | Topics and Well Written Essays - 1750 Words”, n.d. https://studentshare.org/philosophy/1479941-zero-dark-thirty-film.
This means that the magnitude of some of them depends on what the offender did, and how they did it. The law enforcement agencies protect people of whichever part of the country they represent. However, what happens when the same people supposed to be protected do not seem to understand the purpose of a law enforcement agency?
Exaggeration explicitly expresses itself in the case in which Balinese residents show no concern at all about visitors within the community. In the case of dark play, exaggeration is shown by the dancer becoming more psyched up by the pleas of both the father and the husband who visualizes her falling at the edge of the cliff.
As such, this fact underscores the significance of targeting efficient energy use through building as a method of reducing energy consumption. Architectures can reduce energy consumption by integrating energy efficient strategies into the construction, design, and operation of new buildings to improve the effectiveness of new buildings as well as retrofitting the existing buildings to improve their efficiency in terms of energy use.
According to Kenneth Marcus (2007) of the University of La Verne, few wars throughout the history of Europe have left quite as large a scale of influence and destruction as the Thirty Years War (p. 1): "Many contemporaries felt that God had ceased to care, that their suffering, anxiety, and hardship were for naught, and that the end of days was near" (Marcus, 2007, p.1).
Toxic gases, solid wastes and chemical filled waste water are some of the pollutants that are most common in the world today (Nemerow, 1995).
There are different types of environmental pollutants and different methods are required
A German-born film director, Lexi Alexander, spoke against sexism in American film industry in her blog and tried to figure out the reasons behind gender inequality. In fact, Alexander did not offer any solutions having confessed that her only desire was to draw
8 Pages(2000 words)Research Paper
GOT A TRICKY QUESTION? RECEIVE AN ANSWER FROM STUDENTS LIKE YOU!
Let us find you another Research Paper on topic Zero Dark Thirty Film for FREE!