Django Unchained Confronting Racism, Creating a Postmodern Saga - Literature Essay Samples

Quentin Tarantino is well known for his sadistic violence as well as juxtaposed humour and tension. Django Unchained extends further than this expected emphasis: we the audience are led to believe that the film is focused on the brutal actions taken towards slaves and the story of Django through the slave period; however, as the film progresses we are drawn into the trap of another Tarantino movie. His movies surface as a brutal yet amusing action film but as we go deeper into the thoughts behind the film, we realise the meaning is deeper and demands the attention of racial segregation. Tarantino’s postmodern and controversial film highlights the racism and institutionalised hatred of the slaves at the time through excessive arrogance and proudness of Django and Stephen, coupled with postmodernism and racism. Although the film is set during the slave labouring time of 1858, postmodernism is a constant underlying factor in Django Unchained. The way Tarantino takes a different a pproach to developing the themes of racism and arrogance by using comedy and sadistic violence shows a very postmodern way of dealing with the reluctance to address these very real issues that have and still do, puncture our society. Tarantino is frequently creating films that are very postmodern which cover the important issues with a surface layer of comedy, violence and action, making the film more entertaining for the audience and less of a humanity wake up call. From the near beginning of the film, Django becomes a free slave working as a bounty hunter alongside Dr Schultz, a German dentist. During the scene ‘100 black coffins’ Django and Dr Schultz accompany Monsieur Candie on the journey to Candie Land, Django is told by Dr Schultz that in order to fit in he must act as if he is a black slave. During the journey to Candie land, Django puts into action what Schultz has said and acts as if hes superior to the other black slaves and he is depicted to believe himself equal or higher to some white men of the party. This is predominately shown with a low angled shot looking up to Django, even at times from the perspective of Monsieur Candie portraying the power of manipulation Django has over him. As Django continues to play this convincing role we, the audience, question if his arrogance comes with Schultz’ order or subsequent to his freedom. Is this Django’s opportunity to return to the white men what they had done t o him? His actions lead us to wonder in the end, if his freedom is to be celebrated or condemned. As the party are on their journey, Django receives disgusted looks from the other slaves, predominantly by Rodney. They see him playing the *role of a . . . black slaver* and they don’t want to be told what to do by a black-gone-white man. Django, with his newly gained power, talks down to Rodney asking if he’s â€Å"gotta problem with your eyeball† â€Å"you wanna boot heel in it?†, the black men, now addressing him as â€Å"no sir†, clearly show disapproval in being betrayed by a man of their own nature consequently leading Django to make it clear that the â€Å"niggas gon understand something about me! Im worse than any of these white men here! You get the molasses out your ass, and you keep your goddamn eyeballs off me!† As this parade makes progress Django keeps his emotions in order, but this does not come with difficulty. After a while, i t is shown how much Django is possibly enjoying his character and we begin to believe that he is not acting at all and that he is enjoying the power so much, he has in fact turned white inside. This is incredibly important to the purpose of Tarantino’s film because it’s showing the widespread theme of institutionalization focused on one point of racial issues. The fact that Django finds it easy to take up the attitude of a white man makes the audience realise the power of forcing someones credence can have on a person and how easy it is for former slaves to look down on other slaves. When you are surrounded by lies and acts of arrogance your whole life you start to follow them, and given the chance, begin to turn into the person who gave them. Django and Monsieur Candies relationship make us question just how different their natures are. During a cross cut of the journey to Candie Land, the party visit a hut which is occupied by white hillbillies with dogs, surrounding a slave, D’Artagnan, who is situated in a tree. As the party stops and Monsieur Candie talks to the slave about how he wasted $500 on a man who only gave three fights Monsieur Candie orders â€Å"Mr. Stonesipher, let Marsha and her bitches send D’Artagnan to nigger heaven†. As