Nikki Haley - United Nations Address on North Korea free essay sample

subcultural thoery essays

subcultural thoery essays Examine the similarities and differences between subcultural theory and strain theory as explanations for deviant behaviour? Sociologists have tried to explain the reasons for deviant behaviour by using subcultural theories and strain theory. Subcultural theories are based upon the distinctive norms and values shared by a group within society and how these can lead to deviant behaviour. Strain theory is based on the contrast between an individuals aspirations and expectations with what they can realistically achieve. These theories have been adapted by sociologists to create a clearer view of crime and deviance within society. Functionalists such as Durkheim, describe crime and deviance as an integral part of all healthy societies. His theory explained that a limited amount of crime is necessary and beneficial to society and that it performed a crucial function for society, although too much crime would be dysfunctional. Robert Merton used Durkheims concept of anomie, as he provided social reason for crime and deviance. But Merton thought it was too vague in its original form. It did not offer any real explanation as to why certain people are more likely to commit crimes than others and concentrated on the relationship between deviance and order in society. Merton focused on the obsession of the American Dream where anyone can achieve the best and success is shown in wealth. He explained that materialism in America was taken to such an extreme within the value consensus that it caused a state of anomie. He found a strain between what people want, (goal) and how they attain their goal, (means). This ex planation is structural, as Merton locates the cause of deviance in the nature of American society, rather than any defects from the individual. Deviance occurs when individuals reject the goal of success or legitimate means of reaching that goal. Merton identified five possible responses ...

Organismic Responses to Climate Change Essay Example | Topics and Well Written Essays - 500 words

Organismic Responses to Climate Change - Essay Example n corals are highly affected by the impacts and effects that result from high sea temperatures and the increased acidification that may affect the ocean waters as an effect of the climate change. These corals therefore experience bleaching and contract diseases, which in most cases often lead to their death (Parmesan, Camille, Michael, Carlos, Elvira, Anthony, David, and Michael, 2013, p 59). The Ringed Seal face challenges f reproduction because of climate change. This is due to the melting of the ice blocks that are their habitats and their breeding paces. This particular effect of climate change is majorly experienced in the Arctic region environment (Doney, Scott , Mary, Emmett, James, Francis, Chad, Heather et al, 2012, p 21). The leatherback turtle are also highly affected by the increased sand temperatures that distorts the egg incubation period hence leading to a lower male population being hatched. Moreover, their natural habitat where the turtles nest on the beaches is washed away due to the increase and rise in the seal levels, high and increased ocean and air temperatures (Parmesan, Camille, Michael, Carlos, Elvira, Anthony, David, and Michael, 2013, p 60). Emperor penguins are highly affected by the rise in the sea temperatures and melting ice blocks. It therefore makes it difficult for them to get food and disrupts their breeding patterns. It therefore can contribute to their gradual extinction environment (Doney, Scott , Mary, Emmett, James, Francis, Chad, Heather et al, 2012, p 25). Quiver Trees are highly affected by the extreme drought incidents, which majorly affects the equator parts where they are distributed. There population is gradually decreasing. These species of plants therefore becomes a representation of plants and other vegetation that struggle to keep up with the accelerated effects of climate change (Parmesan, Camille, Michael, Carlos, Elvira, Anthony, David, and Michael, 2013, p 60). The habitats of Clownfish, which are coral

Perfume Essay Example | Topics and Well Written Essays - 1250 words

Perfume - Essay Example ty and fantasy into one credible and believable tale, especially when the book has been originally published during a period dominated by rational thinking and the Enlightenment. In Perfume’s Grenouille, a character is created who is repulsive and ugly but that he had an uncanny skill to recognize beauty more than most. The characterization is very realistic, with Suskind painstakingly depicting the period and setting including the norms, prevailing philosophies, and so forth, making his fantastic claim about Grenouille’s uncanny olfactory ability believable. Grenouille’s apprenticeship, for instance, demonstrated the fidelity by which the author described the commercial system in France during the period. Then, there was the information about the odor of a female virgin as one with potential to capture the very smell of desirability. Another case in point is the scrutiny on Grenouille in the eyes of the pseudo-scientist Marquis de la Taillade-Espinasse, who opined that the poor man’s spotted and scarred body is caused by the corruptive effects of gases on the body (141). The notion was of course silly, but that given how ugly Gre nouille’s body looked, such depiction, in some perverse way, seem to actually make sense. Together, these information demonstrated the interplay of what is realistic and what is fictitious and that it is strong enough for Suskind to suggest a certain man without any odor whatsoever, and his readers certainly believed it is the most natural thing in the world. All in all, such device was employed in order to effectively present Perfume is about fairness – meting out punishment for bad deeds committed. It is actually a classically structured horror literature in the tradition of crime genre, glossed over by employing a unique narrative approach. Grenouille committed his killing spree and in the end, the very reason for his murders was what caused his destruction as well – poetic justice. But if one paid closer attention,

