Both ‘We’re the Millers’ and ‘The Blues Brothers’ celebrate the end of rebellion. They value the ability of their protagonists to reconcile their differences with the culture around them. In doing so, they set an example that argues firmly against the change that Hollywood so fears. Hollywood will continue to reinforce problematic patriarchal social norms and discouraging social change in order to sell movies. This will continue to reinforce inequality in society. In traditional road movies, the protagonists must go on a quest to find America. In a Hollywood road comedy, no one is willing to admit that it has ever been lost.
Decoded according to the dominant code, the film leads audiences to believe traditional gender roles of man as protector and woman as protected. With a negotiated decoding, a viewer sees some of these trends, but acknowledges the localized cases within the film in which gender and class roles are broken. Finally, an oppositional reader sees the film as entirely a construction of patriarchy, recognizing the dominant values at work but rejecting them. This paper will examine each of these potential readings, based on Hall’s theories, as well as considering how these different reading positions relate to stereotyping.

Using one film as a media text, this paper explores Stuart Hall's communications theories of encoding and decoding. Using evidence from the film, it posits three potential readings of the same text, and how they arise based on the viewer's subject position. 

This research paper provides an analytical examination of hegemony and ideology at work in the road movie genre. It makes the argument based on evidence from two road comedies, The Blues Brothers and We're the Millers

No objections to Jeremy Clarkson’s firing really take into account the facts of the situation. Emotionally, it is incredibly easy to want to forgive him... No matter how much any fan loves him, he has committed an illegal act and has to be held accountable for what he did. Clarkson is not immune to rules regardless of how large his fanbase is, and the fact that he is a role model for many kids is an even stronger argument for holding him responsible. At present, based on the findings of the BBC investigation and ethical standards, the inescapable conclusion is that Clarkson’s punishment was appropriate for his crime.

Employing the Toulmin argumentative form, this paper engages with popular current events to prove that Jeremy Clarkson of Top Gear fame should indeed have been fired from his position for assaulting a producer. This conclusion seems obvious, yet there was significant opposition among the show's fans. 

To effectively drive down the cost and improve the technology, manufacturers need to see investment in EVs. By tapping into a demographic that can afford an electric car, established parents who can afford college educations for their children, we enable further investment in the technology. This wealthy group can absorb the cost of the initial generation of vehicles, and once their children are ready for a new car, electric cars will be more affordable. Thus, though an electric car is more expensive now, and its range and charging times are not yet ideal, purchasing one will enable the technology to become more accessible and more effective in the next generation.

Also using the Toulmin form, this essay makes an argument in favor of electric cars. It claims that the more affluent suburban class should invest in electric car technology now, and absorb the cost of the initial technology, so that it can become more affordable in the future. 

To come to terms with the mistakes of one’s parents is perhaps one of the greatest struggles in coming of age. Philip Larkin’s poem ‘This Be The Verse’ narrates this struggle for one man, as he thinks about the mistakes his parents, and their parents, have made. The poem begins with strong anger, moving through to a more reflective tone, and a final answer to the problem of parenting. “This Be The Verse” is a poem in which the speaker comes to terms with the mistakes of his own parents, and he comes to a sad conclusion about the nature of parenting. He learns to forgive his parents for their shortcomings, because their mistakes were inevitable. Larkin presents this mental process through divisions in stanza, differentiated by tone shifts and varying strength of punctuation.
Any interpretation of the poem is an attempt to stabilize the signs, but as we have seen, all signs are arbitrary and unstable. By deconstructing the poem, we can see the very different meanings contained within it, showing how inherently undecidable the text is. It has its ostensible meaning, but it could also mean the opposite. The so-called new world that opens up is actually oppressive and constraining and the so-called voice is actually a text. Therefore the real meaning or project of the poem is undecidable, because it can be organized and read around different oppositions. The poem can mean what it seems to mean, or it can mean its opposite, thus demonstrating the free play of meaning at work.

As part of a course on literary criticism, this essay analyzes Keats from a deconstructionist position. Using Derrida's theories, it decenters the poem to demonstrate that the meaning of the poem is undecidable. 

This analysis of Philip Larkin's "This Be The Verse" unpacks the central metaphor of the poem, clarifying Larkin's feelings about parenting and generational shortcomings.