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Essay / Research Paper Abstract
A 12 page research paper that looks at three films. Modern filmmakers often use the anti-hero, the rebel, to emphasize the points that they wish to make about society and its moral ambiguity. While traditional values portray right and wrong in clear-edged, well-defined terms of black and white, filmmakers reveal the frequent hypocrisy that constitutes the actual reality of societal experience. This use of cinema is particularly evident in three films, Taxi Driver, Full Metal Jacket and One Flew Over the Cuckoo's Nest. Bibliography lists 5 sources.
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12 pages (~225 words per page)
File: D0_khcinreb.rtf
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wrong in clear-edged, well-defined terms of black and white, filmmakers reveal the frequent hypocrisy that constitutes the actual reality of societal experience. This use of cinema is particularly evident in
three films, Taxi Driver, Full Metal Jacket and One Flew Over the Cuckoos Nest. Taxi Driver Taxi Driver (1976, directed by Martin Scorsese for Columbia) pictures nightlife in New
York City, in its first scene, in terms that immediately conjure associations with hell in the minds of viewers. Seen from the viewpoint of the taxi driver, vapors billow up
from the streets, with neon lights glowing surreally though the darkness and the mist, "suggesting the private hell that torments" Scorseses protagonist, taxi driver Travis Bickle (Robert De Niro (Blake
4). Travis is an ex-Marine in his twenties, who suffers from insomnia. To make his nighttime wakefulness productive, he ferries his passengers through some of the most disreputable areas in
the city. This truly is a hellish underworld, as it is peopled by con artists, drifters, panhandlers and prostitutes. Travis refers to these people as "animals," yet --during his
rare off-hours, he does not leave this part of the city and spends most of his free time in the sleazy porno houses that he denigrates. This is the first
indication that the audience has that Travis is not quite normal, that is, that his combat experience has left him with mental scars that may have more serious ramifications than
just his evident social isolation. One day, Travis happens to see Betsy (Cybill Shepherd), an affluent young woman who is working to help elect a presidential candidate. Dressed all
in white, blond, beautiful, Travis perceives her as an angel, a symbol of purity in a dirty world. He drives by the Palantine campaign headquarters just to catch a glimpse
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