Sunset Boulevard

Yes, Norma Is That Crazy Sunset Boulevard constantly and persistently advances the theme that Hollywood creates movie stars that become engrossed with their own fame and then abandons them, leaving behind only their outlandish and outdated fantasies. The case of Norma Desmond is no different. Her out-of-touch relationship with reality is given form through her desire to make her â€Å"greatest picture yet. † The segment of Sunset Boulevard that will be analyzed in this essay is significant because, through the use and interplay of cinematography, editing, elements of Mise-en-Scene, and the dialogue, Norma’s delusions are highlighted and magnified.The first few moments of part one of the segment use specific elements of Mise-en-Scene and the dialogue to begin the reinforcement of Norma’s delusions. As her lavish and fanciful car pulls up to the studio door, Norma asks Joe if he would like to accompany her into the studio to meet with Cecil B. DeMille, but Joe refu ses. Joe is dressed fairly normally whereas Norma is wearing a fancy coat and hat to match her equally fancy car. This use of the costumes and makeup suggest that Norma is somehow out of place or out of time because her clothes do not match the occasion.When Joe declines to join Norma in the studio, he explicitly states, â€Å"It’s your script, it’s your show. † This part of the dialogue seems to suggest a separation between Norma and Joe. Norma is excited to meet with DeMille and discuss her movie whereas Joe is content to wait outside with Max and the car – Norma is alone. The next few moments of part one also contain some key lines of dialogue that seem to emphasize the anachronism of Norma Desmond and her fantasies. As she is hugged and greeted by DeMille, she recalls the last time the two had been together.She describes the time as â€Å"very gay,† suggesting that it is a very happy memory. She also remembers waving to DeMille and dancing on a table. It would seem that Norma still associates her relationship with DeMille, and consequently her career as a movie star, with fantastic memories of the past. DeMille mentions that many other people were dancing on tables as well, since Charles Lindbergh had just landed in Paris. This seems to suggest that Norma’s experience (and consequently, her past) is not s special and unique as she would like to believe, but Norma seems ignorant to this subtle suggestion because she is still engrossed by that memory. In the next section of part one, the dialogue between and the behavior of Norma and DeMille heightens the disparity of understanding between the two Hollywood greats. Norma behaves like classic Norma – pretentious with an inflated sense of self-importance. DeMille seems to be walking a line between careful respect and impatience.When Norma asks if he has read her script, DeMille waits for her to break eye contact before looking down and admitting in a rather exas perated and annoyed tone, â€Å"Yes, I did. † DeMille’s facial expression as he says this is key to understanding the distance between him and Norma. He is somewhere between anger, impatience, and confusion, whereas Norma is looking off-screen, seeming quite pleased with herself. DeMille leaves Norma in his director’s chair as he tells one of his assistants to get him on the phone with Gordon Cole, whose calls lead to Norma’s arrival at the studio.The difference between DeMille’s and Norma’s facial expressions and tone reinforce the idea that Norma is living in a fantasy and is separated from reality. The next section of part one uses costumes, lighting, and specific shot angles to reinforce Norma’s delusions about her current importance. A high angle shot of Norma in DeMille’s director’s chair is combined with the use of a spotlight to further Norma’s fantasies about her current importance. When the lighting man puts the spotlight on Norma and exclaims that it’s Norma Desmond for everyone in the studio to hear, the people in the studio surround Norma.Most are dressed for the picture that is being made by DeMille, but there are also a few policemen and normal people as well. The crowd around Norma that is showering her with affection is almost entirely comprised of people in strange clothes. This would seem to suggest that Norma’s sense of self-importance isn’t based in reality. Rather, it is a product of the fantasy world she lives in. In the final moments of part one, non-diegetic music is combined with the dialogue to show that Norma has no idea why she was being called by Gordon Cole.While DeMille is on the telephone with Cole, non-diegetic music is used to heighten the