新西兰作业抄袭：电影《沉默的羔羊》

新西兰作业抄袭：电影《沉默的羔羊》

《沉默的羔羊》中的每一个元素，从野牛比尔的病理到联邦调查局的工作程序，都源自、回应或受美国文化的滋养。这部电影展示了美国流行文化的价值观和信仰。要么是蚕豆，要么是篮子里的乳液;一切都强烈地代表了融入其中的流行文化。“这部电影也清晰地处理了文化和精神过渡的概念，特别是凡·根内普所说的成人仪式”(Almquist, 9)。电影的受欢迎程度被电影边缘条件的呈现所包围。因此，《沉默的羔羊》可以说是美国流行文化的产物。这部电影是“超越是充满了器物投入相当大的资源，通过非弗洛伊德精神病理学的工作，其结构和驱动力是边缘的”(萨斯曼，164)。
电影《沉默的羔羊》可以说是越南战争的产物。这场战争是美国历史上非常重要的事件。这场战争的影响还没有完全被美国文化所同化。在某种意义上，精神变态的女杀手“水牛比尔”可以被认为是越南战争的受害者。他利用红外夜间时间工具跟踪猎物，这是他最初对抗越共的手段。他把飞蛾幼虫塞进受害者的嘴里，就像他“在组装女性上半身的假体时收获的一样，这个假体是用真正的人肉做成的，用来覆盖他自己的身体”(Sussman, 164)。换句话说，詹姆斯·冈布是一个复杂的角色，随着战争的发展，美国文化未能被同化。他依靠受害者的同情，通过表现出他需要帮助来引诱他们进入他的面包车。

新西兰作业抄袭：电影《沉默的羔羊》

Every element in The Silence of the Lambs, which can be started from the pathology of Buffalo Bill to the working procedures FBI, originate from, respond to, or is fed by the American culture. The movie displays the values and beliefs of American Pop Culture. Either it is the Fava Beans or the lotion in the basket; everything strongly represents pop culture integrated in it. “The film also deals clearly with the idea of cultural and spiritual transition, particularly with what van Gennep refers to as Rites of Passage” (Almquist, 9).The popularity of the film is surrounded by the presentation of the borderline conditions of the film. Thus, The Silence of the Lambs can be considered as the artifact of the American Popular Culture. The movie is “beyond is replete with the artifacts devoting considerable resources to the working through of the non-Freudian psychopathology whose structure and driving forces is that of the borderline” (Sussman, 164).
The movie Silence of the Lambs can be considered as the artifact of the Vietnam War. This war was a very important event in the American history. The effects of this war have not yet been completely assimilated with the culture of America. The psychopath women killer ‘Buffalo Bill’ in some sense can be considered as the victim of the Vietnam War. He stalks his prey by using the infrared night time tool initially positioned against the Vietcong. He stuffs the mouth of the victims with the larva of moths, as he “had harvested in his efforts to assemble prosthesis of the upper female torso made of genuine human flesh, to drape over his own body” (Sussman, 164). James Gumb, in other words is a complex character evolved with the aspects of the war that American culture has failed to get assimilated. He relies on the sympathy of the victims in order to tempt them into his van, by showing that he needs help.