Faster Pussycat Essays

People are not truly good at heart “In spite of everything I still believe that people are really good at heart.” These words were spoken by Anne frank. She wrote these words in her diary in the attic of her father’s business. She was hiding from the Nazi’s, and hid among several other people in a confined area. Anne thought that everyone was truly good-hearted. She sadly died in a concentration camp about a year later.The truth is people are not good at heart. people are selfish, they are in

Both the poem “Warren Pryor” by Alden Nowlan and the short story “Harrison Bergeron” by Kurt Vonnegut, Jr express a depressing tone. “Warren Pryor” is about a son who chooses a career that he dislikes in order to please his parents. “Harrison Bergeron” is about a dystopian society where excellence in any way is considered a disadvantage and inequality for others. In both texts, the protagonists all face the barrier of having their nature being stifled; however, the speaker in the poem chooses not

“Run Lola Run” and “Faster, Pussycat! Kill! Kill!” both overturn the aesthetic expectations of cinema to make their underlying social message digestible to the audience. Even though both films show strong female leads, these two films mask this feminist message with their strange aesthetics. Though in retrospect, both films deeply criticized societal norms, they did not come off as preachy. Rather, the films’ criticism of society is overshadowed by their strange cinematic aesthetic. This makes the

It seems that they both have the same idea at the same time. Turning to walk home, the back of their hands brushed against each other. Without looking their finger intertwined and they were holding hands, walking a little faster pace than before. Staying close to home in the cold winter months, as do most of the older people of the village, Kris spends the time working on his hobby. Whittling, carving and making things out of wood from trees he harvested for their forest

awareness is quickly forgotten, due to the fact the woman possesses something else: breasts, feet, legs, etc. But ultimately the young boy is unaware of the feelings that are occurring. Fetishized elements are present in Russ Meyer’s 1965 film Faster, Pussycat! Kill! Kill! Meyer employs fetishism not only at the level of the conscious—the women’s exposed chests, low cut shorts, blatant sexual innuendos, and suggestive dancing but also subconsciously within film form. It is the non-obvious forms of