tension and suggest that a revelation is about to be made about the true purpose of the calls to Norma. When Gordon reveals that he was only interested in renting Norma’s luxurious car for a pi cture that is being made, a sudden burst of non-diegetic music is inserted. This music accentuates the difference between Norma Desmond’s reality and actual reality. DeMille pops the fantasy bubble Norma is in by breaking up the crowd of her fans around her and getting the spotlight taken off her.Norma’s fantasy is contrasted with DeMille’s reality when he tries to explain the mix up. She begins weeping out of gratitude for her fans whereas DeMille is trying to let her down as easily as possible. He highlights how detached Norma is when he says that pictures have changed quite a bit since she had been a star. The first half of part two uses cinematography to contrast the Norma’s past and the present. As Max tells Joe about Norma’s old dressing rooms, the camera remains on the car. Joe doesn’t look up at the offices. He doesn’t even seem all that interested in Max’s story.Only when Joe notices Betty does the shot cut away from t he car. Max is still talking but Joe is much more interested in Betty. This use of shot control seems to suggest that Norma and Max’s past is irrelevant to Joe – all he cares about is Betty. The second half of part two uses dialogue to reveal to Max the true nature of the Paramount visit, which shows just how deluded Norma is. Two studio workers walk up to the car as Max is waiting for Joe and Norma to return and ask if they can take a look at the â€Å"funny old car Gordon Cole was talking about. † Max defensively asks what is so funny about the car.He cannot seem to notice how very out-of-place and out-of-time the car is, just as Norma is. The first section of part three uses lighting to contrast with part one. In part one, the inside of the studio is very dark, whereas part three is lighted very well. Betty’s office is well-lit through the open windows and doors, which seems to suggest an air of new life and positivity. DeMille’s studio is quite dark while Norma is present. This contrast seems to highlight the difference between reality and fantasy. Joe and Betty are living in reality – their lives are healthy and growing towards the future, hereas Norma is still living in her past fantasy. Throughout part three, the cinematography and editing, the choice between reality with Betty and fantasy with Norma for Joe is highlighted. Whenever there is a significant portion of Betty’s window visible in the shot, Norma’s car is also visible through the window. As Betty and Joe discuss how to fix up Betty’s script, we can still see the studio workers walking around the car, examining it. Part three also makes significant use of diegetic sound and dialogue to contrast fantasy with reality.As Betty asks Joe to meet with her to work on the script, a car horn begins to honk, calling Joe back to Norma’s fantasy world. Joe takes heed and tries to wrap up the meeting with Betty as soon as possible. Betty , however, is quite insistent and pesters Joe to meet with her. The longer she keeps Joe waiting, the longer and louder the car horn honking becomes. This seems to suggest that Norma’s fantasy world is calling Joe back, keeping him from fully engaging with the present reality. Part four mostly uses non-diegetic sound and music to finish the contrast between reality and Norma’s fantasy.After Max explains to Joe the true reason for the Paramount calls, the camera immediately cuts to Norma and DeMille exiting the studio through the same door they entered earlier in the segment. As Norma insists she isn’t worried about anything and DeMille tries to ship her off without indicating his knowledge of the situation, dark and mysterious music plays. Everyone knows except Norma – not that she cares. Norma is stuck in her fantasy world, convinced that it will become reality. She never picks up on the subtle clues that DeMille gives throughout their interaction that h e has no intention of making a movie with her again.Sunset Boulevard’s theme that Hollywood creates movie stars that become engrossed with their own fame and then abandons them, leaving behind only their outlandish and outdated fantasies, is excellently exemplified through Norma Desmond. Her out-of-touch relationship with reality is given form through her desire to make her â€Å"greatest picture yet. † This segment of Sunset Boulevard is significant because, through the use and interplay of cinematography, editing, elements of Mise-en-Scene, and the dialogue, Norma’s delusions are highlighted and magnified.

