Walter White’s Criminal Justification: A Dramatistical Analysis


This Dramatistical analysis will analyze the hit series from AMC’s Breaking Bad. More specifically it will look at the actions of the main character Walter White and what his justifications imply about the show and criminal behaviour.

Walter White is a middle aged chemistry teacher who is “Down-on-His-Luck,” this being the first of many “Devil Words” that paint a sympathetic picture for the viewers to cat upon him. Walter’s teacher salary can hardly foot the bill for his family that includes a physically disabled son with a mountain of medical bills and an incoming baby girl. Walter decides that he will have to come up with the money some how, and he finds out that not only does he have the know-how but also the tools to cook nearly perfect crystal meth. He is pushed to a point where he has to decide between following the law and providing for his family. When Walter White starts selling methamphetamine under the pseudonym  Heisenberg he breaks moral and governmental laws. Jesse Pinkman is a user, and coincidentally , one of White’s old students. They become partners. Jesse and Walter use supplies they stole from the high school and, armed with Walter’s knowledge of chemistry and Jesse’s street smarts,  they start producing crystal meth out of an R.V. Mobile Home in the New Mexico Desert. Very early on in the show Walter discovers that he has cancer which will bring a whole new level of financial burden to his family. More seriously it will take away his   ability to provide for his family as a father should. Pairing the financial troubles of his pending death and a new born baby is what ultimately leads Walter to become Heisenberg and is his main justification for his actions.

As we have learned every rule breaking action or behaviour requires an absolution of guilt after the fact.(Sellnow 53) There is no concept of mortification. Walter White does not believe what he is doing is wrong. He does not accept that he has made a mistake, nor does he ask for anyone’s forgiveness. Walter believes that he needs to provide for his family for the rest of their lives by any means necessary. This is an act of transcendence showing that the paternal instinct to protect and provide for his family . transcend the importance of following the law. As you can see Walters justifications are packed with God Words that help enable him to believe what he is doing is right. He shifts blame off of himself and to “The Cancer” and his pending death which results in victimage. And when victimage is used as we have learned from the book, (sellnow 55) Walter must exist as a Tragic Hero or a Comic Fool. Although his story screams Tragic Hero it must be noted that he does not get caught and therefore did not have to pay any consequences for his action labeling him as a comic fool.

This T.V. show is  rife with moral and contextual implications of family ties and how much you can go through for your spouse for the sake of this dramatistical analysis I will only focus on Walter Whites actions. The fact that he does not get caught begs the invisible man question, What would you do if you knew you could get away with it? This show is geared towards a young adult male audience and the show makes it very easy to lose sight of the fact that Walter is doing this for his family. The” Do whatever it takes to get money” culture that is strong throughout the age group of the viewers is exemplified by Walters partner Jesse Pinkman. Jesse’s actions create a level of promotion for illegal behaviour that can be dangerous for the viewership. The show also desensitizes the viewers to things like smoking meth, killing, and drug dealing which could lead to very negative outcomes in society.


Mulan and Gender Roles

The artefact I’ve chosen is Disney’s Mulan. The movie is set in China during the Han Dynasty; following an invasion by the Huns, the Emperor asks one man from each family to join the Chinese army. Knowing that the only male in her family is her elderly father, Mulan takes her father’s armor and sword and sets off to enlist in his stead, with guardian spirit Mushuu and a lucky cricket in tow. Despite having her identity revealed while travelling with the army, Mulan would ultimately see to the defeat of the Huns, restoring her honor and bringing peace to the country. At face value, the act of rule-breaking which Mulan commits would seem to be that of going against her family’s wishes, or impersonating her father. The larger act of rule-breaking which encompasses many portions of the movie and is frequently referenced is Mulan’s conflict with society’s expectations for pre-established gender roles.  Not only does she begin by showing a disinterest in how women are “supposed” to act, as the movie progress Mulan also challenges what “makes a man.”

