By David P. Pierson
Breaking undesirable: severe Essays at the Contexts, Politics, variety, and Reception of the tv sequence, edited via David P. Pierson, explores the contexts, politics, and magnificence of AMC's unique sequence Breaking undesirable. The book's first part locates and addresses the sequence from numerous modern social contexts, together with neo-liberalism, its discourses and rules, the cultural obsession with the financial system of time and its manipulation, and the epistemological ideas and assumptions of Walter White's legal alias Heisenberg. part investigates how the sequence characterizes and intersects with present cultural politics, comparable to male angst and the re-emergence of hegemonic masculinity, the complicated portrayal of Latinos, and the depiction of actual and psychological impairment and incapacity. the ultimate part takes an in depth examine the series' certain visible, aural, and narrative stylistics. lower than exam are Breaking Bad's designated visible variety wherein photo dominates sound, the specific function and use of starting teaser segments to disorient and enlighten audiences, the illustration of geographic house and position, the location of narrative songs to complicate viewer id, and the essential half that feelings play as a sort of dramatic motion within the sequence.
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Additional resources for Breaking Bad: Critical Essays on the Contexts, Politics, Style, and Reception of the Television Series
When the priests do ﬁnd Robin, he questions his mother about the merits of being the “biggest Colored caterer” in the city, whereupon she scolds him for his attitudes about race. She observes that he feels doubly persecuted for being “Negro” and an artist, but that his problem with ﬁnding work is not his race so much as his mediocre talent as a musician. In the end, Father Fitz speaks with the jeweler, who admits that he is not certain that Robin was one of his attackers and only made the charge because he resented Robin and his family for being the ﬁrst African-Americans to move into the neighborhood.
For example, in one episode both priests face several dilemmas, from ﬁguring out who is stealing from the church’s poor box to helping a family as it struggles to stay together. Both priests have different ideas about how to proceed, each ultimately contributing in his own way. To deal with the stolen money, O’Malley immediately wants to call the police. In offering an alternative perspective, the older Fitzgibbon demonstrates characteristic wisdom and authority as he explains his ideas for dealing with the problem: “To steal from the poor, whoever he is, the poor man’s at his wit’s end .
Finally, O’Malley protects Fitzgibbon’s image by arranging for the boy who stole the car to work off the money he took from the priest by ﬁxing the church’s roof with his dad, a contractor. O’Malley, who brokered the deal, nonetheless congratulates Fitzgibbon for having made such a smart arrangement. Later the two original contractors walk up to the church and see the work being done on the roof. O’Malley tells them that Fitzgibbon got a better deal on the repair work and hired someone else. O’Malley does all this to protect Father Fitz.
Breaking Bad: Critical Essays on the Contexts, Politics, Style, and Reception of the Television Series by David P. Pierson