D’Artagnan is being ripped apart by dogs, Monsieur Candie approaches Django on his horse, as a low angle shot from the perspective of Monsieur Candie shows the domination that Django has over Monsieur Candie in the way Django is a free black man and is doing trade with white men. This creates huge tension and displacement of race in the controversial film as they â€Å"ain’t never seen a nigger like you ever in his life†. Whilst D’Artagn an is being inhumanely ripped apart by dogs, aspects of postmodernism appear as Tarantino covers the gore with shots of Monsieur Candie and Django speaking of the slave. As they converse, Monsieur Candie notices that Django’s â€Å"boss looks a little green around the gills for a blood sport like nigger fighting† while Django shown in a view looking up to a mid close up of his face with does not look at all repulsed rather just sits their with a very solemn expression of his face not at any point leaving the gaze of Monsieur Candie. Dr Schultz â€Å"ain’t used to seein’ a man ripped apart by dogs is all† whereas Django is â€Å"just a little more used to Americans than he is†. These words showing that Tarantino isn’t at all shy of telling the true brutality of slavery through the eyes of Django. It shows the way others of the world aren’t familiar with the very real actions of slavery that took place and did not think it fair t o do so to people of another race. This violent and gruesome scene shows how Tarantino’s film highlights racism and institutionalised hatred by emphasising the arrogance and violent nature of the slave masters, to create a film that evokes us of our history and how we do not bat an eyelid when we see it sadistically on screen. Tarantino’s strong passion towards the negativity of slaving and racism is show very clearly in every moment of Django Unchained. The film as a whole brings out the worst of slavery and leaves us wondering how and why this is part of our history. Similarly, the way Django acts towards the slaves and around the white men, showing an overcoming of his racist and hateful past as a slave, is much like the way Stephen, the ‘favourite slave’ at Candie Land, approaches slavery and racism. Stephen prides himself on being the favourite slave, always managing to be associated with the white men and sees himself as Monsieur Candie’s greatest friend. As Django, Monsieur Candie and his party arrive at Candie Land, we are first introduced to the character of Stephen. After seeing Django coming into the gates on a horse, he takes almost no notice of greeting Monsieur Candie as he is determined to know â€Å"who dis nigger on dat nag?â€Å". As Monsieur Candie tries to explain to Stephen that â€Å"Django heres a freeman† and is a guest of theirs, he is mortified and thinks it is most unwelcome that Django â€Å"gawn stay in the big house†. The disgust that Stephen has towards Django shown through confused and angry facial expressions in a mid close up of his face, is just another example of how much Stephen has taken the white man role to heart. Stephen has been around white people his whole life and after given the opportunity to be Monsieur Candie’s closest slave, he has completely lost sight of all that he used to be showing the power of his institutionalization by taking it upon himself to insult and stand taller than all other black men. Stephens actions show a contrast in the morality and attitude of Django additionally showing a change of view of the institutionalised racism and slavery. Stephen’s acceptance and embrace of something as dreadful as slavery shows how Tarantino’s film is trying to help the audience to step away from the racial segregation by showing the effects that this accustomed credence has caused. Helping to highlight the way we were accustomed to hating and disrespecting someone of colour and forced into thinking it normal and acceptab le. Tarantino highlights the racism and institutionalised hatred of the slaves and how we have been accustomed to believing others are superior to us for a fictitious reason. Stephens despising and superior actions towards Django show the hatred the not only many white people can have to the slaves, but brainwashed black men as well. The hate that Stephen has for Django, comes almost of a jealousy from Django being freed and able to walk with white men while, in the end, Stephen is still a slave and all he knows of his life is serving Monsieur Candie. ‘100 black coffins’, the ‘Mandingo dog scene’ and the actions of Stephen, Monsieur Candie and Django all display how Tarantino’s film highlights the racism and institutionalised hatred of slaves through the proudness and excessive arrogance of Stephan, Django and Monsieur Candie to each other