The movie begins with Mulan being prepared to be chosen as a bride for a potential suitor; this in itself is an example of women’s roles in feudal society. To bring honor to your family as a girl, the best you could do is become a wife “with good taste, [be] calm, obedient, work at a fast pace, […] and have a tiny waist.” The roles of men and women are explicitly different: “We all must serve our Emperor, who guards us from the Huns. A man by bearing arms, a girl by bearing sons.”

Mulan acknowledges that she can’t live up to society’s expectations for a girl, if she wants to be herself. This is shortly before she takes on her father’s armor and leaves to join the army. Mulan breaks a “rule” by deciding not to be a “perfect woman” then moves straight to breaking another “rule” by pretending to be a man.

My favorite Disney song starts by asking if the general was sent daughters when he “asked for sons,” again reinforcing that women belong at home, where men go to war. The scene continues to list off qualities that are favorable in men, in both the song and the animation. Men should be swift, forceful, strong, muscular and tenacious. Mulan adds intelligence and ingenuity to the mix when climbing the pole to retrieve the general’s arrow, using the weights of “discipline and strength”.

This scene very obviously shows what qualities men want in women, what a “girl worth fighting for” is like. Desirable qualities include beauty, appreciation for strength, and the ability to cook. When Mulan’s squad talks about a woman who won’t find any faults in them, she suggests instead a girl “who’s got a brain, who always speaks her mind” which is very quickly dismissed.

Mulan is absolved of guilt through transcendence; she only engaged in her law breaking act to spare her aging father from participating in the war. She is even more literally absolved of guilt for posing as her father when the Emperor himself commends her for her actions.

I believe the message we should be taking away with us is that it can be appropriate to break society’s gender roles, or at the very least, not believe in them. I’m sure we all understand that a woman can contribute to society without becoming a bride, and they can be appealing without having to be physically attractive, obedient, or good with house work. Likewise, we understand that men don’t have to be “swift as a coursing river”,   nor must they have the “force of a great typhoon.” Despite believing that these gender roles and traits are invalid, there are still some we adhere to, for example Mulan using a high voice in preparation to be a bride, or using a low voice during her façade as a man. Even more interesting is the idea of the damsel in distress, despite Mulan being the hero of the story, we still need to dress her as a man in a fantasy setting for our brains to process it properly.

Mulan. Dir. Bancroft Tony. Perf. Ming-Na, Eddie Murphy, Miguel Ferrer and BD Wong. Walt Disney Feature Animation, 1998. Film.

She’s The Man!



The rule breaking behavior that is considered a violation by society in the film “She’s the  Man” directed by Andy Fickman, is the act of impersonation committed by none other than the protagonist Viola Hastings. Viola impersonates her brother Sebastian Hastings (with his permission) and enters Illyria mainly to join the boys’ soccer team due to her passion for soccer. The highlight of her strong pertinacious determination is to play this particular sport with the opposing gender, the males. Viola is considered as the star of the movie as the spotlight is on her throughout the majority of the film as she is the character filled with determination and persistency in achieving her goal that she has set up for herself even though she is suppressed completely by her coach from Cornwall and  her ex-boyfriend. She strives throughout the entire film to achieve her goal, to prove the society that they were wrong to go along with the stereotypical belief that women don’t play sports as well as the men and that they don’t have the abilities and capacities to do so. She struggles on behalf of the women for equality to be provided by their society.

How Viola chooses to carry out her scheme in achieving her ultimate goal is quite interesting in a unique way. She disguises herself as her brother Sebastian and to do this, she gets a hold of objects and clothing attire that help her create a masculine identity. Her disguise serves her well when the society believes her to be Sebastian. She does quite well of a job in shielding her feministic characteristics such as her voice, from the society when it is under the impression of her identity as being the individual, Sebastian. Such tools and techniques serve as mechanisms in aiding her to carry out her intentions regarding equality for women in the society. In modern culture and society, there has been a lot of improvement made concerning the treatment of women. The values have changed slightly compared to the previous generations, but even to this day, women are still treated unequally compared to men in many situations. The fact that these types of incidents do still take place is what this particular film portrays. The fact that the culture has such an influence over the society is what provokes the society to act in such a way. Which in turn results in the belief of males empowering women. This is illustrated in this featured film through scenes that accompany the “rule-breaking behavior event” , however this analysis focuses on the scene of the climax.

