The Kill List is a British horror film, considered hybrid, coinciding with black comedy, horror comedy, psychological horror, family drama, hitman action-thriller, war, crime thriller, cult, violent drama.
The film incorporates violence throughout, from the first scene with domestic disharmony, to verbal violence, continuing with actual violence, metaphysical violence with the hammer scene, violence between Jay and Gal, and ends with Jay violently stabbing the ‘Hunchback’.
As the narrative progresses, Jay sinks further into darkness. As Cherry states ‘horror films are socially reflective’ (Cherry, 2010: 169) and the film comments on fears and anxieties of a contemporary British society, the three figures on the kill list, representing institutional
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The family take on a macabre form, Shel piggybacking Sam, and Jay’s stabbing them on the ground, shown in slow motion, foreshadowing the final scene. When Jay and Gal want to abort the job, they are told their family will be killed. With no choice, Jay continues the job however the threat to family becomes internal at the cottage after Jay discovers his car tyres are slashed. However in trying to protect his family from the threat, the irony is that they die at the hands of him in the final scene.
During the argument, a medium shot shows Sam laid on his bedroom floor entertaining himself with a toy, overlaid with sound of his parents arguing. This informs the audience that this is nothing new. In the foreground, to the left of the frame is a toy castle, which hints at the horror genre but rather a contemporary setting.
In contrast to the family’s suburban location, the cult members are located within the landscape and represent the wilderness and unpredictable nature. The Kill List operates ‘within the subgenre of ‘Urbanoia’, essential elements binary oppositions - ‘modern’ against the ‘primitive’, ‘present’ against the ‘past’ (Rose, 2009) and
Sam escapes her reality and tricks herself into painting this picture of her father to avoid coping with the actuality that he doesn't truly love her.
In the first chapter of How to Read Literature Like a Professor, every trip a protagonist takes becomes a quest in the story. These quests often entail a Quester (the protagonist), a specific place to go, a reason to go to a said place, obstacles, and challenges on the way, and the Quester’s real reason to go to said place. Whatever is gained from this quest can vary from unlimited wealth to a whole lot of nothing, but the Quester seems to always be guaranteed to receive one thing: self-knowledge. In chapter 2, Foster emphasizes the point that whenever people eat or drink together, it’s communion. Basic survival states that people need food to be able to live.
M2 - Use different sociological perspectives to discuss patterns and trends of health and illness in two different social groups
Chapter 11: More Than Its Gonna Hurt You: Concerning Violence In Their Eyes Were Watching God, Janie shoots Tea Cake. It reveals that Janie is finally free from dealing with men. She finally sticks up for herself and stops running away from her problems. An example of authorial violence is at the end of Frankenstein when Victor dies.
In this essay, I will be focusing on the analysis of the opening scene in Shaun of the Dead, specifically for the media language techniques used and how the film uses an interesting combination of genre as well as narrative to appeal to a target audience. Shaun of the Dead intriguingly merges the conventions of horror and comedy, and this is especially apparent in the opening scene that I will be analysing.
Stephen King wrote the short story “Why We Crave Horror Films” explaining why our mind gets so excited during horror movies. He continues to make the statement “the horror film has become the modern public lynching” (paragraph 6) showing that no matter what generation a person is in the excitement of gore will always exist. King proves this statement discussing emotions and psychiatric points in his work.
A critical analysis of the movie The Blind Side provides examples of the sport topics Race and Ethnicity, community in sport, and sport in parent-child interactions, and the human communication concept of interpersonal. Race and ethnicity in the world of sport varies, an ethnic group or ethnicity is a population group whose members identify with each other on the basis of common nationality or shared cultural traditions. The term race refers to the concept of dividing people into populations or groups on the basis of various sets of physical characteristics which usually results from genetic ancestry. An example of race is brown, white, or black skin all from various parts of the world, while an example of ethnicity is German or Spanish ancestry
CBS aired the television show “Criminal Minds” in 2005, involving a team of seven intelligent and unique individuals. It is running strong into its seventh season and continues to gain popularity from people of all ages. This elite group of individuals makes up the leading team of profilers for the Federal Bureau of Investigation Behavioral Analysis Unit. These men and women find themselves in violent and dangerous situations all the time in their career with the FBI. The drama immerses viewers into the world of crime and violence that most people do not experience. The job of these FBI agents is to profile criminals and figure out their next move so they can stop them from committing another crime to innocent people. This show not only
In Stephen King’s somewhat subjective essay in the 1984 Playboy magazine, Why We Crave Horror Movies, King describes his reasoning behind why so many people are fond of watching movies residing in the horror genre. The content of his essay, though inserted in an unconventional area for
Which of the following groups have the highest incidence of use and abuse of alcohol?
The brutal 1998 movie American History X, directed by Tony Kaye, follows former skinhead Derek Vinyard while he is trying to prevent his younger brother, Danny, from going down the same path Derek was led down. While leading a violent white supremacist cult and being a large part of many racial crimes throughout the L.A. area, Derek was sentenced to three years in prison for killing two black men who attempted to break into his truck. Throughout the three years, Derek learns that there are good and bad people in every race and becomes more open and friendly to those he believed he was superior to. After getting help in prison, Derek is released on parole and tries to cut ties with his old “brothers,” it is then that Derek realizes how much
The movie Crash is a drama film that shows you several life experiences of different people living in Los Angeles. All the characters in the film are somehow inter-related to one another. A police detective who mother is strung out on drugs and has a brother who likes to kill, two car thieves, a white district attorney, a racist cop, a black Hollywood director, a full Persian descent father, and a Hispanic locksmith are all the characters in the film.
Hemingway's "The Killers" illustrates that unexplained violence is an integrated part of society. To acknowledge the cruelties of life is to come to terms with horrifying events that can not be denied. A person may lack the maturity to cope with everyday life if they do not realize that evil can exist in any given society.
In the modern movie genre, horror movies accounts for very great proportion of the number of followers. Relevantly, the zombie film genre has been developed into a dominant part of mainstream horror, replacing the previous monster such as vampires and werewolves. In Max Brooks’s essay “The Movies That Rose From the Grave”, he offers his opinion that throughout the process of zombie film transformation, it increasingly captivates viewers while gradually generates the modern horror. Brooks’s essay should be an appropriate inclusion of a college textbook which explains the phenomenon of the “undead explosion” in various kinds of media, proving to the audiences with enthusiasm, interest, credibility and specific examples that zombie culture is resurrecting a formerly obsolete genre.
When discussing the death penalty, rarely do we acknowledge the impact executions have on the men and women who facilitate the process. Although this process is solely voluntary, the side effects are not. According to several executioners, the first experience is far from what they had anticipated. To bring to light the stories of these men and women, Jim Willet facilitates an audio recording which covers the process of executing an inmate and the aftermath which is often felt by the executioner.