The theory involving Christine being determined to put an end to Rhoda's life can be related to her ration intervening, influencing her to take action before Rhoda continued her killings.
Rhoda pays special attention to the way that her mother sees her, and, even though she knows that her mother has the power to denounce her, she does not attempt to murder Christine. The next in Rhoda's list of killings would have been Monica Breedlove, taking into consideration the fact that the women had been closely connected to her, and that it had been possible for her to endanger Rhoda with the information that she knew.
The ending of the movie is most probably intended to present the audience with what it wants to see, someone finally punishing Rhoda, not through putting her into a mental asylum (as should have been the case), but by physically hurting her.
Sidney Lumet's 12 Angry Men is an American classic with reference to how most Jurors have the tendency to be prejudiced in the cases that they have to deal with. The film presents the case of a boy that had presumably murdered his father and is facing the death penalty, depending on whether the Jurors decide or not that he had indeed been guilty.
The Jurors are initially leaning towards declaring the young man guilty, but, due to the interference of Juror number 8, they all gradually change their opinions as they realize that there are several facts to consider when having to do with a murder suspect. As the movie advances, the audience learns that certain Jurors, such as Juror 3, had originally been influenced by their backgrounds when deciding the verdict.
As in all juries, the jurors appear to be qualified to fit their roles in the beginning of the trial, most likely...
It is almost impossible for one to have a jury of his peers, as this would mean that all of the people involved in judging him have been in his situation, and would thus be more capable of doing their job.
The role that Juror 1 has in the trial is to present the audience with the decision that the jury had reached.
As all people that have a job to do, Jurors are also predisposed to choose the quickest way out of the situation. However, Juror 8 is not willing to send a man to death just because the rest of the jury decided that that had been the right thing to do. It would be foolish and irresponsible for a juror to accept being influenced by the other members in the jury, especially when their decisions are not backed with strong arguments. When one is aware that his or her thinking can end an individual's life, it would be best if the respective juror paid a great deal of concentration on the case.
While a defendant's background could have influenced his or her activities, it would be wrong to judge a person depending on their past. Prejudice can play a decisive role in a trial, as some people can issue a verdict because of an absurd reason. A person's criminal record can also be of great importance when considering the impression left on the jury concerning the respective person. It would be less reasonable for the jurors to put themselves in the defendant's role when deciding the verdict, since such an act can influence them to be biased.
Regardless of the backgrounds and the excellence that the members of a certain jury have, it is still possible for their verdict to be wrong, since human error can intervene in the process of deciding the outcome of the trial.
Just as most of the jurors have had the inclination to find the defendant guilty at the beginning, the fact that Juror 8 voted the defendant innocent triggered a feeling in the rest of the jury, making them question their initial vote.
While eyewitness testimony cannot actually be verified, palpable evidence cannot be contradicted, thus making it possible for a verdict to be reached more quickly when there is evidence showing that the defendant is or is not guilty.
It is surprising when a vote of 11-1 for guilty changes into a vote of 12-0 for not guilty, this proving that prejudice can have a devastating…
Tap Dancing The ways that humans express themselves artistically often reflects the social, political and religious contexts of the times of their development. Tap dancing and its evolution is no exception to this rule and the many interesting components that are contained within this artistic tradition indicate a rich history of this performance art. The purpose of this essay is to discuss and analyze the art of tap dancing by exploring
Dorrance Dance's ETM: Double Down The Dorrance Dance Company is the brainchild of MacArthur Genius Grant Winner Michelle Dorrance. Although the viewer might presume that tap-dancing is a relatively traditional, even hackneyed form of American dance, Dorrance infuses it with new life and gives it a hip-hop beat. As noted in its review of the most recent Dorrance Dance production by the NY Theater Guide, ETM: Double Down at the
Dance Final Summer Solstice Festival Ideally, this festival will take place during the summer solstice. The solstice is generally regarded as taking place on June 21. Due to popular demand and the intense international reputations that Davis Jr., De Keersmaeker, and Baryshnikov have garnered during so many years of enchanting audiences, the festival will take place during a three-day span -- from Friday through Sunday -- beginning on the 19th and culminating
Lyrical jazz, another jazz form has a more ballet feel and look to it. In jazz dance, the motions are mostly slower and also have a fluidity that goes on to create longer lines and also to express stronger emotional connections. The movements are more strongly based upon the lyrics of a song and they express a similar if not identical ideas. Street-funk is also very similar and is related
Dance Peters The Pop Music Choreography of Michael Peters Few forms of dancing are more present in our popular culture than that associated with popular music. While the forms of tap, ballet and ballroom all occupy an obvious place in our academic understanding of dance, these are for the large part only seen in specialized contexts such as theatres and formal events. This contrasts the style of dance and choreography that accompanies
Strangely, the sense of freedom is observable even as the viewer consciously recognizes that it is not really present in the dance. Rainer's complete and continued avoidance of the camera's gaze mimics the original relationship between the dancers of Trio A and the audience, and the feeling it gives is one of avoidance due to oppression rather than the dancer's choice. In many ways, this sort of controlled freedom can