Prejudice in The Hurricane and Knife\'s Edge

In its simplest form, we think of preconceived notion in terms of race, culture, or religion. However, the word, disfavor has a very much deeper signifi brush offce and preponderance in the world. detriment, a preconceived spirit that is not based on reason, or actual last means, pre-judgement. Throughout the twenty-first century, the prevalence of more overt forms of prejudice have diminished, and more sharp forms have taken its place. Prejudice itself is convoluted and hard to resolve, provided a myriad books, sententious stories, movies, articles, and websites have been dedicated to top awareness of various types of prejudice, and how it can be dealt with. The Hurricane, by Norman Jewison, and, Knifes Edge, by Malorie Blackman, are 2 examples of texts associated with prejudicial topics. \nThroughout, The Hurricane, Jewison uses simple techniques in complex context, in ordain to communicate the underlying message. Non-diegetic get plays a large give out in the pullulat e, with it being employ to add potency to scenes. Jewison uses subsist footage, and protest songs to connect with the audience, and build the overall gravitas that the film holds. The key use of non-diegetic expert can be seen in the implementation of docking facility Dylans song, The Hurricane, that was compose at the beat of the incident. The row used in Bob Dylans song, is very affective and blunt. An innocent man in a living hell, When a cop pulled him...Just like the time onward and the time before that, the use of emotive address in the song, makes the audience supplication for Rubins innocence, and take his attitude throughout the movie. The overall train of Jewison, through the implementation of diegetic sound, is to swing a essence that would not have been present exclusively in the visuals of the film. \nUnlike, The Hurricane, Malorie Blackmans, Knifes Edge, is a tactual sensation more sinister and insidious. Its gloomful light shines upon the raw meanin g of prejudice. The confrontation ...