The scene that will be under analysis is the part where Viola actually gets onto the field to go against her ex-colleagues, the team that she desired to play along with before withdrawing from her previous league boarding school. She rises as the rival for Cornwall by playing for Illyria and in the middle of these specific moments, her disguise fails and her true identity is revealed such that she is a female. The fact that she is a woman playing alongside with the men on the soccer team is what is shocking to the audience (society in general) because it is out of the norm. This is not something that the society was familiar with accepting. This act of Viola’s can be justified because in the end, Viola proved the society and the stereotypical belief based on women and that they can’t play sports as well as men, wrong and she made them realize that women should be perceived as equal individuals as men. This topic of interest concerns the issue of women and how they are perceived by the society. They are viewed as individuals who are incapable of playing soccer as well as the men and so they are not taken into consideration as much as the men were.

Works Cited:

She’s The Man (Romantic comedy film 2006). n.d. Youtube. Youtube,  Feb 26,2006. Web. 31 Jan.2013

We Do not Descriminate(Romantic comedy film 2006).n.d.Yoututbe. Youtube,Jul 31,2011.Web. 31 Jan 2013

Being Selfish Is Transcendental (If You’re A Man)

Eric Hirshberg, CEO of Activision Publishing, describes the Call of Duty video game franchise as a force of nature (“Call of Duty”). To date, it has earned titanic profits. The most recent edition, Black Ops II, achieved estimated sales worth $500 million worldwide in the first 24 hours of its release. It is projected to become the best selling first-person shooter game of all time.

Considering the countless competitors in the video game market, you might assume these sales are primarily predicated upon the product’s merit. However, after playing CoD for nearly a decade, stagnant is as apt an adjective as I can use to describe this series. There exist many games that are superior in terms of aesthetics, innovation, and immersion. The quality of the product does not substantiate its popularity.

How has Activision grown this brand despite their product’s inferiority? Of the many factors that conspire to keep people loyal to their franchise, I concern myself with the efficacy of their advertising. Research done by Interpret LLC indicates that:

The core audience of shooter games remains 13 to 34 year old males, who make up more than 60 percent of the total audience…”  (Gaudiosi).

Their intended audience is thus delimited. The nature of the majority of the rhetoric in the following artefact supports this claim. I posit that Activision persuades some consumers by portraying self-indulgence as transcendental. This is based on the presupposition that men are superior beings in society. CoD is conveniently presented as an appropriate selfish behaviour for men.

The ad inspires the act of abandoning real-life responsibility to play CoD, specifically the new content. This is to be done by the viewer, the agent in this interpretation. The Replacer represents the agency with which the viewer will perpetrate the act. Seven instances of stereotypical male experiences are depicted, and serve as scenes. The purpose of employing the Replacer is to escape the alleged burdens of being an adult male in contemporary society.

The implicit motive is self-indulgence. Self-serving behaviour is a basic human instinct. Consequently, the commercial augments its persuasive power through this subtle, yet universal appeal.

Being so selfish contradicts the rules for living subscribed to by the audience. Justification for transgressions as severe as leaving your wife without emotional support during childbirth must be offered. The absurdity is mitigated in part by the humourous tone of the ad, but conceptually, the suggested act remains jarring.

The necessary absolution of guilt is obtained through transcendence. This ad insidiously construes the consumption of Activision’s product as a higher calling in a man’s life.

