...character in Michael Crichton’s The Great Train Robbery. Throughout The Great Train Robbery, Edward Pierce displays this run-of-the-mill attribute of greed which comes to light as his motive for his grand heist. Gluttony is exceedingly blatant in people who are “well-to-do” (Crichton 5). Edward Pierce belongs in this category as he classifies himself as “a highborn gentleman” (5). With such innumerable wealth, Pierce does not need to commit this robbery, but wants more. Pierce...
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...In a capitalist, materialistic society, the concept of crime is a romanticized one, far-removed and scandalous in its operation. Crime is abstruse, and after centuries of pondering the same question, both psychologists and laymen would give the same vague handful of answers as to why crime exists: poverty, lack of education, and/or negative role models. In Michael Crichton’s The Great Train Robbery, the Victorian populace supposed crime a derivative of the above-stated sources, poverty being considered a sinful, fallen state, in which violence and filth fester. Edward Pierce, the enigmatically charming protagonist of Crichton’s historical novel, apparently suffers no such want, but is instead spurred towards his illicit actions by mere need for exhilaration....
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...The current incarnation of HBO’S Westworld series at the time of writing this is now on its third episode and enjoying universal critical approval. Mixing thought provoking science fiction with disturbing horror, the show poses a number of ethical and social questions about socialite’s rapid adoption and integration with technology. Where do we draw the line between artificial life and human life? Is it murder or infidelity if it is all artificial? These are poignant questions in 2016 and the show could not have arrived at a better time to explore these themes. To get a better understanding of this new incarnation we here in Film in Dublin have decided to revisit Michael Crichton Cult 1973 Original. Released incidentally only 2 days after...
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...Media History Contents 1 Introduction 1.1 Mass media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.1.1 1.1.2 1.1.3 1.1.4 1.1.5 1.1.6 1.1.7 1.1.8 1.1.9 Issues with definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Forms of mass media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Purposes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Professions involving mass media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Influence and sociology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ethical issues and criticism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Future . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1 1 2 6 6 7 8 10 10 10 10 11 11 12 12 12 12 16 16 17 17 17 17 17 17 18 19 20 21 21 21 1.1.10 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.1.11 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.1.12 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.1.13 External links . . . . . . . . ....
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