In its simplest form, we think of prejudice in terms of race, culture, or religion. However, the word, “prejudice” has a much deeper significance and prevalence in the world. Prejudice, a preconceived opinion that is not based on reason, or actual experience means, “pre-judgement.” Throughout the twenty-first century, the prevalence of more overt forms of prejudice have diminished, and more subtle forms have taken its place. Prejudice itself is convoluted and hard to resolve, but a myriad books, short stories, movies, articles, and websites have been dedicated to raising awareness of various types of prejudice, and how it can be dealt with. "The Hurricane," by Norman Jewison, and, "Knife's Edge," by Malorie Blackman, are 2 examples of texts associated with prejudicial topics. Throughout, "The Hurricane," Jewison uses simple techniques in complex context, in order to communicate the underlying message. Non-diegetic sound plays a large part in the film, with it being used to add potency to scenes. Jewison uses live footage, and protest songs to connect with the audience, and demonstrate the overall gravitas that the film holds. The key use of non-diegetic sound can be seen in the implementation of Bob Dylan's song, “The Hurricane,” that was written at the time of the incident. The language used in Bob Dylan’s song, is very emotive and blunt. “An innocent man in a living hell,” “When a cop pulled him...Just like the time before and the time before that,” the use of emotive language in the song, makes the audience plea for Rubin’s innocence, and take his side throughout the movie. The overall aim of Jewison, through the implementation of diegetic sound, is to carry a meaning that would not have been present just in the visuals of the film. Unlike, "The Hurricane," Malorie Blackman's, "Knife's Edge," is a touch more sinister and insidious. Its dark light shines upon the raw meaning of prejudice. The confrontation