Rhetorical Analysis Dexter - 1219 Words

Alexa Larson Prof. Butell March 6, 2017 WRD 111 Dexter; Rhetorical analysis. If you have ever been interested in the world of why serial killers kill, chances are you have done some research or even watched the insanely popular television show Dexter. â€Å"Dexter Morgan is a Forensics Expert, a loyal brother, boyfriend, and friend. That s what he seems to be, but that s not what he really is. Dexter Morgan is a Serial Killer that hunts the bad. (TV.com)† Dexter is a serial killer yet he works for the Miami Police Department in blood spatter forensics, because of his experience he is extremely good at his job. Dexter was adopted at a very young age, his adoptive father soon realized that Dexter was different, his father taught him†¦show more content†¦Knowing this we can tell that James Manos Jr. is a strong screenwriter and knows how to properly set up a television series to make it as realistic as possible. Also, James Manos Jr. is an educated man, he graduated from Colgate university which has an accepta nce rate of around 27%. In college, a majority of people are required to take an introductory course on psychology, basic psychology courses give all the information needed to understand the basics about the mind of a killer. James Manos Jr. obviously used all his previous education and his experience in screenwriting to effectively portray a serial killer that is seen as a good man to the series viewers and argue that killing others who also kill is equitable. First it is necessary to understand the psychology of serial killer. Serial killers are either labeled as a psychopath or labeled as having anti-social personality disorder. A quality anti-personality disorder which Dexter has is â€Å"Being able to act witty and charming. (NIH.com)† Dexter is witty in the sense that he knows how to not get caught and he has found a way to fit into society without anyone suspecting him has a killer, Dexter is also charming and this is portrayed in the series since his boss at the Miami Police Department clearly has a crush on him. â€Å"Break the law repeatedly. (NIH.com)† is yet another characteristic, this is also shown in Dexter. When stalking his potential victims Dexter constantly breaksShow MoreRelatedEssay on Critical Analysis of Martin Luther King, Jr.s Speech1674 Words   |  7 PagesCritical Analysis of Martin Luther King, Jr.s Speech Introduction In this critical analysis I am going to look at Martin Luther King, Jr and the I have a dream speech. Martin Luther King, Jr is very distinguished due to the many outstanding achievements he accomplished throughout his life. He was an American clergyman and he accomplished the Nobel Prize for one of the principal leaders of the American civil rights movement. Kings defiance to segregation andRead MoreBeyond Visual Metaphor. a New Typology of Visual Rhetoric in Advertising9528 Words   |  39 PagesMcQuarrie Santa Clara University, USA Abstract. The goal of rhetorical theory is always to organize the possibilities for persuasion within a domain and to relate each possible stratagem to specific desired outcomes. In this article we develop a visual rhetoric that differentiates the pictorial strategies available to advertisers and links them to consumer response. We propose a new typology that distinguishes nine types of visual rhetorical figures according to their degree of complexity and ambiguityRead MoreRhetorical Analysis of â€Å"Hurricane†2167 Words   |  9 PagesRhetorical Analysis of â€Å"Hurricane† Martin Luther King once said, â€Å"There comes a time when one must take a position that is neither safe, popular, or political, but because it is right.† The song â€Å"Hurricane†, written by Bob Dylan takes a stand and ignores what was safe, popular, and politically right during the 1960’s and 1970’s, in order to paint a picture of injustice. Dylan organizes the actual events of a man named Rubin â€Å"Hurricane† Carter who was a middleweight boxerRead MoreThe Influence of Hip Hop on Todays Youth2247 Words   |  9 PagesAnaya Ragland April 30, 2012 English Composition II Dr. Janardanan Research Analysis Essay The Influence of Hip Hop on Today’s Youth â€Å"After silence, that which comes nearest to expressing the inexpressible is music.† This profound statement from English writer, Aldous Huxley, demonstrates the importance that music obtains in today’s society. Simply, music is a form of expression, not limited to any specific genre. Although this expression is not limited to one genre, there is one that seeminglyRead More Martin Luther King, Jr.: Effective Nonviolence the Multiple Intelligences2987 Words   |  12 Pageshim at the forefront of his peers, forcing him to learn how to deal constantly with being on stage and being in the public eye. His favorite and chief extracurricular passion was the debate team, an activity that measurably furthered his innate rhetorical skills. In high school, he won the Elks annual oratorical prize for his presentation on The Negro and the Constitution. At Morehouse, King was determined