Richard Connell The Most Dangerous Game This paper will analyze the short story called "The Most Dangerous Game" by discussing the four main elements of a short story which are, setting, character, conflict, and theme. The story involves two main characters, Rainsford and General Zaroff. Rainsford is a celebrated hunter, who enjoys hunting animals. He does not believe that hunting animals is wrong until he meets a certain General Zaroff.
Readings of the devious Bruno Anthony played by Walker situate him as a subversive within the American system, a deviant who is marked out as such from the opening moments of the film in which his conspicuously showy footwear is contrasted with the plain ordinary shoes of Guy Haines played by Granger.
The menace that Bruno represents oscillates between his desire to subvert the domestic patriarchal order by plotting to kill his father to a possibly flippant, but also the film suggests possibly not, wish to blow up the White House, arguably the central symbol of American patriarchal order.
Bruno is replete with a variety of schemes about the status of which the audience is never completely sure: It is probable that Hitchcock thought he was gay. That Bruno is offered to us not just as a possible patricide but also a would-be plotter of treasonable acts and presidential assassination creates a tension within the film between opposed American identities and the politics that underlie their possibility.
However, as Corber points out, it is precisely because Guy Haines is both back page and society page news that he himself constitutes the central security risk in the film Corber, As the master of making suspense films, Hitchcock was also fascinated with the possibilities and vagaries offered to him by the particular intrigues underpinning identity politics with the United States, and this sustained period of production tallies with a steady focus within the movies he made on the facets and character of the American psyche.
That Strangers on a Train sets this filmic trajectory in motion is possibly no coincidence, as it weaves together a number of intricate and interwoven patterns in the field of American identity construction and deconstruction that would interest Hitchcock for more than a decade.
While more typically located more on the fringes of his oeuvre as well as on the margins of the usual academic debates about his more famous films, much like The Man Who Knew Too Much this film establishes its importance in a number of intriguing ways: Haines a tennis star now rather than an architect meets a stranger, Bruno Anthony, on the Washington-to-New York train in the novel, the train commutes between New York and Connecticut who offers to exchange murders in a crisscross strategy that would leave both men above suspicion after the events.
Guy, while attempting not to provoke Bruno, does not condemn the plan outright; neither does he take Bruno seriously until Miriam is found murdered on the Magic Isle at the Crafts fair. This is not to claim that other critics have not noted the significance of the amusement park in Strangers on a Train before now.
Connecting the opposed worlds of law and lawlessness around which Hitchcock plots his film is the Washington to New York train: The Metcalf carnival is the space of criminality in the film or, more accurately, for the commission of a criminal act, namely the murder of Miriam by Bruno.
Bruno is both part of the carnival picture at the amusement park and apart from it: Miriam goes there accompanied by two men; she attracts and encourages the attentions of a third Bruno who blatantly tracks her every move until finally strangling her after a trip through the Tunnel of Love to the Magic Isle.
Once out of the carnival, he reverts to more expected social behaviour, guiding a blind man across the street before leaving the scene of the murder. While in the carnival, he is cloaked by the anonymity accorded to all of the fee-paying fairgoers, using this to his advantage particularly on Magic Isle where he is just one among many of apparently regular Americans.
Now no longer a man of the crowd, Bruno moves against the crowd of concerned fairgoers all in couples naturally enough who are drawn by the cries for help.
His identity, which had masked the commission of his act up until this point, is at odds with the regular identities of the other fairgoers in this scene and is now marked as, at the very least, incongruous by the boating attendant.
The carnival template allows Hitchcock to maintain the other spaces of the film, in particular Washington D. Although the central pairing in the film, Guy and Bruno, dominates discussion of it, there is no doubt that Hitchcock allows for the forming and dissolving of other pairs and doubles with which to overlay and multiply the possible mathematical 9 dimensions of his text.
Spotted attempting to board the train in Metcalf as Guy alights after his first journey, Hitchcock struggles with a double bass an instrument bearing a remarkable resemblance to himself while elsewhere he allows for other couples, doubles, and pairs to take centre stage, however briefly: Guy and Miriam argue over their divorce in the sound booth in the music shop in which she works, watched by another couple in an accompanying booth; Ann and Guy, forever figured in the monogrammed lighter, are brought together and moved apart on a number of occasions throughout the film; two policemen are assigned surveillance duties on Guy and his movements; Bruno entertains the attentions of two women, Mrs.
Within the complex interplay between the various pairs and couples Hitchcock produces a series of algebraic possibilities, the resolution of which is withheld from the audience until the last possible moment: Can Guy win his final tennis match in time to prevent Bruno planting the lighter at the funfair?
When Bruno accidentally drops the lighter into a storm drain, will he be able to recover it? Could the exchange of murders theorem actually work in the crisscross way that Bruno suggests? Bruno embodies the possibility that regular society is open to subversion and that his random nature could subvert not just the mathematical arrangement of the film but also the orders and codes of U.
For the identity politics central to American carnival to operate, another binary system of representation and interpretation is required.Character development can refer to either the task of sitting down and creating a character (working out their appearance, history, mannerisms, and so on), or it can refer to the change a character undergoes during the course of a story.
In evolutionary terms, it’s efficient to quickly classify a grizzly bear as “dangerous.” The trouble comes when the brain uses similar processes to form negative views about groups of people. Elements of Aversion What Makes Horror Horrifying?
a dangerous habit. We also fear falling into a situation that places us beyond belief. The nature of sanity comes into question. Pressure: Ah, suspense; a successful horror writer must master this technique. With the slow build of tension comes the increasing need to do something.
Related Documents: Essay on The Most Dangerous Game the most dangerous game Essay examples is an adventurous big-game hunter who confronts the nature of life and death for the first time in his life during his few frightening days on Ship-Trap Island. Suspense is what makes a story popular because it is interesting to read.
Suspense is used in most stories to make the plot interesting. There are several factors that generate suspense in the story The Most Dangerous Game produced by Richard Connell. Jan 15, · An apparent introduction is made in the three works, The Most Dangerous Game by Richard Connell, The Child by Tiger by Thomas Wolfe, and The Destructors by Graham Greene; the unwelcome but necessary introduction to the sinful nature of .