Dream Act and Illegal immigrant childrens citizenship Essay

Dream Act and Illegal immigrant childrens citizenship - Essay Example It is immigration reform bill that offers over 12 million illegal immigrants to become legalized U.S. citizen, in addition to heightened security on Mexico border, and introducing guest worker program to assist employers in working out low paying jobs. Despite the fact that, it is costly legislation, has direct negative impact on already worse employment market, challenge for balancing budget on not only state but also federal level, additional tax burden on Americans, work as invitation for future illegal immigrants, and threat to not only immigration law but to the rights of law abiding legalized U.S. citizens. It is immoral and unethical approach of illegal immigrant who seek U.S citizenship for themselves or their children born or grew up here, as its basic purpose was to protect slave children not illegal immigrant's children. The Dream Act President Obama with liberal Democratic Party leadership is determined to pass the Dream Act which will grant amnesty to millions of illegal immigrants (King, 2010).U.S. Senate blocked â€Å"the Dream Act† this December, the bill, if passed, would have allowed young children of illegal immigrants to attain a legalized citizenship of United States of America. These illegal immigrants came to America as children but their criminal record and other requirements are clear. Moreover, they have completed two years of military service or college education in America. The bill could not gather the support of required 60 senators to cross the filibuster which delayed it for one year with an uncertain future (Herszenhorn, 2010). Fundamental objections The implemented version of 14th Amendment’s interpretation encourages other nation’s citizens to enter United States jurisdiction and give birth. The legalized children access social services and support their parents to beco me legalized. Presence of legal immigrant as immediate relative shortens the otherwise lengthy process of immigration (Rau, 2010). Its results can be far-reaching as we can infer it from Pew Hispanic Centre’s study (qtd. in Rau,2010) which reports about 340,000 births to illegal immigrants in United States only in 2008.In most of the cases, parents were residing in America form one year or more. It is unethical rather criminal as Lillpop refers it, to use infants or â€Å"anchor babies† to avoid deportation or other punishment, such as, jailing. Moreover, it is immoral manipulation and use of not only newborns but U.S. constitution for illegal immigrants’ personal interest. It offers short cut to legalization and unjust for those who go through a longer process for attaining United States citizenship in a legal way. A common justification is the humanistic stance that wants to keep the families united. It is suspicious and needs reconsideration because illegal i mmigrant initially left their families in their homeland just to reside illegally on American land. Moreover, a criminal cannot be judged upon on the basis of whether he has a family or not. Illegal immigrants are not less of criminals because they invade another nation’s soil without their legal permission. Dream Act permits illegal immigrants to feed on law abiding taxpayers’ money for their law breaking act. Opponents attributed the Dream Act to be too broad in its interpretation and it would lead to give amnesty to illegal immigrants (Herszenhorn, 2010). Senator Jeff Sessions of Alabama (qtd. in Herszenhorn, 2010) accuse Democrats of not only tolerating lawlessness but certain policies encourage it, he led the Dream Act’s opposition in Senate and highlighted the lack of efforts in improving the situation at borders to inhibit

The Graduate Gilm Analysis

The Graduate Gilm Analysis The phrase New Hollywood originally achieved extensive use to express a new wave of films and young film directors that emerged between the mid-to-late 1960s to the mid-to-late 1970s; a phenomenon more frequently regarded as the Hollywood Renaissance. Amongst these young directors included Mike Nichols whose massive box office hit The Graduate (1967), became one of the momentous, landmark films of the period, and helped to put in motion an innovative modern epoch of film production. Freshness and originality (traceable to the French New Wave) within an embedded framework of classical Hollywood style could be the most fitting way to typify the formal structure of The Graduate. Having emerged from the post studio era of production, a period when Hollywood was producing a high number of successful cutting edge films, The Graduate follows popular trends by setting out to offer a probing depiction of American