Twelve Angry Men Juror 8 Analysis - 1084 Words

Justice or Freedom In the drama Twelve Angry Men by Reginald Rose, juror 8 does a good job in persuading the other jurors to listen and reconsider the evidence. He uses his rhetorical appeals to captivate the other jurors attention. He gains an authority towards the other jurors which makes them trust him more. Juror 8 deconstructs the testimony and evidence with his rhetorical appeal to make the other jurors consider the innocence of the defendant. First, Juror 8 establishes his credibility to support his arguments. He becomes the authority to the other jurors. â€Å" I want to call for a vote. I want eleven men to vote by secret ballot. I’ll abstain. If there are still eleven votes for guilty, I won’t stand alone† ( page. 11 ). This is the†¦show more content†¦Now No.8 tells No.9 he can say what he wants to say about the old man for the reason he lied. No.9 say, â€Å" This is a quiet, frightened, insignificant man who has been nothing all his life, who has never had recognition - his name in the newspapers. Nobody knows him after seventy-five years. That’s a very sad thing. A man like this needs to be recognized. To be questioned, and listened to, and quoted just once. This is very important† ( page.16 ). Juror 8 tells juror 9 it is okay to say your own opinion. All the other jurors feel comfortable saying their own opinions because juror 8 voiced his own. â€Å"Look this boy†™s been kicked around all his life. You know, living in a slum, his mother dead since he was nine years old. That’s not a very good head start. He’s a tough, angry kid. You know why slum kids get that way? Because we knock’em on the head once a day everyday. I think maybe we owe him a few words. That’s all.† ( page. 5 ). No.8 is trying to make people feel bad for the boy. He’s trying to say that they shouldn’t convict him because he hasnt had the best life so he needs to have the opportunity to live the rest of his life doing something that makes him happy. Juror 8 is so powerful he can make all the other jurors say their own opinions. Because of his pathos and his strong ethos the other jurors will listen to his logical appeal about the case. Third, juror 8 uses his logical appeal in the case to show the other jurorsShow MoreRelated12 Angry Men Movie Analysis Essay1174 Words   |  5 PagesAssignment: Twelve Angry Men Movie The movie Twelve Angry Men is about the twelve jurors that could adjust their influence in a decision-making process for conviction an eighteen years-old boy, whether the boy guilty or not guilty in murdering of his father. It represents a perfect example for applicable of a work group development framework. It also has examples of influence techniques among a group’s members. This paper is looking at those specific examples in the movie and focusing in analysis theRead MoreGroup Communication In 12 Angry Men935 Words   |  4 Pages12 Angry Men: Group Analysis Paper In 1957, the producers H. Fonda, G. Justin and R. Rose collaborated with the director S. Lumet to create the film, 12 Angry Men. In this paper, I will provide an analysis of the small group communication displayed by the main characters in the motion picture. I will discuss group communications, group development, group membership, group diversity, and group leadership. These topics will be dissected in order to properly examine the characters’ behavior. TheRead MoreAnalysis Of The Movie Twelve Angry Men 890 Words   |  4 PagesTwelve Angry Men Introduction The movie â€Å"Twelve Angry Men,† portrays the story of twelve jurors from different walks of life and how they came to a difficult decision regarding the life of an eighteen year old Puerto Rican defendant. The defendant is on trial for premeditated first degree murder of his father. The scene takes place in a New York City jury room. The evidence presented to the jury alleged the youth murdered his father with a switchblade the night of the murder. The story began atRead MoreAnalysis on Twelve Angry Men1086 Words   |  4 PagesAnalysis on Twelve Angry Men The movie Twelve Angry Men portrays an array of group dynamics by including the structure and functioning of groups, as well as the different types of roles each character plays along with their conflicts. The film displays these elements through a jury deliberation and the joint effort and the functioning of several minds together to search for the truth. These are just a few characteristics of group dynamics at work that is seen throughout the film. Group Purpose andRead More12 Angry Men Movie Analysis782 Words   |  4 PagesTwelve Angry Men Analysis BA 321 Reaching a unanimous vote, beyond a reasonable doubt, was a difficult task for the jurors represented in the film, 12 Angry Men. All but one were convinced the boy on trial was guilty of first degree murder based on eye witness testimony and circumstantial evidence. Uncomfortably hot and sweaty, one intent on getting to a ball game, eleven of the twelve jurors had no intention to stop