No heroes no villains essays
John Skagen was shot to death in a NY subway station on June 28, The Facts in this case are clear; Officer Skagen was coming home from court that day, he was in plain clothes at the time of the incident in question. He was off duty.
No Heroes, No Villains Essay - Words | Bartleby
As he went into the subway he had noticed a tall black male, with short hair, a dark complexion and a round face. Richardson was wearing dark pants and a waist-length green dashiki.
Tucked in his waist was a nickel-plated, snub-nosed,. On June 27, Richardson was on his way to work at Lincoln Hospital.
No Heroes, No Villains Essay
Something about Richardson caught Officer Skagens attention that day and officer Skagen reacted by drawing his off duty revolver and his badge, as he approached Mr. Richardson yelling, "I'm a cop! Get your hands up! Get Against the wall! Again he yelled get against the wall!
Four shots were fired. Two hit Skagen's shoulder. An third hit Richardsons groin. The fourth ricocheted around the station causing a chip of the cement to lodge in Sylvester Farish's an innocent bystander in the subway station forearm. James Richardson then fled the station yelling; "He is shooting! At that point Skagen was at the bottom of the stairs he raised his gun aimed and fired a single shot with hit James Richardson in the shoulder blade he still kept running. At this point two officers that were working out side the station that day heard the shots ring out and ran toward the T-station to find out what had happened.
At that point Officer Weiber began to hear the last shot fired by Officer Skagen at the bottom of the stairs in the subway.
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At which point Officer Wieber shot in the direction of the officer John Skagen in the subway and kept on firing his revolver till it was empty. James Richardson kept on running until he ran right into Police Officer, Jacobson's arms at which point they both fell over Richardson then pulled the gun on Officer Jacobsen.
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Archetypically, the terms "hero" and "villain" are as distinct as the terms "good" and "evil.
However, when we turn away from the archetypal world of fairy tales and comic books, this distinction is no longer as clear. When we look at real human beings we do not see heroes or villains, but rather individuals composed of varying degrees of both extremes. No hero is perfect, and no villain is completely void of components that constitute heroism. The most recent film adaptation of the DC Comic series Batman presents this truth of human nature. The Dark Knight Rises effectively communicates the blurred line that exists between heroism and villainy through the collaboration of imagery, sound, dialogue, and other film techniques, which troubles commonly held "good vs.
This idea of defying the expected separation of heroism and villainy is first introduced in the opening scene of the film, with the memorial of a fallen "hero" of Gotham, Harvey Dent.
The first image the viewer is presented with is an almost indistinguishable dark substance, visibly and audibly cracking like ice under extreme pressure. The lack of clarity as to what is being shown is unsettling, forcing the viewer to question what exactly is being cracked, or what crumbling foundation this image is representative of. It is with this frame of mind that the viewer is next presented with the words of Officer Gordon about Harvey Dent.
Paired with the previously mentioned imagery, as well as a heavy score, his descriptors such as "friend" and "inspires us" sound insincere. However, the viewer is soon introduced to the memorial's venue, which is a formal, well-attended affair clearly for the purpose of commemorating a beloved fallen hero.
It takes place during evening, and the figures are dimly lit. The lighting, sound, and opening imagery conflict with the objective premise of the scene, in that rather than evoking honor or nostalgia, they instead have a disquieting effect. Without previous knowledge of Harvey Dent, the viewer may not be able to draw any direct conclusions about his character, but this brief clip effectively introduces the concept of questioning those who may be regarded as heroes, priming the viewer for the film's continued rhetorical development surrounding the indistinct properties of heroism and villainy in human nature.
The scene that immediately follows involves workers of a known "masked man" named Bane being transferred onto a plane run by a CIA employee, and this sequence utilizes sound to make implicit claims about heroism and villainy. This serves as the introduction of the film's antagonist Bane, who is revealed to be one of the men brought on the aircraft , but this "masked man" is ironically not nearly as unlikeable to the viewer as the CIA worker. The CIA officer yells each of his lines in a tone that suggests both arrogance and instability, which directly contradicts the viewer's expectations.
Many viewers may associate the Central Intelligence Agency with high-moral, high-intelligence men working to ensure the country's safety, and therefore it would strike them as unusual that this character is presented in such negative light. This presentation causes the viewer to consider flaws in structures previously believed to be practically infallible.