society. Through its mixture of old and new Hollywood stylistic conventions, The Graduate realistically captures the 1960s culture of youthful alienation, disillusionment, opposition to the status quo and middle class values, and the growing cynicism of a younger generation against the older generation. An array of industrial factors was significant to both the emergence of young directors like Mike Nichols and the changing content in films of the Hollywood Renaissance. The decline of vertically integrated companies together with a large decrease in cinema attendances, contributed towards the ending of the studio system of production, and opened the gateways for a thematically different style of film-making. Consequently, individual packages were assembled: a format that gave directors like Nichols more authority, money and freedom to stamp their authority on film projects. Due to these rapid modifications in industrial factors, American values were also being challenged. The success of sexually explicit films like The Man with the Golden Arm, led to an adjustment of the production code. With barriers falling, Nichols was allowed to portray adultery, affairs and near nudity in The Graduate. Films no longer had to strictly target the family audience. Hence, Nichols pushed the limits, pushing the restrictions of both stylistic medium, and of taste. The idea of an older married woman (Mrs Robinson played by Anne Bancroft) eagerly seducing a young college graduate almost half her age (Benjamin Braddock played by Dustin Hoffman) was deemed controversial by many older audiences at the time, yet proved very effectual in targeting youth audiences. The film was thought of as bringing something new to Hollywood. However, although The Graduate has been bracketed as a product of New Hollywood, it is important to note that most of its scenes adhere to the classical style of editing, mainly because continuity editing and conventional form was a proven successful formula in Hollywood cinema; it remained ideal for constructing narratives that were visually uncomplicated to follow. The opening scene of The Graduate is principally constrained by the rules of classical Hollywood style for reasons like this, and so that audiences are presented with a rational believable world. The film begins with a close-up of Benjamin Braddocks face the white background focuses attention on his steely motionless gaze. The composition of this shot accentuates his look of disillusionment to the audience. It seems he is isolated, but the camera steadily zooms out, revealing him to be on an aeroplane packed with passengers. By filming his muted bodily movement on the automatic walkway in one slow extended take, the sen se of Benjamins isolation is heightened; Nichols is of course shaping up a narrative to reflect the disillusionment of the youth culture of his day, and as we learn later, Benjamins future reservations. Together with the popular non-diegetic soundtrack Sound of Silence, Benjamins mood is perfectly encapsulated within the opening credits. Since the lyrics of Sounds of Silence coincide with Benjamins behaviour, it almost becomes a second language for the film. The song, produced by the folk music duo Simon and Garfunkel, became an instant hit with the youth culture of the 1960s; it reached number one on New Years day (1966). In the opening, it matches well with the slow pace and continuity of the scene; the solemn edge and dim emotional colouring of the track underline the psychological difficulties Benjamin is experiencing. It is only when the shot of Benjamin exiting the airport dissolves to a shot of him expressing his qualms about future aspirations, that the viewers are able to distinguish the basis of his psychological commotion. By presenting a traditional older community who dont understand Benjamins troubles, the viewers build compassion towards Benjamin. In this second close up of his face, Benjamin conveys a slight look of apprehension as he tries to explain to his father (Mr. Braddock played by William Daniels) of his need to be different. However, Benjamins worries about his future are seemingly ignored. His father seems more concerned about keeping up appearances and persuading his son to attend to the guests of the home-coming party. This scene draws directly to the 1960s culture of youthful isolation, because like several young individuals of his generation, Benjamin emerged from the safe haven of the college lifestyle, only to feel confounded and highly indecisive about his future career. His parents, however, highlight their self-absorbed intentions by coaxing him downstairs as opposed to understanding his predicament; the party just seems like a reason for them to parade their material possession s to their friends. Hence, young people loved the movie because it highlighted their anxieties, and in the process it put down parents as self-obsessed immoral clods who only saw life through the narrow lens of class structure and wealth. Another technique used to represent the oblivious older generation is when the middle-aged guests of the home-coming party find themselves communicating in third person about Benjamin, even whilst he is positioned quite close to them. Combined with their invasive ways (almost pressuring Benjamin into an answer about his future), none of them truly comprehend Benjamins desires. In looking troubled and hesitant about future goals, Benjamin appears to be resisting the quintessence of the supposed