to be a physician. Soon, however, he learned he was relatively lacking in the logical/mathematicalRead MoreOne Significant Change That Has Occurred in the World Between 1900 and 2005. Explain the Impact This Change Has Made on Our Lives and Why It Is an Important Change.163893 Words   |  656 Pageslamentable. Taken together, the key themes and processes that have been selected as the focus for each of the eight essays provide a way to conceptualize the twentieth century as a coherent unit for teaching, as well as for written narrative and analysis. Though they do not exhaust the crucial strands of historical development that tie the century together—one could add, for example, nationalism and decolonization—they cover in depth the defining phenomena of that epoch, which, as the essays demonstrate

Analysis Of The Book Hunters On The Snow By Tobias Wolff

Every story that begins must eventually come to an end, and that is true for both literary and commercial fiction. In literature, there are three types of endings an author can provide within their writings: a happy end with the protagonist’s conflict resolved, an indeterminate end where the resolution is inconclusive or undefined, or an unhappy end where the conflict is not resolved at all. These three types of endings can be found in both types of fictions, with literary fiction characteristically possessing unhappy endings, and commercial fictions ending more on a happier note. In Tobias Wolff’s story of â€Å"Hunters in the Snow†, the author clearly depicts an unhappy end resulted through his characters, conflict, and overall story†¦show more content†¦This displays how against humanity’s nature and survival instincts, he will eventually be pushed back and dealt a hand by karma for all the bad deeds he has done. However, as the story progresse s the reader discovers that the elderly man who owned the dog was aware of the fact that Kenny killed the dog since he actually requested for it, as interpreted by the following quote, â€Å"He was old and sick. Couldn’t chew his food anymore† (Wolff 93). After knowing that Kenny had justification for putting the dog down, both the readers and story’s characters now have a clearer understanding of Kenny’s decision, albeit disapproving on how he had executed it. Yet when it comes down to driving Kenny to the hospital for some required help, despite it being life threatening, both Tub and Frank appear negligent and put off the task to instead converse about their own problems, even heading off into â€Å"a tavern† (Wolff 95) in the midst of it all. Such a dulled reaction of nonchalance portrayed by the two men reveals that despite being the victims of Kenny’s misgivings, it does not mean that they themselves are without negative qualities. The two men end up discussing about Frank’s immoral love for a much younger woman and Tub’s complaint about his weight despite ironically eating heartily at the pub, as if it were a more important occasion to getShow MoreRelatedAnalysis Of The Book Hunters On The Snow By Tobias Wolff919 Words   |  4 Pagesâ€Å"Hunters in the Snow†, by Tobias Wolff, is a short story that revolves around an ill-fated hunting trip between three friends. Wolff is known to be a fantastic writer, who utilizes various literary devices, as well as an exemplary setting description that really sets up the mood of his stories. Although this short story is rife with powerful literary devices, there are four very powerful symbols that I feel are the most relevant to the story. The criteria in choosing these symbols lies solely onRead MoreAnalysis Of The Book Hunters On The Snow By Tobias Wolff950 Words   |  4 PagesHow much antagonizing does it take for someone to break? Males are ra ised to brush off any bullying as if it does not affect them. Throughout â€Å"Hunters In The Snow† by Tobias Wolff gender roles are both followed strictly and broken to show the development of characters. Although Tubs is the victim, he develops tremendously to become who he is at the end. Tubs changes show the reader how he stands up for himself, accepts who he is as a person, and breaks conventional gender roles. Tubs receives the

The First Chapter of computer Languages Essay Example For Students

The First Chapter of computer Languages Essay The Tortuous Path of Early Programming. In the perpetual darkness more than two miles below the surface of the North Atlantic, a submersible sled slowly traced the alpine contours of the ocean bottom in the summer of 1985. Named the Argo after the ship in which the legendary Greek Hero Jason sought the Golden Fleece, the 16-foot-long craft resembled a section of scaffolding flung on its side and stuffed with equipment, Powerful lights, sonar, Video cameras. Far above, arrayed in front of a video screen in the control room of the U.S. Navy research vessel Knorr, Members of a joint French-American scientific expedition intently watched the images transmitted by the submersible as it was towed above a desolate landscape of canyons and mud slides. After 16 days of patient