Terministic screens enable the viewer to adopt the implied motive. Here are two examples:

  1. The Replacer is an archetypical American badass. He is a tall, well-dressed Caucasian male with a powerful car. He listens to iconic rock music, popular with the prescribed generation. He exhibits aggressive and dominant behaviour. Additionally, his described role and attire are remniscent of Winston Wolf – a badass featured in Pulp Fiction, an iconic film from the mid-90s. His symbolic allure is evident. He has been rhetorically optimized as relatable to the viewer. His cultural capital confers status and authority. This underwrites the power of his explicit suggestion that CoD is more important than real-life responsibility.
  2. Another screen is symbolically constructed by the Replacer’s body language, attitude, facial expressions, tone of voice, and dismissive treatment of other people, particularly women. In the final scene, the Replacer finishes his task and then bitterly exclaims, “Now you shovel my ****!”. This implies the people that benefit from a man’s hard work are ungrateful and no better than simple-minded primates. This screen insinuates the Replacer’s superiority in comparison to those around him. It follows that the desires of those to whom the average man is obligated are subordinate to his own. This supports the idea that indulging yourself is a higher calling, by denigrating other people who interfere with this pursuit.

Record-breaking sales are not the only consequence of advertisements that manipulate their audience in this fashion. The disturbing and pervasive ideology of male superiority has been promoted, on top of the base motive of self-indulgence. CoD‘s playerbase is massive. Is Activision’s disregard of the impressionability of the younger members of their audience surprising? They make millions of dollars selling a product rated M (17+) to children. It would be naïve of me to think that their advertising would be any less devoid of integrity.

That being said, I am going to play Black Ops: II after I post this, despite my girlfriend’s expectations. Who cares what she thinks, I am a man, and I want to kick ass.

Works Cited

Gaudiosi, John. “New arsenal of shooter video games target older players”. Reuters. January 21, 2010. Web. January 30, 2013.
“Call Of Duty®: Black Ops II Delivers More Than $500 Million In Worldwide Retail Sales In First 24 Hours”. Activision. Acquire Media, November 16, 2012. Web. January 30, 2013. 
The Replacer – Official Call of Duty: Black Ops 2 Video. CALLOFDUTY. YouTube. YouTube. January 22, 2013. Web. January 23, 2013.

TMNT: Rebellion for Humanity

The mediated popular culture artifact has been chosen from an episode of the Nickelodeon remake of the popular 1980s cartoon, The Teenage Mutant Ninja Turtles. This episode was aired on Saturday September 9th 2012 at 11:00 am on Nickelodeon in the U.S and YTV in Canada. The overview of the first episode of the series, which is the subject to analyze, the four ninja turtle brothers have gone off to the surface for the first time, and when everything seems like paradise, a group of alien robots called, “Kraang,” have kidnapped a scientist and his daughter. The head act that will be examined is the Ninja Turtles disobeying Master Splinter’s orders of not encountering any humans. This act will be examined by using the method of Pentad; act, agent, agency, scene, and purpose. The act is disobeying orders and going ahead to, “be the hero,” without permission. The agents are Leonardo, Donatello, Raphael, Michaelangelo and Kraang. The agencies to accomplish this act are stealth and ninjitsu. The scene where all of the action takes place is in the streets of New York City. The purpose of disobeying Master Splinter’s rule of not encountering strangers was because the Kraang were kidnapping the scientist and his daughter, and the turtles had to save them. Through the elements of Pentad, this episode implies that people will sometimes have to disobey orders and break the rules for the good of other people. The turtles disobeyed Master Splinter’s orders because of the absolution of guilt. This can be analyzed by examining the motive for the turtles’ transcendence, and how they absolved their guilt by victimage and mortification.