American dream a complete American education, followed by a lucrative career. Like young people of his time, he is finding it difficult to come to terms with the institutionalised adult working life awaiting him. During the party Benjamin is constantly surrounded by a swarm of older people who want to praise his academic achievements or question him about his future; this only further adds to his claustrophobic mindset. Even after escaping the middle-aged crowd to refuge of his bedroom, he is interrupted by Mrs Robinson and feels trapped once more. Within the same shot that Mrs Robinson is being framed in the doorway, Ben is also framed within the world of his fish tank another symbol of imprisonment that is repeated several times throughout the film. Indeed Benjamin is like a fish himself shy, introvert and feeling alone in an ocean of emptiness. The classical editing in the opening of the film attains a smooth and faultless style of narration, allowing the viewer to effortlessly track the direction of the narrative; the viewers can feel the tension created when Benjamins inner conflicts are crossed with a non-understanding older generation. Further continuity editing is used to uphold clear narrative action (a feature of several successful films of the Hollywood Renaissance) as well as build up the moments leading up to the bedroom scene, in which Mrs Robinson will attempt to seduce Benjamin. In an establishing long shot of Mrs Robinsons house, Benjamin is persuaded to accompany Mrs Robinson inside. As Benjamin enters, he is surrounded by a porch made of all glass, making the environment outside entirely noticeable. The huge trees and thick green bushes outside, give the appearance of a tropical jungle; this could be a metaphor to illustrate Mrs Robinsons pursuit of Benjamin. Also, in one of the most infamous frames within a frame shot where Benjamin is framed perfectly under Mrs Robinsons leg, Mrs Robinson again takes on the more dominant position between them; she takes up the role of a predator whilst he becomes the young vulnerable prey. These portrayals of a sexually aggressive woman perhaps symbolises how easily t he older generation and society can lead a fretful, alienated individual astray if he or she deviates from forming a meaningful purpose towards life. Benjamin, who is already feeling lost, is caught off guard and becomes easy pickings for Mrs Robinson to take advantage. From an industrial perspective, Mrs Robinsons pursuit of Benjamin is important in establishing her constructed gender role; she is neither a liberated woman (who will leave her husband and pursue her romantic desires) nor a conformist faithful suburban housewife. During the 1960s, women roles were shifting from 1950s image of subservient housewives, to a more rebellious independent role. However, Mrs Robinson plays both the unhappy suburban housewife as well an explicitly sexual woman chasing an affair. She is shown as asserting her authority and sexual prowess over Benjamin, yet is still bound by her sex and relations with men; her representation is a result of the film industrys incapability to cut free from the conventional portrays of women so prevalent throughout the history of early Hollywood cinema. Julia Anderson states, Most viewers were not interested in watching, and Hollywood was not interested in funding a determined woman as a popular female lead. Thus, Mrs Robinson is a gripping protagonist one of the most renowned in Hollywood, in fact, but when her character is measured in terms of gender depiction, it is plain to see she is not gripping because of her accomplishments, but because of her villain like role. And her whole story circulates around her relationships with a member of the opposite sex; as a result she remains a female character that is defined by her association with a man, instead of her own defiant or heroic actions. The extent of Mrs Robinsons overwhelming sexual needs bears resemblance to the dissatisfied, sexually frustrated housewife described by Betty Friedan in her Feminine mystique (1963). Although Mrs Robinson had been forced into marriage as a result of becoming pregnant, she is put in a hopeless position to escape the marriage, possibly since she has become financially dependant on her husband. In having conformed to the archetypal housewife role rather than pursuing a professional career, it could be argued that she has become consumed by the feminine mystique; a lifestyle which regardless of true love keeps women, in many cases, interested due to the wealth of material possessions and money they receive. In Mrs Robinsons case, the combination of a loveless relationship and dreary housewife commitments makes her more subject to an increased sexual appetite. Thus, Mrs Robinson only engages in the affair to use Benjamin as defence mechanism to bring herself out of her miserable existence within marriage. The cinematography techniques used to capture Mrs Robinsons growing sexual desires for Benjamin, are examples of a move away from classical Hollywood style; the lightning fast cuts and other disorientating effects in the bedroom scene create the feeling of restiveness, impatience and a great sense of sexual hunger on Mrs Robinsons part. One of the reasons in using discontinuity techniques was because it was a major component for films deserving to be categorised as part of a new wave or renaissance. In this case it is effectively used to represent the turning point in the film; not only