search, A scattering of metallic debris appeared on the screen, followed by the unmistakable outline of a ships boiler. A jubilant cry arose from the scientists. The ocean liner Titanic sunk 73 years earlier with more than 1,500 of its 2,200 passengers on board had finally been found. The quest for the remains of the Titanic in the crushing depths of the sea was a remarkable application of computer technology, as exotic in its means as in its venue. Not least of the keys to the successful outcome was the agility of modern computer programming. Argoss ensemble of sonar, lights and cameras was orchestrated by an array of computers that each programmed in a different computer language. The computer on the unmanned Argo itself was programmed in FORTH, a concise but versatile language originally designed to regulate movement of telescopes and also used to control devices and processes ranging from heart monitors to special-effects video cameras. The computer on the Knorr was programmed in C, a powerful but rather cryptic language capable of precisely specifying computer operations. The telemetry System at either end of the finger thick Co-ax cable connecting the vessels, which in effect enabled their computers to talk to each other, was programmed in a third, rudimentary tongue known as assembly language. Programming languages are the carefully and Ingeniously conceived sequences of words, letters, numerals and abbreviated mnemonics used by people to communicate with their computers. Without them, computers and their allied equipment would be useless hardware. Its own grammar and syntax regulate each language. A programming language that approximates human language and can generate more than one instruction with a single statement is deemed to be high-level. But computer languages tend to be much more sober and precise than human languages. They do not indulge in multiple meanings, inflections or twists of iron. Like computers themselves, computer languages have no sense of humour. Today there are several hundred such languages, considerably more than a thousand if their variations, called Dialects, are counted. They enable their users to achieve a multitude of purposes, from solving complex mathematical problems and manipulating (or crunching) business statistics to creating musical scores and computer graphics. No existing Language is perfect for every situation. One or more of three factors usually determines the choice among them: The language is convenient to the programmer; it is useable on the available computer; it is well suited to the problem at hand. The multiple tongues employed on the Titanic expedition are a case in point. For the computers aboard the surface ship Knorr, C was the preferred language because it provided more direct control of the computerised hardware. FORTH was the only high-level language that could be used on the submersible Argos computer. And the precise timing required timing required of the signals passed by cable between th e two vessels was best accomplishedby rigid assembly language. As varied languages have become the all build on a common base. At their most fundamental level, Computers respond to only a single language, The high and low of electric voltages representing the ones and zeros of binary code. Depending on how these signals are fed into a computers memory. Another might be a piece of data yet to be processed. Yet another collection of binary digits, or bits, might command the machine to perform a certain action, such as adding to numbers. The circuitry of each type of computer is designed to respond to a specific and finite set of these binary encoded machines, which may be combined and recombined to enable the machine to perform a vast range of tasks. Though straightforward enough this so-called machine is a forbidding, alien language to human beings. A computer program of any size, in its machine-code form, consists of thousands or even millions of ones and zeros, strung together like beads on a seemingly interminable string. A mistake in even one of these digits can make the difference between a programs success and failure. Less than half a century ago, machine code was the only means of communicating with computers. Since then, generations of language designers have harnessed the power of the computer to make it serve as its own translator. Now, when a programmer uses the command PRINT Hello or the statement LET A = B * (C D) in a program, a translating program is called into action, converting those commands into the ones and zeros that the machine can understand. The methods used to program the worlds first general-purpose computers were as cumbersome and primitive as the machines they served. The historic Mark 1, assembled at Harvard University during World War 2, was a five-ton conglomeration of relays, shafts, gears and dials, 51 feet long. It received its instructions for solving problems from the spools of punched paper tape that were prepared and fed into a computer by small corps if technicians. A more advanced machine, ENIAC (for Electronic Numerical Integrator and Computer), was completed i n 1945 at the University of Pennsylvanias Moore School of Electrical Engineering. Unlike the Mark 1, which was electromechanical, ENIAC was fully electronic. But it was still devilishly difficult to program. Its primary developers, Physicist John W. Mauchly and engineer J. Presper Eckert, had responded to the urgencies of wartime by concentrating on ENIACs hardware. Programming took a back seat. ENIAC was not even equipped to receive instructions on paper tape. To prepare it for operation, ma team of technicians had to set thousands of switches by hand and insert hundreds of cables into plug boards until the front of the computer resembled a bowl of spaghetti. Not surprisingly, ENIACs users tried to squeeze the last drop of information out of any given configuration before they undertook to change it. These early experiences made it all too plain that a better means of communicating with the machine with the machine was needed if computers were to approach their potential. And even as ENIAC hummed through its first electronic calculations, some forward-looking work on a higher level programming was being done elsewhere. In at least one case, however, many years would pass before the results came to light. Konrad Zuses world was crashing down around him early in 1945 as the allied military noose tightened on Berlin, his home city. The young German engineer had been working since before the war on a series of relatively small, general-purpose computers, using the living room of his parents apartment as his laboratory. Zuses efforts were a notable example of parallel yet independent developments in science; he had no idea of the similar progress being made in other nations, and his own government had shown little interest in his computer work. Shortly before the fall of Berlin, Zuse loaded his only surviving computer, dubbed the Z4, onto a wagon and fled with a convoy of other refugees to a small town in the Bavarian Alps. Arizona Concrete EssayShort Codes partner program was essentially a primitive interpreter, a language translator that converts the high-level statements in which a program is written into simpler instructions for immediate execution. As programming languages evolved, interpreters would become one of the two basic categories of language translators. New advances in languages soon overtook Short Code, but its central idea endured. Far from being simply glorified adding machines, computers are consummate manipulators of symbols, whether those symbols represent numbers, letters, colours, or even musical notes. A computer has no difficulty taking the code numerals 07 and performing the sequence of steps that leads it to add two numbers, as long as it has been programmed to recognise 07 as the symbol for addition. In the same manner, it can take a complete statement, such as IF N * 100 THEN PRINT N/47, and translate it into the basic machine instructions that will enable the hardware to carry out the desired task. This purposeful manipulation of symbols is the fundamental principle behind all programming languages. Although short code was never a commercial success, the language made a deep impression on Grace Hopper. Short code was the first step toward something which gave a programmer the power to write a program in a language that bore no resemblance whatsoever to the original machine code, she said. But before the promise of Short code could be realised, much more had to be done. The pace of progress in computer languages was tightly bound to advances in computer hardware, and during the late 1940s there were few such advances. Most of them were influenced by Mauchly and Eckerts early work and could in fact trace their origins to a specific event: a series of lectures held at the Moore School in the summer of 1946.There, Mauchly and Eckert discussed the successor to ENIAC they were planning. Dubbed the Electronic Discrete Variable Automatic Computer, or EDVAC, it would dramatically reduce the labour involved in changing from one program to another by storing its programs and date electronically in an expanded internal memory. One participant in that summer was Maurice V. Wilkes, then head of the Mathematical Laboratory at Cambridge University. Inspired by the lectures, Wilkes returned to England and set about designing a machine based on the EDVAC concept, construction began in 1947. Named the electronic storage Automatic Calculator, or EDSAC, it became operational in 1949, well before Mauchly and Eckerts firm produced its first commercial computer. Like many early computers, EDSAC was a finicky performer. One programmer recalled that even the sound of a airplane flying overhead could bring it to a halt. Whatever EDSAC was shut down for any reason, a set of initial orders had to be loaded into the machine to enable it to accept programs again. This process made a whiring sound, which was a signal for everyone who wanted to use the computer to come running, Programs in hand. Those fortunate