 The Ninja Turtles’ motive can be seen as a transcendence. In the show, they are mutations that are trained to be ninjas and to fight for the good of other people. But, sometimes they break one of the rules for being a ninja, which is to never show yourself. When the four brothers are on a building, they spot a young girl walking with her father around the street corner. Then a mysterious truck appears and kidnaps both the girl and her father. At the scene of doubt the four turtles have decided that they will have to disobey Master Splinter’s commands, and save the girl and her father. It is clear that the turtles are always ready to fight, hence they are ninjas. Since this was the first time they are visiting the surface, there is no better time to become heroes and save the innocent pedestrians thus, was following a higher calling.


After Kraang kidnapped the scientist and his daughter, the turtles go back home and confront Master Splinter, and they start blaming each other for what happened. Raphael blames Leonardo for stabbing him with swords, Leonardo blames Donatello for just jumping ahead into action without following commands, Donatello blames Michaelangelo for hitting him in the head with Nunchucks, and Michaelangelo, being the comic relief, blames the person who let them go out on the surface in the first place, which happens to be Master Splinter. Michaelangelo, tries to take back what he said, but Splinter accepts his mistake. He says:

“Yes. I take full blame and responsibility. Perhaps I have trained you all to fight as individual ninjas, but have not trained you all to fight as a ninja team.”

 Through these words, they accept that it was no one’s fault of what happened as an individual, but every one’s fault of what happened as a team thus, mortification.

 The feeling of mortification ends when they track down the truck that kidnapped the scientist and his daughter. The ninjas ambush the truck driver and fight their way through thousands of Kraang soldiers. After a fierce battle they have rescued the scientist’s daughter, but failed to rescue the scientist. The feeling of mortification comes back when Donatello says:

 “Don’t worry. We promise to find your father, and we won’t rest until we do.”

 The others agree to the statement, not letting Donatello take full blame. This implies that no matter what the cause, the brothers will always be there to support each other.

 Therefore, each analytical assessment gives an example that people in general, will have to break the rules and disobey orders for the good of others. Through the turtles’ motive of transcendence, they had to disobey orders to save the innocent people. The way victimage is being conveyed implies that if the transcendence is being used as a group, then the blame has to go to the group. The fading of mortification implies that there is no need for blame if one does whatever they can to make it right. This episode is an example of the different audiences, age wise, that is viewing this television show. By being aired on Nickelodeon and YTV, it is viewed by Americans and Canadians. By airing it on Saturday morning, this show is meant for kids, teenagers and adults for enjoyment.

Suits: The Dark Side of the Law

“Suits” is a series on the USA Network, which follows the story of one lawyer and one pseudo-lawyer at Pearson-Hardman. The pilot introduces us to newly promoted Harvey Specter (who is by company policy required to hire an associate) and Mike Ross, a college dropout who writes LSATs for a living. Upon hearing his grandmother needs to be taken into full-time care Mike decides to sell drugs for his friend, Trevor, to cover hospital costs. After a faulty drug deal Mike runs into Harvey’s interviewing room. Due to his eidetic memory and wit, Harvey hires Mike despite not owning a legal degree. The overarching message behind this episode is that unethical behaviour will propel you to the top. Specifically, breaking the law, selfishness and blackmail are enough to do well at Pearson-Hardman.

Consider Mike Ross; in this episode the audience is introduced to a young man who got expelled for memorizing a math test and selling it to the dean’s daughter. While this too is a rule-breaking act, the act I will analyze is when he agrees to sell marijuana for his friend, Trevor. The agent in this case is Mike and his agency is the briefcase of marijuana and a suit he borrows from Trevor. The scene where the rule-breaking act takes place is in the Chilton hotel. Although this is rule-breaking behaviour, Mike is immediately absolved of guilt when the viewer realizes he only took this job so he can pay for his grandmother’s healthcare. Therefore, Mike is justified in his actions because he is following a higher calling, his grandmother’s health. During this act, Mike happens to run into Harvey Specter who takes a gamble on Mike and hires him. This contributes to the overarching message because thanks to Mike selling drugs (breaking the law), he is able secure a job that Harvard law’s top graduates fail to obtain.