does it highlight Mrs Robinsons sexual urges, but the high-speed editing simultaneously reflects the growing tension and awkwardness on Benjamins part. This time he is framed over Mrs Robinsons shoulder and it is clear to detect his uncomfortable reactions when presented by the fully unclothed Mrs Robinson. By applying a slow opening to The Graduate and contrasting it with these bursts of rapid cuts, the visual impact of the seduction is made much greater to the audience; the full force of Mrs Robinsons desire is projected onto the viewer, who up until now has been comfortable experiencing the largely unnoticeable style of editing. Films like The Graduate and others of the Hollywood Renaissance period aimed to move away from directing entire films via strict continuity regimes; they aimed for a newer exciting dimension of stylistic techniques and current gimmicks to reflect characters emotions. The fact that Benjamin is emotionally at a crisis himself, makes the subsequent affair with an older married woman all the more worthless. The whole feeling of worthlessness surrounding the affair between Mrs Robinson and Benjamin is brilliantly captured in the musically backed montage, a segment that uses rapid editing and special effects a more direct use of discontinuity style thought to have been borrowed from the films of the French New Wave (La Nouvelle Vague). During the montage, one scene is edited so that it appears Benjamin is drifting between his parents house to the hotel room he shares with Mrs Robinson. Afterwards, in a disorientating match-cut, Benjamin is shown climbing up onto his home swimming pool raft and landing on top of Mrs Robinson in the hotel bed they share perhaps another symbol to symbolise Benjamins downward spiral in life, and his plunge to new lows by partaking in the affair. Within the several jarring cuts that show Benjamin walking back and forth into these separate spheres, the non-diegetic soundtracks Sound of Silence followed and April Come She Will play in the background; in illust rating compressed narrative information within the montage, the sequences of events highlights their loveless affair, and demonstrates how Benjamin is submitting himself to Mrs Robinson in order to block out the purposelessness and bleakness of his life over the summer. Nichols purposefully contradicts continuity here to stamp his mark on the film; in borrowing successful elements of the French New Wave, he is able to add that major ingredient of innovation so important to films in and around his period, and use it portray the feeling of youth disillusionment manifest in his society. It could be also argued that the increased discontinuity techniques in the musically backed montage have a more political purpose rather than merely reflecting character moods. By having a more jarring sporadic style of editing, viewers becomes more alert to messages in the film, and start to question dominant ideologies in society. In this case, Benjamins refusal in submitting to neither the plastics world of the older generation or any other city profession shows his rejection of the status quo and middle class ideals; a similar rejection shown by the youth rebellion of the 1960s. More concern in emphasised on Benjamins need to belong and find his identity as opposed to following the traditional way of American life fulfilling his education and entering a commercial, corporate based occupation. Through Benjamins almost robotic, strained replies to his father questions, he is resisting the standardised American way of living in hopes to search for a more fulfilling existence. Thus, his feelings of aimlessness directly reflect the youth generation of the time who equally drifted for prolonged periods of time whilst trying to determine an aim in life. Benjamins feelings of discontent are justifiable because as Friedan would argue, many young men who willingly conformed to corporate life in the late 1960s realised that the purposelessness of their work kept them from feeling like men. For reasons like these, Benjamin refrains from following the old-fashioned way of living that his parents have occupied. Instead he enters a passionless affair and drifts around at his parents pool as a form of escapism. Pushing narrative boundaries and including illicit representations of sex in the affair between Benjamin and Mrs Robinson were thoughtfully calculated by the film to target the 1960s American youth rebellion culture. In an era when the Motion Picture Association of America (MPAA) no longer had the final contribution in the films story, Nichols was free of most strict censorships. This allowed him to openly forefront facets of the youthful counterculture; in doing so The Graduate targeted younger audiences (the major cinema ticket consumers in the late 1960s). Since younger people preferred films that dealt more explicitly with sex, Nichols audience targeting strategy proved very cost effective and ticket sales rocketed with the film earning a box office gross of $105m. Large amounts of that gross total were down to Nichols innovative film techniques which pushed home the feelings of the youth counterculture uncertainty, fear, and a general lack of direction in life. Another reason for Nichols to offer the clear rejection of classical unambiguous cinematic form (evident in the scenes previously mentioned) was because many film directors who employed such techniques in various scenes of their films were held up in admiration at the