and think about the life contingent on their verdict. The entireRead MoreUse of Persuasive Argument in 12 Angry Men Essay1037 Words   |  5 PagesThe movie â€Å"12 Angry Men† examines the dynamics at play in a United States jury room in the 1950’s. It revolves around the opinions and mindsets of twelve diverse characters that are tasked with pronouncing the guilt or innocence of a young man accused of patricide. The extraordinary element is that their finding will determine his life or death. This play was made into a movie in 1957, produced by Henry Fonda who played the lead role, Jur or #8, and Reginald Rose who wrote the original screenplayRead More12 Angry Men Analysis909 Words   |  4 PagesPerspective: Heads or Tails The 1957 film 12 Angry Men is based around a group of twelve jurors as they decide the fate of a boy accused of murdering his father. From the very beginning the group is divided between those that think he is guilty, and those that don’t know. Every juror has their own opinion and reasoning behind their position, but there are two men that seem to become the backbones of their respective arguments. For the majority voting guilty, Juror #3 is the the critical thinker who triesRead MoreGroup Decision-Making, Leadership, Influence and Power: Illustrations from the Film â€Å"12 Angry Men†1703 Words   |  7 PagesThe film â€Å"12 Angry Men (1957)† present a diverse group of twelve American jurors brought together to decide the guilt or innocence of a teenaged defendant in a seemingly open-and-shut murder trial case. The film illustrates the advantages and disadvantages of group decision-making, group developmental stages, leadership personality and models, socia l influence tactics and outcomes, and the bases of social power. The following advantages of group decision-making were demonstrated in this approximatelyRead MoreMovie Analysis : 12 Angry Men1639 Words   |  7 PagesSummary The movie 12 Angry Men is a depiction of a jury deliberation in the 1950’s involving the trial of a teenager that is accused of murdering his father. These twelve men were brought together by a random selection process to make a unanimous decision. In the beginning, all jurors believed the boy to be guilty without a doubt, except for one. Juror 8 continues to raise questions pertaining to the facts presented, while slowly convincing the other jurors to take another look before determiningRead More12 Angry Men - Analysis3445 Words   |  14 PagesIntroduction 12 Angry Men (1957) is one of the most acclaimed feature films of all time. It was produced at a time when the United States was just twelve years out of World War II and â€Å"Leave It To Beaver† and â€Å"Father Knows Best† broadcast across television airwaves the perfection, conformity and affluence of American life that had been generated by the Great War. Additionally, this film was listed on the university syllabus as one of three films to see in regard to this course, Management 610 – Contexts

Epic theatre Free Essays

The only form that can grasp the processes which drama needs to grasp if it Is to provide an all-encompassing view of the world† BB’s ‘all-encompassing view of the world’ was Marxism. Epic Theatre derives from Greek. Epos, story. We will write a custom essay sample on Epic theatre or any similar topic only for you Order Now A form of theatre which self consciously narrates. Estrangement effect = estrangement/alienation effect: distancing the viewer from the action; encouraging rational thought and analysis; reducing emotional catharsis. Aristotelian Theatre / non-Aristotelian Theatre. Term derives from Aristotle’s Poetics. A. formulated an aestheuc based on catharsis, ( = purging of emotion through empathy), hence BB’s description of his Epic Theatre as â€Å"non-Aristotelian Theatre†. Epic Theatre = Historicised theatre, theatre about the present, but not set In the present. (Distanclatlon) verfremdungseffekt (V-Effekt): Entfremdung both equal alienation. But? Estrangement aims to facilitate rationality, reason, reflection; militate against empathy and catharsis; learning either from or against characters; making politics into art: â€Å"The politicisation of aesthetics and the aesthetlclsatlon of politics. â€Å" BB was also a great manipulator of genre. Adaptations, parodies, allegories, parables (political not moral e. g. Arturo Ui). 1 . PARODY: Keeping an existing cultural form, but inserting a different content. The Threepenny Opera (1928): an opera peopled by beggars, gangsters ; prostitutes 2. TRAVESTY ( = disguise): retaining a familiar existing content, but delivering It In a new or different form. Two examples: The Sex Pistols’ punk version of God Save the Queen. The credits’ music at the end of Michael Moore’s Bowling for Columbine? : the Ramones upbeat version of Wonderful world originally recorded by Louis Armstrong. Why is that travesty, and what’s the effect in the context of the film and Its subject matter (crime, racism and the gun-culture in the LISA)? 