A Year Down Yonder

A year Down Yonder is about a girl named Mary Alice who goes to live with her Grandma in a small town with only her cat Bootsie and her potable radio that she says is her last touch with the world. This chapter is called Rich Chicago Girl. Mary Alice gets off a train from Chicago. After they leave the station Grandma enrolls her into school on the first day she arrives! Mary Alice sits next to Mildred Burdick who Grandma says to stay clear of but gets into deep trouble with and her horse ends up losing her horse and having to walk miles to get home. And that’s the end of this chapter. The 2nd chapter is Vittles n’ Vengeance.It was Halloween time in grandma’s town which meant pranks going for weeks and half the privies are going to be on the ground be the time Columbus Day is over. There was a letter sent out from the school saying there is going to be a party and to bring refreshments. The first prank that had happened to them was when they put twine around her t ail and put a can at the end. Grandma made a horrid smelling glue to use on the pranksters and we set off to make a trap, we waited in the cob house for the pranksters to come and when they did they fell over the wire and the leader got glue on his head and he fell on his nose and lost his knife.We went to old man Nyquist’s house for pecans but he says we can only have pecans off the ground so grandma drives his tractor into the tree so pecans would fall! They also went into the Pensingers backyard to take some pumpkins! At the party Grandma served pumpkin and pecan pies and when Augie Fluke came for some grandma saw Augie with his broken nose, his scabbed bald head, and served him with his own knife. And that’s the end of this chapter. The name of this chapter is A Minute in the Morning. This chapter is about Armistice Day and of the turkey shoot.At the turkey shoot the woman are selling burgoo and the men are practicing shooting turkeys. Grandma tries to make the ric her people pay more and let the poor people not have to pay at all. All the money is said to go to charity and this year Miss Abernathy is the charity. At a certain time in the day everyone put their hand over their heart, stood east, and thought about the people who died for us. That was the end of their day. The 4th chapter is Away in a manger. It is Christmas time in grandma’s town and the school is going to do a Christmas program at the church.Grandma and Mary Alice went out to trap fox but even though Mary Alice doesn’t like the trapping and the screams of the fox she doesn’t want Grandma alone. Mary got the part of Mary for the Christmas program. During the Christmas program the baby Jesus screams, but it’s supposed to be a doll, the baby is a Burdick. Joey came to visit for Christmas! They had a great Christmas. Hearts and Flour is the name of this chapter. It starts out with Mrs. Weidenbach asking Grandma to make cherry tarts for the DAR because W ashington birthday tea.There is going to be a valentine exchange at the school and there is also a new boy named Royce and everyone has a little crush on him. The next day when Mrs. Weidenbach comes again Grandma says that the party has to be at her house or she can by some cherry tarts. At the valentine exchange Ina-Rae got three more valentines than anyone else and one of them is from Royce and that makes Carleen go ballistic. At the party Grandma is really dressed up and Mrs. Willcox and Aunt Mae Grizzwald were there. When everyone was there it turned into a disaster because Mrs. Weidenbach found out that she is a Burdick!That’s the end of that chapter. A Dangerous Man is the 6th chapter. It is March and Mary Alice is 16 and she got a dollar from her mother. One day Bootsie showed Mary Alice her kitten and Mary Alice named it April. A man came by one day and asked if he could rent a room and Grandma charged him $2. 50 a day! Mary Alice wanted Royce to come over to â€Å"s tudy† math together and he said OK. When he got there they heard a scream from the attic and out came Maxine Patch with only a snake around her and a flower in her hair and then Royce left. That was a crazy chapter. Finally my favorite chapter Gone With the Wind.School is almost out and out of nowhere the siren on the water tower went off and Mary Alice didn’t know what was happening. Everyone was heading towards the basement Mary Alice saw Grandma and had to make sure she was ok. They were both inside and Grandma told Mary Alice to go to the south west corner and we were both sitting down when Grandma let go of Bootsie and April. Grandma said that after Mary Alice leaves she’s going to turn it into a rooming home. That’s the end of that chapter. The last chapter is Ever After. When Royce and Mary Alice get married at Grandma’s house. They lived happily ever after.