and how they all portray contrasting yet similar passions towards the treatments of slaves at the time. Monsieur Candie’s actions towards the slaves are not acceptable rather understandable however, Stephen and Django’s actions towards those of a similar past is questionable and selfish. Their racism and arrogance is so institutionalized that Django has no problem displaying his own disgust for the slaves even though he was one himself. This idea is vital to the film and Tarantino’s ideas because it is one of the most important meanings behind the film. This meaning is a constant factor in Django Unchained and endeavours to inform us how easy it is to give into someone’s beliefs and actions even when it has caused harm to you in the past. If Django was an amiable and kind hearted man like Dr Schultz, he would take is freedom as a gift, set out to find his wife, free her, then run off and live the rest of his life how he should, but he does not. When Django is first freed, he immediately drops his blanket and changes to the dead white man’s coat, not able to conceal the scars of his past that will stay with him forever, Django can try to forget about his past and continue as he has been around the other men but his past will never leave him. Despite what he may think and how few people will accept him, he will always be an ex slave and will always be seen as trying and of a rambunctious sort. As much as his nature has been changed by the institutionalized hatred towards slaves, Django will always be black and an ex slave, causing it to be a huge betrayal when he acts with disrespect to other slaves. The aud ience should feel a sense of happiness that he has been freed and further reunited with his wife however we cannot help but wonder if he is challenged to stay the same arrogant man rather than doing what most other free slaves would do and not take their lives and freedom for granted. In these ways, Django Unchained is Tarantino’s most important and meaningful movie thus far, as it indicates the wicked nature of society and as stated also in the film  ­Tomorrow When the War Began: â€Å"All these words, words like evil and vicious, they meant nothing to Nature. Yes, evil was a human invention† and the brainwashing of someone’s thoughts and actions are causing them to stay in the world. The power in this film is extensive and the characters of Stephen, Monsieur Candie, and Django show us who we have been and are becoming in contrast to Dr Schultz who shows us who we need to be. Otherwise we may see the world crumbling under the weight of exclusion and hatred. By the end of the film, we begin to complement Dr Schultz on his innocence and purity and commend him on his disgust to the act of slavery. Tarantino’s postmodern film informs us of the reluctance towards addressing issues of violence and race by covering it with sadistic comedy a nd action however by the end of the film we realise his motivation and purpose of re informing us of our history and how dreadful and saddening the slavery time was whilst also informing us of this path we are choosing to retake as we step into this modern-day society. Through his postmodern film, adding aspects of very modern filmic techniques, we are able to clearly associate our actions of past with present and are able to see the definite resemblance between the two and if we do not do anything about it, we will enter into a never-ending circle of past and present. The overall damage that institutionalized racism and hatred can cause is considerable; it leads people away from what they truly believe in and into the ideas behind someone elses thoughts and beliefs. The way Django and Stephen show this theme throughout the text makes it so much more powerful and opens our eyes to the change it causes. Ultimately if we keep following the credence of one person then we will all be clones of each other and the world would be plain. Django Unchained is able to teach us how Tarantino’s postmodern and controversial film highlights the racism and institutionalised hatred of the slaves at the time by firstly highlighting the power of institutionalising someone from anothers credence, and how easy it can be to accept and follow these once they have been forced into your life for so long despite your own past. Secondly, the way Tarantino is testing the audience by asking us to celebrate the actions of people like Monsieur Candie, Django, and Stephen who are all personalities that appear in our lives and we think nothing of their badness. This film saddened me by way of highlighting flaws in society and taught me that it is vital to respect and be kind to one another otherwise we will be caught up in lies and hate forever.

