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- Creators: Barrett, The Honors College
- Creators: Lamp, Kathleen
An analysis of the relationship between haunted house films and economic anxieties of different cultures and time periods.
An entire decade of films that emerged from the Hollywood system during the blockbuster era of the 1980s is often summed up as one marked by a “curious and disturbing phenomenon of children’s films conceived and marketed largely for adults — films that construct the adult spectator as a child, or, more precisely, as a childish adult, an adult who would like to be a child.” If it is possible, as film theorist Siegfried Kracauer proposed, that “in recording the visible world — whether current reality or an imaginary universe — films … provide clues to hidden mental processes,” what are we to deduce about the mental processes of the American public who would pay to sit in a movie theater and watch Raiders of the Lost Ark (1981) or Rambo: First Blood (1982) for multiple viewings? In addressing this questions it may be helpful to turn again to Krakauer, who reminds us that a box office “hit may cater only to one of many co-existing [mass] demands, and not even a very specific one,” and that even if one could draw conclusions about the “peculiar mentality of a nation” by analyzing the “pictorial and narrative motifs” of box office hits, this “by no means implies a fixed national character.” This is a key insight because it implies a diverse national character composed of mass demands that remain unmet by the “children’s films” produced for adults which remain emblematic of Hollywood during the 1980s. In this thesis, I argue that the mainstream Hollywood film Beverly Hills Cop contradicts this notion because it employs sophisticated strategies to work as resistance against the dominant American cultural ideologies of the mid-1980s. I briefly contextualize the film in its historical and cultural setting. Then, I analyze three narrative aspects of the film. First, I begin with the various interactions Eddie Murphy’s character Axel Foley has with several “gatekeepers” throughout the film. Next, I analyze a scene in which Foley is assaulted by Sgt. Taggart of the Beverly Hills Police Department. Finally, I analyze Foley’s relationships with the supporting characters Mikey and Jenny. Beverly Hills Cop is one of the most popular and successful American films of the 1980s. Its subversiveness suggests the possibility that a host of other popular films from the decade are similarly sophisticated. This points to the need for a reexamination of a decade of American cinema that has been cast as “children’s films conceived and marketed largely for adults.”
Civic rhetoric among the medieval Nordic people relied heavily on hóf to keep civic practice manageable. Working in small towns and villages without central bureaucracies, reasonableness became important to the functioning of the village. Large scale disruptions could mean the death of all inhabitants in the area due to social disruption if violence occurred, so finding reasonable means of dealing with social problems was of paramount importance to the Norse. Using readings and analysis from the Icelandic sagas, I show the mechanisms of their rhetoric were used to manage civic life.
Legal rhetoric was also based on reasonableness. If civic actions became violent or potentially violent, then the courts needed a way to redress and maintain the peace in the area. The practice of law was heavily influenced by the rhetorical stance of hóf. The Scandinavian tradition of court cases appears in their early laws and in several sagas which allows a picture to be created of their rhetorical stance of reasonableness in the law cases. Analysis of historical data and saga manuscripts give evidence of a rhetorical tradition of reasonable redress in the legal system.