Research Material on Twelve Angry Men - 1249 Words

Twelve Angry Men the Jury System Abstract Juries are supposed to be fully prepared for their tasks prior to sending them into deliberation, and this is the responsibility of the judge presiding in any case. However, the film Twelve Angry Men shows that in the 1950s the judge may fail to fully educate the jury regarding the concept of reasonable doubt. Moreover, even in todays system of justice there is confusion as what reasonable doubt really means and how it should be applied. Introduction When accused of wrongdoing or of a specific crime, American citizens are afforded certain rights thanks to the system of democracy in the United States. A trial by jury with jury members made of ones peers is the right that plays the overwhelmingly salient role in the movie 12 Angry Men. This paper delves into the jurys role in the movie along with the role of a jury in the American justice system. The thesis: a) the American system of justice has come a long way since the 1950s, when judges did not necessarily explain to juries that the accused cannot be convicted unless there proof beyond a reasonable doubt that he or she is guilty; and b) there are legitimate questions raised as to what reasonable doubt really means. The Jury System and 12 Angry Men The make-up of the Jury in 12 Angry Men was vastly different than would be expected today. It is quite likely that a jury today in a case like this would be made up of nearly half women, and if the accused wasShow MoreRelatedRacism, Discrimination, And Prejudice1458 Words   |  6 Pagessomething that some people used to get more work done, it was a crucial part in the economy and production throughout the states. The Atlantic slave trade was â€Å"The enterprise that brought African men and women to the Western Hemisphere† (Wright). 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Essay on History of Crucifixion - 6118 Words

History of Crucifixion We know that in those final hours of His life Jesus was crucified. But what exactly is a crucifixion? The first known practice of crucifixion was by the Persians. Alexander the Great and his generals introduced the practice to the Phoenicians, Egyptians and Carthaginians. The Romans learned the practice from the Carthaginians and quickly became very efficient and skillful at it. Over time the Romans made several innovations and modifications in the method of crucifixion. 1 Roman citizens were rarely crucified. Crucifixion was reserved for slaves, the lower classes and the worst types of criminals. The Christian tradition that says Peter was crucified, and Paul beheaded, agrees with the historical Roman†¦show more content†¦It was the normal procedure of the Romans to flog the victim until his blood began to flow.11 Roman scourging was so severe that victims often died under it. 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Essay On Children With Explosive Anger Outbursts - 952 Words

DSM-5 is children with explosive anger outbursts and has persistent irritability; DSM-5 can also present many different psychiatric illnesses. The scientific support for DSM-5 comes from studies of the related but not identical to severe mood dysregulation. The diagnosis has criteria for frequency (three outbursts per week), persistence, duration, and age. Negative moods like depressed, angry, sad, irritable, or low frustration tolerance was present in 8-13% of the school-aged children. About 25% of school-age children with oppositional defiant disorder can also qualify them for DSDD. Severe tantrums were present in 81% of preschoolers, 18% of them had at least 3 outbursts a week and 21% were in a negative mood. Once the age criteria was†¦show more content†¦Ã¢â‚¬ ¢ Changing the way children are diagnosed by using an 11-item list with rankings that determine if the child has DMDD. †¢ Adding another section only for conditions that require additional research before being a true diagnosis. †¢ Recognizing hoarding, post-traumatic stress and binge eating disorders. Although these changes were made some experts are concerned Is the DSM-5 disordered? Dr. Joel Paris, professor and chairman of the department of psychiatry in McGill University, Montreal said there is a big problem with the new manual because it doesn’t address the â€Å"diagnostic epidemic†. People can be taking a stimulant for no reason. Dr. Thomas Insel, the director of the U.S National Institute of Mental Health, announced a new research project that will use genetics, imaging and cognitive science as a new classification system. According to Dr. Paris, the removal of the bereavement exclusion from the systems of the depressive category was a bad idea since depression is over diagnosed. He stated that 11% of the population of the Americans is on antidepressants. Another Psychiatrist, Dr. Suzane Renaud was hoping for DSM-5 to include things for borderline personality. She said I would have expected the DSM-5 to use the multi-dimensional approach for personality disorders because this is where were at clinically and in research, but they kind of withd rew it, saying that it was too complicated for clinicians. Below there isShow MoreRelatedCrime Prevention in Schools Essay2591 Words   |  11 Pagesstudents were suspended at South High School in Cleveland and one of them was arrested after a sophomore threw a chair that knocked out an assistant principal because of a brawl between students. 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Eliot To Ann whose love and support has brought out the