Political Power During The Time Of Sophocles King Essay

In the plays of Sophocles, we see various form and displays of political power. It is shown in a variety of ways. In both plays we see very similar displays of political power. When you think of political power today it is very different to how it was viewed back in the time of Sophocles. Sophocles shows examples of political power in his plays and these examples have many connections to people or things. In King Oedipus, we see an arrogant and very mean king. He cares about what the people need and want but he is arrogant and mean about it at the same time. He is also very paranoid about the people around him. During the time of King Oedipus, the king literally controlled everything. Kings during this time often relied on others when it came to making decisions such as the gods. We can ask many questions when it comes to political power in the plays of Sophocles. Can an arrogant leader really make the right choices for the people? 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Stress Is A Natural Part Of Life - 1496 Words

Stress is a natural part of life; it occurs as a natural physical and psychological response every time there is a change. It can be very good to people, helping them reach a certain goal (this type of stress is called eustress). The problem, and where stress gets an automatic bad thought, is when stress becomes distress. Distress is defined as â€Å"great pain, anxiety or sorrow; acute physical or mental suffering† (Dictionary.com). Doctors are taught different types of drugs to prescribe like antianxiety medications that all have annoying and unpleasant side effects - some can actually come with an increased risk for depression, which is something most people suffering from anxiety also experience. Doctors will also often prescribe psychotherapy along with the medication with the goal of decreasing the effects of anxiety (Maser ). However, many health professionals overlook one possibly more beneficial way of management - meditation. While there are many solutions for decrea sing stressors and their harmful side effects, meditation seems to be the most organic and beneficial. Stress can affect every system in a persons body, and can be linked to being a contributing factor to many diseases, disorders, skin problems and neurological degenerative diseases such as Parkinson’s (American Institute of Stress). The ‘fight-or-flight’ response, directly due to the endocrine and nervous system reacting to a stressor, causes a release of adrenaline and cortisol that results in anShow MoreRelatedAn Analysis Of Robert Sapolsky s A Primate s Memoir1632 Words   |  7 Pagesinto a novel, A Primate s Memoir: A Neuroscientist’s Unconventional Life Among Baboons, where he discusses the life of baboons and how they are similar to humans. I will analyze Sapolsky’s novel by explaining the complex social hierarchy he witnessed and discuss the ways in which the social hierarchy and rank system among baboons might compare to that of humans. 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La Giuditta Mixture of Traditional and Innovative Ideas free essay sample

Although It Is a religious piece, It concentrates on the spiritual, contemplative aspect of the story of Bathetic;s siege and its liberation by the beautiful widow Judith who seduced and killed the commander of the Assyrian army Holystones. Contrary to the rule of the three unities that limits opera, here, the composer switches action between Bathetic and the enemys camp. In his musical interpretation, the mixed use of traditional and innovative composed skills emphasize the text expression and makes La Jugulate one of the best oratorios of the Baroque era.In La Glutted, Scarlatti brings to the oratorio a greater homogeneity in terms of aria forms. The dad capo aria dominates, though not exclusively; a new sense of instrumental virtuosity reflects the affect of the textual moment, and there is a limitation of contrapuntal sections to the conclusions of two parts. In this oratorio, orchestras are growing larger by adding two flutes and a trumpet to the strings with the basso continuo accompaniment. We will write a custom essay sample on La Giuditta: Mixture of Traditional and Innovative Ideas or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Accompanied only by a basso continuo, around half of the arias are till of the older type while shorter arias of various forms are replaced by dad capo arias of ABA form.Moreover, recitatives with an orchestral accompaniment appear. Scarlatti innovative music characteristics let the music and text to be more tightly combined and make it easier for performers to express composers idea. The Stadiums Aria Ma so Ben in Part I and Aria La tea desert and Recitative Ma, chew pip tardy In Part II are the best examples to explain Scarlatti innovative Ideas. Ma so Ben Is a dad capo aria In ABA form that begins with a routinely- the violin with basso unto.In the key of D major, the soprano sings In a madrigal-Like way. Chromatics appears when Gaudiest sings l know well what plan for great victory is concealed in my breast and the word designed (my breast) is melodramatic since the composer wants to emphasize how hard the decision is in Stadiums heart. When part A ends, part 8 begins with l shall feign flattery and love. Part B is in a much complicated rhythm, showing syncopation and the use of form fixture. Then, with the same routinely melody, part A shows up again.This use of ABA dad cap form Is only within the strophes and the aria as a whole is in the old strophic form. In the key of C major, aria La tea desert in Part II start with the alternative melody of violins, basso continuo and two new- adding flutes. Notes for Gaudiest are basically syllabic except the moment she sings it may end our suffering. This moment also leads to a key change from C major to a minor, showing the composers emphasis on the suffering of Betrothals people. Then the recitative Ma, chew plus tardy begins.Like all recitatives, updated notes instead of leaps. This simple alternation of arias and recitative dominates the oratorio, showing Scarlatti idea that the free sequence of recitatives, arioso and arias give way to a regular alternation of recitative and arias. As for the texture, La Gaudiest is not tied down by the stage conventions of the opera. Judith (soprano), the Hebrew priest (bass), and Achier (tenor) present no problems, but Oasiss part was written for a male soprano and Holystones for a male alto.