3. PARABLE: â€Å"Narration by analogy. A didactic narrative conveying a moral truth or message in another guise. † M. H. Abrams, A Glossary of Literary Terms, London, 1988. Compared to Kafka’s parables (e. g. Before the Law? 4. ALLEGORY: â€Å"A narrative in which the agents and action, and sometimes the setting as well, are contrived so as to make coherent sense on the ‘literal’, or primary level of significance, and also to signify a second, corresponding order of agents, concepts and events†. M. H. Abrams, ibid. The Resistible Rise of Arturo Ui (1941) reflects in parabolic form events in Germany 1929- 1939. Allusion, rather than direct one-to-one reference. Apparently/superficially about gangsters in 1930s Chicago, but actually about fascism’s rise to power in Germany. Hitler as A1 Capone, Nazi politicians as 1930s Chicago gangsters, but talking in classical metre ands presented as if in a classical tragedy. Also a parable, with a political moral: ‘The womb is still fertile†. Donmar Warehouse London, 2008: Arturo I as Robert Mugabe. . As parables by definition simplify complex processes, BB’s model of Germany 929-1938 is inevitably incomplete. What is missing historically? Complex negotiations re. Weimar cabinets before 1933 The book burnings (1933) The Persecution and expulsion of intellectuals (post-33) The Nazi Olympic games (August 1936) The Hitler/Stalin pact (August 1939) The Spanish civil war July 1936 – March 1939) The Munich agreement (Sept 1938) What is retained? 1 . The NAZI tactic of pseudo-legality , so for instance the Nov 1923 Beer Hall Putsch is referred to as a failed bank robbery. BUT: There’s no mention of Hitler’s electoral support 2. BB suggests that the petty bourgeoisie were forced to support Hitler. . Various political manoeuvrings around Hindenburg are addressed in the play, but Brecht’s portrayal distorts history: In reality the Junkers supporting Hindenburg were not captains of industry, but pre-industrial agricultural landowners, economically archaic, a politically powerful landowning elite. BB solves this problem by giving the cauliflower trust a dual function: they are both industrialists and they also represent the Junkers’ agricultural interests. 4. The ‘Anschluss’ (annexation into the greater German Third Reich in 1938) is portrayed by 8B, but BB gives a different reason for it n the play, so that Ul invades Cicero to allow business to expand its interest and markets. BB ignores the political and nationalist motivation of Hitler’s Anschluss, i. e. bringing the Germans ‘Heim ins Reich’. The play portrays historical figures in characters represent types: social, political, economic, class positions. Dogsborough represents the old right-wing traditional conservatives in Germany, Dollfuss the same in Austria, Trustherren represent the capitalists, and Kleinh ¤ndler represent the middle class. But BB gives hardly any insights into Hitler the person. Although Ui is a ively theatrical character, he’s very one-dimensional, a thug with hardly any charisma. Brecht: using non-realist techniques to penetrate beneath the surface appearance of capitalism to reveal its essential reality, its power strategies and economic relations. Dramatic realism (naturalism): Dismissed by Brecht as too preoccupied with the accuracy of surface details. The realist myth of a ‘slice of life’ Mere reproduction of reality is inadequate. dramatic action is Art as a lamp, not a mirror Illumination, v. reflection Art should draw attention to the conditions and the process of its own production Non-realist’: expose the illusion striven for by naturalist and realist writers and directors, the myth that what they offer an audience (in a theatre, cinema or wherever) is an uncomplicated unmediated â€Å"slice of life†. For Brecht non-realist methods, transcending the limitations of the strictly empirical, the verifiable, were (paradoxically? ) those most appropriate to understanding the true nature of reality, not Just its superficial appearance. Brecht believed he was not anti realism as such, he preferred a different form of realism. In this experimental sense Brecht was both a realist and a modernist. Typical techniques of Brechtian epic theatre in performance 1 . Announcer summarising the events to come. 2. Actors stepping outside their roles, addressing the audience, reminding us we are watching a play 3. Characters singing (as in opera, but to didactic effect) 4. Actors swapping roles (to prevent emotional identification). 