Next, consider Harvey Specter; the pilot introduces him as a successful lawyer at Pearson-Hardman. In this episode Harvey is promoted to senior partner, only to be demoted later on in the episode. This is because Harvey lied to his client about receiving funds for their deal; as a result, the client fires the firm. Harvey convinces Jessica Pearson to keep his promotion in exchange for a pro bono case that he must complete himself. Harvey agrees to these terms, then passes them onto his associate Mike Ross citing that he has more important things to take care of. The rule-breaking act in this case is the passing on the pro bono case to Mike and his agency is the folder with the case file in it. The purpose of his action is to concentrate on “more important” things than a pro bono case. By passing on this case to an associate Harvey was able to minimize the amount of work he put into this case and simultaneously keep his promotion (selfishness). This relates to the overarching message because this action shows how Harvey can keep his promotion even though he lied to his superior and did not complete the case himself.

Lastly, considering Mike and Harvey together, they both act unethically at Pearson Hardman. When Harvey first gets demoted, he plans on firing Mike because if anyone finds out about his “law degree” (or lack thereof) Harvey will get disbarred. However, to keep his position Mike blackmails Harvey by saying he will tell the Board of Ethics about himself thereby disbarring Harvey. As a result, Harvey agrees and uses the same argument against Jessica to keep his promotion (That if he gets demoted, he will tell the Board of Ethics that Jessica did not report Harvey about his lie to the client). The act in this case is the blackmailing, the agents: Harvey and Mike. The purpose of this act is to keep their jobs. This relates to the message of the episode because this act tells the audience that blackmail is justified when you want to keep your job.

The law is a standard where we decide right and wrong, moral and amoral & ethical and unethical. It holds that we obey it for justice and good faith. Despite its intention to deter bad behaviour, according to Suits Season 1 Episode 1 Pilot: (im)proper application of its terms are advantageous to the agent. Image

Works Cited:
Suits (TV Series 2011) Trailer – (Official Exclusive). N.d. YouTube. YouTube, 10 Sept. 2011. Web. 31 Jan. 2013. <;. (Suits Picture)

Bowling for Columbine

“You better run, better run, faster than my bullet” – Pumped up Kicks 

Bowling for Columbine is a 2002 documentary film written and produced my Michael Moore that investigates possible reasons as to why gun violence continues to perpetuate in American society, and Moore accomplishes this by concentrating on the Columbine High School Massacre that occured in Littleton, Colorado. The film’s overall focus is to bring perspective into events that ultimately led to the murder of 12 students and 1 teacher on April 20th, 1999; a crime committed by two seemingly harmless teenage male students that attended the school. The documentary starts with Moore proceeding into the North Country Bank in Michigan to create an account, after seeing an ad in the newspaper that promoted a free gun for every bank account that you open. As marvellous as it sounds for seasoned hunters in Michigan State, Moore questions the obvious,

Don’t you think it’s a little dangerous handing out guns in the bank?

The film then begins to further explore the contextualization of guns in American society, which may or may not have been the reasons that influenced the killings of Columbine to occur in the first place. The following dramatic analysis of this piece will uncover the justifications for rule-breaking behaviours observed in the Columbine Massacre, examined in the light of the five elements of pentad, the motives for the act committed, and potential implications that can be brought forth.