enough to have offices nearest the computerusually ended up in the front of the queue. The others might have to wait a long time. At first, EDSAC could perform 18 basic operations (modern computers usually have a capability of 200), each of them triggered by a particualar sequence of ones and zeros. Early on, EDSACs designers decided not to force its programmers to use this machine code in their programs. instead they set up a system of mnemonics in which each machine instruction was represented by a single capital letter. Thus S meant Subtra ct, I meant Read the next row of holes T meant Transfer information to storage and Z meant Stop the machine. When a programmer typed a mnemonic on a specially adapted keyboard, the corresponding binary instruction was punched into a papertape, which could then be fes to the machine. Even more valuable than the mnemonics devised for EDSAC was the library of subroutines set up for the machine. Subroutines were already a familiar concept in computing: Grace Hopper and her group had used the on the Harvard Mark 1. But they continued to pose their own peculiar problems. Subroutines are independant sections of the computer program that are used over and over and are called for by the main program when needed.Early programmers often kept notebooks containing the comman used subroutines so that they did not have to start from scratch when one was needed. The problem was that the addresses that designated where each of a subroutines instructions and varibles were to reside in memory changed according to where the subroutine occured in the program. Maurice Wilked called the EDSAC scheme of mnemonics and subroutines an assembly system, Commanly known as Assembly. Assembly code reamsins in use today because of its close relation to the machine, an assembly language is machine-specific, designed to correspond to the set of machine-code instructions wired into a particular computers CPU. Thus, assembly lanuage is a favourite of programmers who want to compress their programs into the smallest possible space in memory and have them run as fast and efficiently as possible. These attributes made it ideal for programming the telemetry system used by the Titanics finders. Anyone writing in assembly language has to be intimately familiar with how a computer does things, To know, for example, the many steps required simply to add 2 numbers. Assembly written for one computer would be totally gibberish to another computer.The language was a creation of a brilliant english mathematician Alan M. Turing. By 1948, Turing was in charge of programming he prototype of a real computer called Mark 1, the machine that was being constructed at the University of Manchester. (It was not related to the Mark 1 of Harvard). The manchester Mark 1used combinations of five binary digits to represent the machines different instructions, with each instruction requiring four such combinations, or 20 bits. Intending to make the Mark 1 easier to program , Turing installed a system in which a mnemonic symbol was substituted for each of the 32 combinations of Zeros and Ones possible with a five-bit code. The symbols Turing assigned to the combinations were the letters, numerals an d punctuation mark of a standard teleprinter keyboard. For Example, a slash (/), or stroke to the British, stood for 00000, or zero, an R stood for 01010, and so up to a , representing 11111. That is the end of part one of the four part series. Please download or read the following files in the near future. I hope that you find this file helpfull. Bibliography:Time Warner Books,

The opening credit sequence of The Sopranos Essay Example

The opening credit sequence of The Sopranos Paper The final step in the opening credit sequence is the title screen detailing The Sopranos. The viewer is presented with a black scene in the centre of which is the white block letter spelling out The Sopranos. This title screen itself may semiotically provide much information regarding the themes of the television programme once its layers of meaning are extricated and analysed. Treating firstly the importance of the simple colours of this screen- black and white- the themes of the show are visible. The traditional semiotic meaning that is assigned to these two colours aid in the production of these themes. White is mostly explicitly recognised as the colour of the good, the virginal/pure in contrast to the assigning of the colour black to the evil, the mysterious, danger, death and malice. The assigning of meaning to these two colours can be traced back in anthropological terms to the Western worlds view of white people as being good whilst the black people from the continent of Africa were inherently evil and not to be trusted. This dichotomy was later applied to the notion of the goodies versus the baddies and can be seen in the title of graphics detailing a main theme of the show- the good guys or the police, reflected in the white, battling against the bad guys or Tony Soprano and his mafia family, reflected in the black. These