Wall Street Movie Essay

Withholding explanations to the fancier terminology doesn’t help either, especially when much of the suspense relies on a fairly solid comprehension of the stock market.The SEC (Securities and Exchange Commission) is constantly on the lookout for red flags that suggest insider trading, but it wouldn’t be uncommon to question what exactly is legal or illegal about the many doubtful endeavors Fox undertakes.Although the ruthless capitalist shows Bud the ropes – teaching him all the ways in which the art of war applies to stock trading – the young broker begins to realize that greed isn’t always good.

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In , for instance, consumerism is plainly depicted as an ill.

The consumerist tendencies of Norton’s character leads to disaffection, self-loathing, and unhappiness, or as Tyler Durden explains, they’re “by-products of a lifestyle obsession.” achieves satire through heavy use of irony and by showing the dark effects of hedonistic indulgence and material obsession on its characters, featuring sexual assault, suicide, drug overdoses, sexual anxiety/confusion, and deep emotional alienation.

Some films take a more positive attitude toward the excesses of materialism and capitalism (i.e. Most films of this trend are rather critical of materialism, however.

Films critical of materialist excess typically fall into two categories: Tragedy and satire.

There are, of course, many others, as the tradition goes back well before 1960, but these films are some of the more paradigmatic and obvious examples that seem to have directly influenced or otherwise share strong similarities to these recent films.

The thematic and stylistic consistency of the aforementioned films shouldn’t be surprising since the Italian filmmakers Fredrico Fellini and Michelangelo Antonioni are responsible for two of these and have influenced Martin Scorsese, who in turn has directed two, while Bret Ellis Easton wrote the stories for two others.

In addition, most of these films are also entries in the crime genre.

The recent films about excess by Scorsese, Coppola, Korine, and Bay are the strongest and most paradigmatic of the new style of these films.

Bud’s first mission is to follow around Sir Larry Wildman (Terence Stamp), a notably moneyed investor whose presence in New York most certainly involves stocks.

This activity leads to more underhanded tactics, including spilling inside information about his father’s (Martin Sheen) employer, Blue Star Airlines, which Gordon sees as a perfect opportunity to exploit.

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