5. (In film) Montage Verfremdungseffekt : a practical example SPRING The play of the sexes (regeneration of the species) is renewed Every Spring. The lovers Meet. The gentle embrace Of the lover’s hand makes the Girl’s breast tremble. Her fleeting glance beguiles him. In Spring the countryside Appears to the lovers renewed. The air is already warm. The days grow long and The fields stay light later. In Spring the trees and grass Grow free of inhibition. Fertilisation in the forests and fields gathers pace. And the earth gives birth to the new, Free from care and precaution. From the sound film Kuhle Wampe co-scripted by Brecht, Germany, 1931/2 James Lyon, Brecht and Hollywood Conclusion: Some broader Brecht issues to reflect on: BB’s primary attraction to Marxism was his thirst for greater knowledge and greater understanding of social processes, what he called the â€Å"temptation† of rational hought (Galileo? BB was above all a scientific thinker, who sought rational solutions to social problems. He rejected metaphysics and all forms of irrationalism, and prioritised empirical thought. Precisely because of his apparently total ; exclusive dedication to rationalism BB was worthy of the term UTOPIAN thinker. BB was the ultimate rationalist, more dedicated to the analytical methods of Marxist enquiry than to Marxism ’s practical implementation. Did BB fetishise idolise science? Did he acknowledge its limitations? How appropriate is BB’s work to the post-modern age, when scepticism about the ncritical appliance of science, and thus about the desirability of human progress humankind, seem to dominate the political agenda? How does the above relate to Life of Galileo? Is BB now pass ©, given the end of the Cold war, the demise of â€Å"real existing socialism† in eastern Europe, and the ‘disappearance’ of his chosen German homeland (DDR) after German re-unification in 1990? Or is BB’s project (to inject politics into art and art into politics i. e. to make both activities fun) now even more necessary? Look out for the predilection amongst some TV advert designers for Brechtian self- irony! The essays excerpted in John Willet’s The Theatre of Bertolt Brecht are a good starting-point for investigating Brecht’s views on theatrical practice. From The Modern Theatre is the Epic Theatre (notes on Mahagonny): the ‘shifts of accent’ between dramatic theatre and epic theatre. Wears down his capacity arouses his capacity for for action action provides him with sensations forces him to take decisions experience picture of the world the spectator is involved in he is made to face something omething suggestion argument instinctive feelings are preserved are brought to the point of recognition the spectator is in the thick of it, spectator stands outside, studies shares the the human being is taken inquiry the human being is the object of the for granted eyes on the finish eyes on the course one scene makes another each scene for itself growth montage linear development in curves evolutionary determinism Jumps man as a fixed point man as a process thought determines being social being determines thought feeling reason Brecht on Theatre. How to cite Epic theatre, Papers

Egyptian Sculpture Analysis Essay Example For Students

Egyptian Sculpture Analysis Essay His Wife, Infer-shames The Statue Group of En-shaft-aka and His Wife, Infer-shames was found in a rock- cut tomb at Dashes and sculpted by an unknown Egyptian artist in 2350 BC. The artist uses all aspects of composition to convey Egyptian dominance. Using a Standard Egyptian Scale, the figures were carved in proportions seen to be ideal by the Egyptians. The sculpture was carved out of limestone. It was richly painted with brightly colored paint. Now, only traces of the paint are visible. This piece is currently n view at The Walters Art Museum. En-shaft-aka is depicted is his most idealized form?muscular, athletic, youthful, and large in size, all of which evoke a sense of male dominance. His left leg advances forward as he rests his weight on his right leg. This pose creates a sense of depth and movement within the form, however in order to maintain durability, his legs are still fully connected to each other and to their base. The combination of his reddish skin tone, black painted eyes, and tightly curled, detailed wig is very typical of Egyptian Art in the Old Kingdom. The close attention to detail indicates how important the figure was and illustrates the skill of the artist. Infer-shames accompanies En-shaft-aka as his wife and inferior. She is not carved with the same attention to detail as her husband was perhaps because she was of less importance. Unlike the wig of her husband, the strands of her hair are not defined. Instead, her hair is merely a block of limestone. Infer-shames proportions are very naturalistic and they reveal the Egyptians ideal proportion of human features. Her waist is very slender while her hands and feet are too large compared o the rest of her body. En-shaft-aka and wifes faces are very similar to each other as well as to other portraits of their time, which confirms they were based off standard Egyptian ideals and were not veracious portraits. The over idealized forms lack character and individuality, thus ridding the piece of emotion. The figures rigid poses and lack of physical connection between each other thereby heightens this notion. With legs facing straight ahead, En-shaft-aka and his wife do not touch as they impassively and confidently gaze into the future, evoking a sense of permanence.