colours can also represent the struggle in Tonys world between right and wrong and his struggle with his morality and religious faith. Throughout the series, Tony has many crises of faith and a few attacks of conscience. We will write a custom essay sample on The opening credit sequence of The Sopranos specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on The opening credit sequence of The Sopranos specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on The opening credit sequence of The Sopranos specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Thus the black may reflect Tonys dark side, with his underhand dealings and deadly intent, and the white may represent Tonys faith, his belief in Catholicism and his need to do good in some form. However as the graphics show the black impedes on the white possibly illustrating the fact that Tony has a great struggle between right and wrong. To analyse the typography of the sequence it is again possible to find meaning implicitly embedded in it. The letters spelling out The Sopranos are thick and have blunt edges. The letters in the original are also large and white and stand out prominently from the black background. The typography used is illustrated below. This may be analysed semiotically as being a reflection of the character of Tony Soprano- solid and dependable with a large stature who is rough around the edges; possibly a reflection of his brutal streak. It may also serve to provide meaning about the Soprano family as a whole- large, close-knit and very prominent in society (reflected by the white standing out against the black background). Finally the representation of the downward facing gun as spelling out the R of The Sopranos is important for the assigning of meaning also. According to Freud, the gun can be viewed as a phallic symbol, a representation of the male penis and thus is a reflection of the male sexual drive. The gun may connote power and male sexual potency along with aggression and danger. The sexual exploits of Tony Soprano and his power sexually as well as physically is a main theme of the show, and is referred to implicitly in the title graphics. Thus it is possible to say that the title screen of the opening credit sequence of the show provides meaning semiotically through colour codes, typographic presentation and symbolic representation. Themes of the show such as the good versus the bad, violence and sexual prowess are all reflected through the simple yet highly effective title sequence. The opening credit sequence of The Sopranos may also be analysed semiotically as one explores the assigning of meaning to maleness and indeed the image of the gangster i. e. Tony Soprano. By analysing this sequence in-depth it is possible to detail information that the average viewer may neither implicitly nor explicitly decode whilst watching the television programme. The semiotic representation of Tony Soprano in the opening credit sequence reveals a lot about his character. Throughout the sequence Tonys face is obscured by shadows and darkness, the lower part of his face i. e. from his nose down, is the only part visible. If one is to assign meaning to this it is possible to say that Tony is a mysterious man with a dark mind/ dark thoughts. His face is obscured as he drives from New York to New Jersey; from work to home. It is only when he arrives home that Tony is fully visible/ fully illuminated. This reflects the idea that Tonys work life is dark and mysterious, full of secret dealings and murders, and that his home life and his family provide him with the bright/highlights of his day. In the car, Tony is the only person visible. He steers the car suggesting that he is a person who is solely in control and in power. It also suggests that he is an actor in his own future, that he directs his life and controls his destiny. This is again emphasised by the continuous close-up shots of Tonys hands and arms. The affluence of Tonys life and his materialism that is shown in the show is reflected in the opening sequences. There is a continual emphasis on Tonys gold jewellery connoting opulence, richness and his carelessness with money. The cigar that Tony smokes is also a symbol with several layers of signification for this opulence but also on another layer of meaning it may be seen as phallic, reflecting Tonys masculinity and raw sexual energy. The theme of money is again reinforced with the shot of the bank reflecting possibly Tonys implicit need for financial security for himself and his family. The religious aspect of Tonys personality is also detailed. The shot of the cathedral/church illustrates Tonys Catholicism but the shot is somewhat obscured by branches of trees. This may signify the crisis of faith that both Tony implicitly and his wife Carmela explicitly have in the show. Tony is religious, he has faith but this faith is obscured by the sins that he has committed and the illegal dealings that he is involved in. the image is almost a black and white image reflecting the clear cut base belief in God