To begin, the film can be examined using dramatic analysis by first exploring the five elements of pentad: act, agent, agency, scene and purpose. The key agents or the main characters that participated in the act of murder in the Columbine Massacre were identified to be two 18 year old boys, Eric Harris and Dylan Klebold. As testified by classmates, Eric and Dylan mainly kept to themselves and didn’t mingle well with the other students. However according to teachers, they still remained as good students and used to involve themselves with various activities in school. The agencies used for committing the murder were shot-guns and rifles that were purchased by older friends of the boys (because they were not of legal age to purchase guns yet). Pipe and propane bombs were also constructed by Eric and were intended to initially prompt the opening scene of the massacre by detonating in the cafeteria. When that plan backfired, Eric and Dylan commenced to shooting as many students as they could. Inevitably, the scene of the shootings took place in just under an hour starting from around 11:15 AM in the Columbine High cafeteria and library, where majority of the bystanders were shot to death simply because they needed to die, according to entries written in Eric’s journals as docummented Columbine. Despite all the evidence uncovered about the planning stages of the massacre (from Eric’s journals to home-made videos of the boys practicing with their guns), no one in Littleton could figure out why the boys at Columbine resorted to gun violence as a solution to their problems in the first place. Moore looks for a variety of symbols in the average neighbourhood that exemplify, in some way, the creation and use of ammunition as an accepted norm in the American society. For example, Lockheed Martin Corp, one of the world’s largest weapon makers, had over 2,000 employees in the small town of Littleton. Moore argues in the film that it is not possible for a child to not be influenced and immunized by the fact that weapons of destruction are being made in his own hometown, so ‘it must be okay’ for people to use them for whatever purpose. But in reality, who is to blame for Eric and Dylan to resort to gun-violence? Is it gun-violence exemplified in various entertainment mediums that promote and glamorize its use? Or is it because guns are so accessible in America, where rifles can be obtained from banks like the North County Bank and bullets can be purchased in bulk from K-mart? The purpose of the act can only be inferred, but not be considered fact because there is no concrete evidence to prove it. For example, it is known that Eric and Dylan enjoyed to play shooter games like Doom, but we cannot directly blame the games for why they chose to revert to gun-violence in the end (although it is certainly plausible). Therefore, the film can be analyzed from a dramatic perspective using the elements of the pentad to support and justify the causes of rule-breaking behaviour.

Second, the film can be examined using dramatic analysis by uncovering the motives for the act committed. As seen on Columbine, Eric had written in various articles of his journal that he was fed up with the bullies in his school who picked on him, and that they all need to be terminated under his hands. He called this process “Natural Selection” and that only selected people would survive.  It was testified by one of the survivors of the massacre who was in the library during Eric and Dylan’s entry, that both boys cynically ridiculed, verbally harassed and racially discriminated the students that eventually became victims of their killing spree. From the evidence gathered, it can be suggested that a strong motive for the killings was revenge: revenge for being bullied and isolated because they did not fit in with societal norms. The lingering hate within Eric and Dylan for those who didn’t accept them gave them an avenue to use transcendence as a motive to kill. Therefore, the film can be analyzed from a dramatic perspective by examining the motives for the act committed.

Third, the film can be examined using dramatic analysis from the potential implications that can be brought forth from the text. In Bowling for Columbine, Moore interviews people who own guns and why they choose to have one, loaded up in their house in the first place even though there is no intention to use it except for protection purposes. The argument made with Moore is that America has always been “a country of violence”, perhaps more than other countries around the world. The culture of fear is perpetually created by the American media, and the politicians just instigate the fear even further. The students of Columbine who were killed as a result of gun-violence were not only the victims of Eric and Dylan, but also the victims of American laws that fail to properly protect its own citizens. Therefore, the film can be analyzed from a dramatic perspective from the potential implications in the text examined.

In conclusion, Bowling for Columbine sends a powerful and meaningful message that tackles the growing issue of gun-violence predominant in the American society. Ironically, it is considered rule-breaking behaviour to commit an act of murder in America, but you are permitted by law to carry a gun as long as you are of legal age. As long as such laws continue to govern the society as a whole with a culture of fear embedded into the minds of Americans, how can we take proper measures to prevent a massacre like this from reoccurring?


Moore, Michael, narr. Bowling for Columbine. 2002. DVD.
“Columbine.”  Narr. Tom Kane. The Final Report. National Geographic. 3 April. 2007. Television.