The Film ' M ' By Fritz Lang

Alfred Hitchcock’s Marnie (1964) depicts the psychological development of a young woman as she navigates a life of crime and familial melodrama, ultimately unlocking the suppressed memories that offer answers to her childhood traumas. The director utilizes evocative mise-en-scene, subjective point-of-view shots, and expressive lighting schemes in order to project the title character’s internal state onto the physical world of the film. In doing so, Hitchcock crafts a diegetic universe that reflects the unique capabilities of film—one that, through subjectivity and expressive editing, reveals a deeper truth than objective representation.

Myers only wants to examine the acts of extreme perpetrators rather than take into account their motivations or emotions because we only consider their actions with a rare exception of blaming those actions on “judgments of [a] depraved character.” With ordinary perpetrators, we tend to access their moral character through their actions, motives, and feelings but it differs with the extreme offenders cause we do not sympathize with their actions, let alone them.

Michel Foucault and Erving Goffman’s work was centralised around there two different concepts of how your identity is formed through the process of power and expert knowledge. This Essay will discuss the ideas of Michel Foucault who was a French Social Theorist. His theories addressed the relationship between power and knowledge and how both of these are used as a form of social control through society. The essay will look at Foucault’s work in The Body and Sexuality, Madness and Civilisation and Discipline and Punish which displays how he conceptualised Power and identity on a Marxist and macro basis of study. The Essay will also address the Ideas of Erving Goffman who was A Canadian Born Sociologist who’s key study was what

Fritz Lang's 1931 film M takes a look how one German town comes together to take down a prolific child serial killer. The film is interesting in theme, narrative, and editing and is a standout film in Germany's cinematic history. M can also be considered to be one of the last great German films to come out of the country before Hitler took over the German film industry in 1933 (Mast & Kawin 148). M is also Peter Lorre's first film and his performance helped to catapult him as an actor and allowed him to establish a villainous persona that he would later be known for. M is not only a significant film due to its narrative and editing, but it is also significant because of its style.

Every one of us has been affected by a wrong doing some point in our lives. Many of these times we see the culprit run off and boast to their peers. In “You Who Wronged” by Czeslaw Milosz, he uses persuasive diction and descriptive imagery to show that _____.

A murderer is normally defined by the psychological attributes that define him or her. These killers often suffer from a psychotic delusion that forces them to commit their horrific crimes. However, those who are pronounced sane and rational have a moral conviction that drives them to kill. It is this principle that separates the average murder from the psychotic sadists that believes in what he or she does. Charles Manson, leader of the Manson Family, believed in the apocalyptic war of Helter Skelter, the uprising of blacks and the mass genocide of whites (Whitehead). Manson’s firm conviction about Helter Skelter separates him from other criminals who commit their crimes out of insanity. In Travels in New-England and New-York, author

The film, Radical Evil, by Stefan Ruzowitzky, argues that there is genocidal potential in each of us. Personal responsibility is not lost, but rather shown through the courage to step out or the willingness to conform. Radical Evil attempts to explain conformity through a series of psychological tests such as the Milgram Experiment and the Asch Conformity Test. Through psychologists, sociologists, historians, and primary sources, the film suggests that everyone is capable of murder or genocide given the right environment such as military orders or the atmosphere of war. Essentially, the perpetrator becomes the victim of their own psyche and circumstances. However, allowing the Einsatzgruppen, or any other Nazi affiliated group, to assume

Foucault looks at public torture as the outcome "of a certain mechanism of power" that views crime in a military schema. Crime and rebellion are akin to a declaration of war. The sovereign was not concerned with demonstrating the ground for the enforcement of its laws, but of identifying enemies and attacking them, the power of which was renewed by the ritual of investigation and the ceremony of public torture.[5]

Foucault address the changing definition of crime and how power is exerted through the enforcement of punishment. During the monarchy, kings and queens showed their power and authority of the people by determining what punishment someone would receive for their actions. In the current political system, judges and juries are in the position to make these decisions. Judgement is the current system is based on motives and intent rather than on the severity of the crime alone. We care more about the psychological state of the individual and want to be able to change the person's soul to better respect society. The quote below addresses how punishment uses a variety of specializations and how the individual's mental state is molded to fit into standards we have created today.

Foucault began to compare this new idea of surveillance, power and punishment of the Panopticon to the power during the Middle Ages by the King which was more public in contrast to the Panopticon. The Panopticon was more discrete. It was not a show or form of entertainment when someone was punished unlike when someone is punished with the King. By exploring this, Foucault demonstrated how surveillance has changed overtime.

For instance, Vetter (1990) studied the association of the intensity of the violence within the crime, with the reactions and assessment that humans provide for the motive of the crime. He states that, “ To many, a person who commits a series of heinous, apparently senseless, murders must be ‘out of his mind.’ The exact nature of the

This part of the paper will provide a comparison with a theorist previously discussed in a lecture. The theorist with whom Michael Foucault’s arguments will be compared to is Emile Durkheim. Durkheim sees crime as functional. He says that if there was no crime, all our values would be dispersed--these values are laws. These laws are observed by sanctions and punishments attached to it. However, in order for these laws to exist, there must be a punishment, thus, for there to be a punishment, there has to be crime. Repressive law, according to this classical theorist was based on punishing for the evil doing of the criminal through revenge. Durkheim believes that a crime is not collective and when one goes against the core values of society, one threatens the entire order of society. Therefore, this theorist would agree with Foucault that when disciplining a criminal, he or she should be stripped of their freedom and when

Foucault, addresses in the first part of his work, the power of the sovereign. He guides the readers through the historical period of the power of the monarch and Feudal system and transforms them into the 18th and 19th century. He put particular emphasis on the spectacle of the tortured individual. “Among so many changes, I shall consider one: the disappearance of torture as a public spectacle (p.7).” The spectacle functioned for

In accordance with Marxist theory, it is the views of the powerful that dominate, as they have the ability to make their views prevail. It would then appear that what constitutes a crime is open to debate; moreover, the criminals who we choose to despise, are they no more than mere victims of our own perceptions. Our own social conditioning? To see why this is, we must look to the very basis of society and how it decides what is right or wrong.

The film Amelie provides multiple examples of individuals sacrificing, and applying Campbell 's moral objective to their own lives. One of the people from the film that follow the objective is Dominique Bretodeau. When he was a young boy, he lost his treasure box. Directly after it was returned to him from a stranger, he began to tear up over the lost memories that the box contained. He then confides in people at the bar that he has not spoken to his daughter in years, and because of this does not know his grandson. This simple act of kindness was enough to make Bretodeau sacrifice his pride enough to reconcile with his daughter and grandson. He had no idea if his family was going to open their arms, or push him away for being away for so long. This failed to stop Bretodeau. This journey of becoming a hero was a spiritual one. Most of the conflict happened within his own heart. A small act of thoughtfulness helped a man choose to create a better life for him, and his estranged family.