that Tony and the Soprano family hold. A red canopy on the front of the church is important as its semiotic analysis reveals that the colour red connotes a raw energy, vigour and spirituality. This reinforces the strong position that religion plays in Tonys life. The appearance of the graveyard also provides us with information about the show. The long shot of the gravestones illustrates that death will be a prevalent theme as it proves to be with all the murders carried out by Tony and his mafia gang in the show. The appearance of the butchers shop stands as signification on two levels- the butcher per se as the murderer e. g. Tony, and as standing for an immoral behaviour. The pig on top of this shop stands as a symbolic representation of Tonys greed for both food and money and for his selfishness and over-indulgence. The Pizzaland shop also reflects his greed for food and Tonys traditional Italian roots. Tonys arrival at home is also important to analyse semiotically. His movement through the gates signifies that he has entered a new phase of his life and as he moves up his driveway this signifies that an end has come to his journey, he is at rest and secure/content. Thus by performing a semiotic analysis of Tony and certain scenes from the opening credit sequences it is possible to ascertain what are the important areas of Tonys life i. e. family, religion, sex, money, food, revenge etc. The use of colour in the opening credit sequence is of particular importance in this semiotic study. There are many different meanings assigned to colours and their use in certain contexts can be highly significant in the development of meaning and therefore, themes. Tony is dressed in a maroon coloured shirt. This colour is associated with bravery and strength, which is indicative of Tonys character despite his cruel and brutal streak. The road signs signalling New Jersey, Tonys home-place, are green. Green is associated here with Tonys home-life and his family and this colour connotes peace and serenity, all feelings that Tony himself hopes to associate with his family. A colour that is of a particular significance due to its connotations is silver. The colour silver connotes justice and purity due to its association with the silver swords of the knights of olden times- protectors of freedom, upholders of morality and keepers of peace and justice. For this reason the colour is also connotative of the police as they have taken on the contemporary role of the knight. Silver freight lorries are frequently shown in the opening sequences but they are always shown travelling in different directions to Tony, never with him or even close to him. A freight truck may act as a symbol for carrying a heavy load or a burden, so the silver trucks may connote Tonys anxiety regarding being caught/followed by the police. His journey in opposite directions to these silver trucks may also act as signification that he has left purity/justice behind and is leading an immoral life. It is possible to even suggest that the colour of Tonys house is indicative to meaning. As Tony drives home, he passes by many white family homes, which bear the American flag thus connoting morality and good. Tonys house however is brown or not white signifying something other than purity and wholesomeness. Thus by analysing the use of colours and in particular their use in certain contexts it is possible to ascertain that themes such as immorality, family and fear of the police will feature as themes in this show. An important part of any semiotic analysis of a film or television programme is that of the soundtrack. Music works primarily on the level that it can rely on the spoken word as it is sung to create meaning instead of the visual image. Non-verbal communication is also employed in music to create meaning with the use of certain instruments to evoke emotions and atmosphere. According to Self (1988:116) title sequences together with title music, are instrumental in communicating the mood and themes of the coming production. The show uses the same song at the beginning of each episode. The song is Goy yourself a Gun and its lyrics play on the notion of the mob and the gun which are both themes in a way in the programme. The song plays slowly and quietly at the start of the sequence as Tony leaves the city and gains in speed and audibility, as he gets closer to home. This illustrates that he feels strongly about where he lives and about his family. According to the song, if one is to relate it to Tony, he was born under a bad sign with a blue moon in your (his) eyes (lines 7-8). This provides a hint to Tonys character, that he is immoral and does not follow the rules. Having blue moon in ones eyes is indicative of Tonys upward gazing idea, that one must better themselves regardless of how they do this even if the rules must be broken. The repetition of this song at the beginning of each episode helps to continually create the overall atmosphere of the show as being one of immorality and violence connoted by the gun in the song.