Diels Alder Lab Report free essay sample

Be sure to address any questions posed in the lab procedure as well as any additional questions that your TA wants you to answer. You should also analyze any NMR spectra that you have from the reaction (if applicable). Spectra of starting materials are available on the Vista site. This reaction was carried out using standard reflux conditions. Both the anthracene and maleic anhydride dissolved immediately in xylene to give a slightly yellow solution. As the reflux was conducted, the reaction mixture appeared to darken a bit in color, and after 30 minutes, it was a distinct yellow color. Crystal formation occurred almost immediately after removing the round-bottomed flask from the heating mantle, with even more crystals forming during the time the flask was in the ice bath. The crystals were a pale yellow color, with an irregular, powdery shape. The crude material was recrystallized from boiling xylene. Xylene is an excellent solvent for both anthracene and maleic anhydride, as evidenced by their complete solubility in the early part of the synthesis. We will write a custom essay sample on Diels Alder Lab Report or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Due to this fact, any unreacted starting materials would remain soluble throughout the recrystallization process. Additionally, the Diels-Alder product is soluble in boiling xylene, but insoluble in cool xylene. This makes for an ideal recrystallization solvent. The purified crystals that were collected from the recrystallization were a faint off-white color, with a regular, shiny plate-like shape. The purity of the crystals was improved as seen in the melting point for the recrystallized product. This particular Diels-Alder reaction exploits an interesting phenomenon. Although aromatic compounds do not normally participate in Diels-Alder reactions, the central ring in anthracene is reactive as a diene. Since all three rings of anthracene can not simultaneously have benzenoid character (Figure 1), the electrons in the pi system of the central ring react more like those of a standard diene. The reaction of the central ring in anthracene allows for the formation of two, independent benzene rings, as seen in the mechanism outlined in Figure 2. (You can hand-draw structures in ink. ) Figure 1: Resonance structures of anthracene. All figures should have captions. ) xylene140 COOOOOO Figure 2: Mechanism of the Diels-Alder reaction. Conclusions Write a brief paragraph that summarizes your results. The Diels-Alder adduct, 9,10-Dihydro-9,10-ethanoanthracene-11,12-dicarboxylic anhydride, was successfully synthesized from anthracene and maleic anhydride.

