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The Good Life, Globalization, Economic: Commodity fetishism illustrates…

- - - - Parasite:
        Who the term "Parasite" refers to is unclear and multiple.
    - - Madame Bovary:
        The use of free-indirect discourse brings the reader into the narrative subtly, creating intimacy, at the same it is told in third person, feeling distant.
      - Second person
        
        The Reluctant Fundamentalist:
        Hamid also uses second person, like Kincaid, in a way the brings the reader implicitly into the narrative. And as in Kincaid creates a juxtaposition of intimacy and distance.
        
        A Small Place:
        Kincaid's use of second person draws the reader in asking them to insert their self as "you;" however, not every one reading may identity as the tourists she describes, thereby being quite jarring.
      - Film format:
        
        Life + Debt: As a film that incorporates text from Kincaid's A Small Place, which uses the second person, Life + Debt creates a unique way of viewing audience, one that creates the idea of being the viewer and being viewed, as physically one views what is happening on the screen, but is constantly drawn back into perspective of tourist.
        
        Parasite: Parasite creates as well the idea of audience, but also of being viewed, with the painting of the man in the basement, who also knows exactly what the Parks do and at what time, turning on the lights exactly as Mr. Parks walks under them. The format of film also enhances the visual and metaphorical divide between the upstairs and basement.
      - The Dispossessed:
        The narrative style of The Dispossessed jumps between planets and time, creating both continuity and incongruence.
  - - - A Small Place:
        As a tourist economy, Antigua relies on a constant influx of tourists, which means that time and money are not going into its own community, as seen with the library which remains unfixed and airplanes are named after presidents.
      - Life + Debt:
        Like Antigua, Jamaica relies on tourists to sustain its economy, as it, illustrates in the film, is still paying back loans from the IMF.