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The film Sunset Limited is an HBO adaptation of Cormac McCarthy's play of the same name, and it is an in-depth character study of two individuals: Black (played by Samuel L. Jackson) and White (played by Tommy Lee Jones). In the beginning of the film, Black has already saved White from committing suicide and they are sitting together at a small, round kitchen table; viewers learn that Black was going to work when he saw White on the train platform about ready to jump in front of the Sunset Limited. Black is a religious Christian and White is an outright atheist; one believes in Jesus Christ and one believes in nothing; one has faith and one has no faith in anything. These ideological standpoints (the lack of an ideology is still an ideology) are the foundation of this text. The focus of Suset Limited is the push and pull between religious belief (Black) and philosophical thought (White), which ultimately will determine whether White stays and decides to live, or goes and decides to take his life. In essence, Sunset Limited is an exercise in rhetoric, in the art of persuasion, and how this artform can be used in both religious and secular conversation. This study of Sunset Limited will devote time to Cormac McCarthy's connections to religion and philosophy using research about his work; then, there will be an in-depth textual analysis of the film, which will speak to not only who these characters are but also what they want to relay to one another about what they know (rather than what they believe) about the world. Black and White are polar opposites of each other (black and white); what this essay intends to prove is that there are similarities to their thought processes, even if they may not recognize it. [ABSTRACT FROM AUTHOR]

Sara Austin's book, "Monstrous Youth: Transgressing the Boundaries of Childhood in the United States," explores the portrayal of monsters in mass media and their connection to cultural fears and the changing social boundaries of identity and citizenship. Austin discusses how monsters in popular culture are used by adults to educate or control young people, while young people themselves can embrace and identify with these monstrous figures. The book examines different time periods, including the 1950s, 1960s and 1970s, the 1980s, and the 1990s, and analyzes various forms of media such as comic books, picture books, television shows, and movies. Austin's work provides a cultural lens through which to understand and analyze monstrous works of horror and their impact on children. [Extracted from the article]

The essay explores a case study of the distortion of the interpretation of language-based rhetorical persuasion caused by de-politicization, using Steven Spielberg's film adaptation of Alice Walker's novel "The Color Purple." Cited are how a film adaptation can lead to de-politicization, "The Color Purple" as a de-politicized text, and Walker's discussions about womanism and Black child abuse as being the antithesis of the suppression of Black girls within Spielberg's patriarchal adaptation.

The reason for that, however, is not so much because of its page count or Curtis's stylistic choices; it is because Buster Keaton himself was constantly on the move, tirelessly working right up until his death from cancer in 1966 at the age of 70. Admittedly, James Curtis's I Buster Keaton: A Filmmaker's Life i is one of the most exhausting and exhaustive books about a celebrity I have ever read. There are multiple flashbacks throughout the book used as transitions from part to part but they are generally brief, so Curtis can get to Keaton's life story, starting at when he and his entire family were a vibrant vaudevillian comedy act during the turn of the 19th century. [Extracted from the article]