Tarantino and Scorsese considered auteurs Essay Example For Students

Tarantino and Scorsese considered auteurs Essay The auteur debate was initiated by Jean-Luc Godard and Francois Truffaut, 2 key French New Wave directors.  Both Scorsese and Tarantino are considered by many to be auteurs, many film critics and others in the industry have stated that with films made by both these directors can be identified as theirs before being told so. This is a true auteur; someone who can make all their films along the same guidelines, and put their stamp on every scene of every film. They bring their character, thoughts, feelings and interests to their films, the films seen personal to the director. Tarantino is probably seen as the most famous auteur, most people, whether theyve watched his films or not, know he has a certain style of film making. In all his films Tarantino uses dark humor, for example he tries to make violence appear funny, he takes aspects from other films, whether this be a scene, a character, a storyline or a technique, music from the 1970s and a large amount of the same actors. We will write a custom essay on Tarantino and Scorsese considered auteurs specifically for you for only $16.38 $13.9/page Order now Tarantinos first major film that set him on to be an auteur was Reservoir Dogs made in 1992. Almost immediately, one of Tarantinos symbolic features is used, we see someone torturing someone else whilst making jokes, i.e. making violence seem funny, and dancing along to Stuck in the middle with you thus using seventies music and dark humor.  Reservoir Dogs, being the first of Tarantinos films, meant it is slightly different to lots of his other films, some aspects of it, although similar to his auteur styles in later films, are not quite so prominent, this could be because as a director starting out, he had to see how the audience would react to things such as his use of dark humor. If they liked this he could develop it further in later films, as we see he goes on to do. Another thing which is done in Reservoir Dogs, is Tarantino giving characters mysterious names, the characters are known by their surname for example Mr. White.  Tarantinos use of 1970s music is seen in all of his films, this aspect of his films tends to agree with the definition of him being an auteur. In Jackie Brown (1998) the beginning credits and sequence is accompanied by music from the 1970s. Pulp Fiction (1994) also has a large amount of music from the 1970s, throughout the whole film. Essentially the only music that is heard in all of Tarantinos films is from the 1970s. By doing this, Tarantino is making it easier for the audience to recognise that these films are in fact his. It is not just the music that Tarantino uses to make references to the 1970s. He, in fact, makes many references to the 1970s in his films, for example in Kill Bill (2002) the film starts with Our Feature Presentation written on screen, which was often used on films in cinemas in the 1970s. Another example of reference to the 1970s is in Kill Bill 2 (2004) Tarantino puts in a character called Pie May which is a direct reference to the martial arts character of 1970s films.  Tarantinos vast amount of 1970s references, are used because they represent Tarantinos views and personal likes as he grew up in the 1970s and identifies largely with things from this era. Something else which we see in most of not all of Tarantinos films is the use of feet. Tarantino himself had a thing for feet and so portrayed this in his films. For example in Jackie Brown in the sequence where we are introduced to Bridget Fondas character, Melanie, we see her feet first and often when she is talking the camera is focused largely on her feet. Also in Pulp Fiction, there is conversation about feet, as the two main characters, Vince and Jules are walking into the building at the beginning they talk about foot massages. .u50236b095f9af4ee1c00c1fd1f72f904 , .u50236b095f9af4ee1c00c1fd1f72f904 .postImageUrl , .u50236b095f9af4ee1c00c1fd1f72f904 .centered-text-area { min-height: 80px; position: relative; } .u50236b095f9af4ee1c00c1fd1f72f904 , .u50236b095f9af4ee1c00c1fd1f72f904:hover , .u50236b095f9af4ee1c00c1fd1f72f904:visited , .u50236b095f9af4ee1c00c1fd1f72f904:active { border:0!important; } .u50236b095f9af4ee1c00c1fd1f72f904 .clearfix:after { content: ""; display: table; clear: both; } .u50236b095f9af4ee1c00c1fd1f72f904 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u50236b095f9af4ee1c00c1fd1f72f904:active , .u50236b095f9af4ee1c00c1fd1f72f904:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u50236b095f9af4ee1c00c1fd1f72f904 .centered-text-area { width: 100%; position: relative ; } .u50236b095f9af4ee1c00c1fd1f72f904 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u50236b095f9af4ee1c00c1fd1f72f904 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u50236b095f9af4ee1c00c1fd1f72f904 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u50236b095f9af4ee1c00c1fd1f72f904:hover .ctaButton { background-color: #34495E!important; } .u50236b095f9af4ee1c00c1fd1f72f904 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u50236b095f9af4ee1c00c1fd1f72f904 .u50236b095f9af4ee1c00c1fd1f72f904-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u50236b095f9af4ee1c00c1fd1f72f904:after { content: ""; display: block; clear: both; } READ: Film Summary - The Help EssayTarantino often works with the same characters in his films, for example Samuel L Jackson appears in Jackie Brown, Pulp Fiction and Kill Bill 2. Also Uma Thurman appears in Pulp Fiction and both of the Kill Bill films.  Tarantinos films often involve long periods of dialogue which have no relevance to the film, but are used as to bring humor to the violence of his films. An example of this would be in Pulp Fiction, in the beginning Jules and Vince are in the car on their way to shoot someone, but are having a normal conversation about burgers. Tarantino also likes to play with graphics on screen, he often , uses captions on screen to show what is happening, or show the time it is when something happens, this happens in all of his films.  Another thing that is done by Tarantino is his invention of products, instead of using existing products and therefore using product placement, Tarantino likes to invent his own products to use, for example he invents the cereal we see in Kill Bill and the coffee we see in Pulp Fiction. One other thing that Tarantino often includes in his films, as that we see the same sequence but from a different perspective. This happens in Jackie Brown, when we see the women leaving the money in the changing room of a shop and it being picked up by someone else, twice but the perspective of two different people so are seeing two sides to the same story.  Tarantinos films are very different to the films of other directors in the way the narrative is structured, the types of storyline, the characters and the references in them. For this reason it is quite clear that Tarantino is a true auteur. Martin Scorsese is also considered an auteur, his films are all linked in some way or other and all have his signature over them. One film critic said of Scorsese Martys such an auteur; every frame of Raging Bull has his stamp on it. This is also said to be true of all of his films.  Martin Scorsese is hugely interested in the three themes of violence, religion and redemption; this can be seen in his films. The basic story line for each of the films is based around these themes.  Taxi driver (1976) is the story of a Manhattan Taxi driver, and his slow fall into insanity through a path of religion and violence. Travis is an insomniac living in New York; as a result of his insomnia he takes a job as night Taxi driver.