time, whilst Hollywood films restricted by conventional narrative flow were condemned. Films like Easy Rider and Bonnie and Clyde were largely greeted with huge success for their innovative trendy stylistic approach. Described as a period of great artistic achievement based on new freedom and widespread experimentation, these new formal styles became very profitable for selling huge box office hits, and helped cement the Hollywood Renaissance a golden age in Hollywood history. Moreover, by using new off the wall techniques, Nichols perhaps shows his desire to be held in the same admiration of previously successful forward thinking directors like Alfred Hitchcock, Charlie Chapin and Howard Hawks, who were much-admired for their high film art, and auteur status. Considering the new found freedom that directors of the Hollywood Renaissance had, the films of the period have been mostly understood in terms of the efforts of the artistic auteur. Hence, Nichols too has been regarded as a filmmaker creating his own personal style of directing. For example The scene which celebrates Benjamins 21st birthday is important in establishing the psychological burdens Benjamin is suffering; a mindset which mirrors the youth alienation and counterculture of the 1960s. Through avant-garde techniques, Nichols positions the viewers in Benjamins viewpoint (looking out of a scuba diving mask), and forces them to experience Benjamins feelings of entrapment as he makes his uncomfortable transition from a boy to a mature man. Benjamins visions reveal a blurry image of his parents faces; this together with muted sounds of the middle-aged crowd could be representative of Benjamin being too caught up in his own thoughts to acknowledge anything, particularly the overbearing views of the older generation he wants to block out. As well as moving lethargically towards the pool and finally sinking to the bottom of it, this scene cements the foundation for his growing rebellion towards his elders. Like the youth alienated society of the day, Benjamin prefers to blank out the real world. Before he decides to emerge in front of the birthday guests in his scuba diving outfit, Benjamins replies to his father are packed by unusually high pitched bleats of apprehension: dad can we please talk about this for a second. The anxiety that punctuates Benjamins line deliveries accentuates his uptight frame of mind, and becomes a point of resistance against his parents. Not only does this add to the comedic element of the film, but by presenting comedy in its blackest sort, these instances positions the viewer to ridicule American materialistic values the need to flaunt material wealth as a means of maintaining class hierarchies. The fact that Benjamins father feels the need to highlight the price of the scuba diving mask to the birthday guest only further affirms this. As Benjamin moves sluggishly towards the pool, it is interesting to note the parallels of Nicholass point of view shots with Alfred Hitchcocks; they both create a similar feeling of discomfort in the viewer. Like Hitchcock, Nichols too questions the root of regular human behaviours by aligning the viewer to the protagonists dissenting action through point of view. The increased volume of Benjamins breathing appears to be a sound which transcends from realism to expressionism and it fits in well with Benjamins troubled mood. In this way viewer feels they are partaking in scopophilic and often pervasive acts, sharing a strong bond with Benjamin. As continuity editing paints a more naturalistic ordered world, these avant-garde techniques can be viewed as mirroring the disordered society of the 1960s- youthful alienation and rebellion to middle class norms. Moreover, Benjamins behaviour and strained replies to his father are significant in establishing Benjamins identity crisis; an issue which reflects the gender crisis of the 1960s. During the 1960s, new notions about masculinity were starting to surface; the counterculture sought to change the traditional one dimensional understanding of man. In contexts to Benjamins world, he encounters the suburban middle-class ideas of the older generation and their traditional understanding of manhood a well rounded education, followed by a future in plastics. However, by rejecting this lifestyle in hopes to seek his true identity, Benjamin models himself on the modern image of the American male one who has a greater vision as opposed to conforming to the rather straightforward life presented to him by his father one that he is readily expected to lead. Just like in The Graduate, the older generation of Nichols time did not recognize that the gender roles for men were changing; it was only due to the growing counterculture asserting new attitudes towards gender that finally produced a young politicised generation who were on the lookout for their true individuality. The film thus mocks the traditional views of the older generation, particularly the materialistic wealth and snobbery that Benjamins father constantly parades to his friends. In addition to the changing gender roles of the 1960s, Dustin Hoffmans projection of a wholly different type of masculinity in The Graduate could be down to industrial factors. In a period when the industry was in flux, older notions of star power as highly desired commodities were concurrently on the decline; the rebirth of Hollywood cinema in the mid-to-late 1960s provided room for new stars to be born. This allowed Nichols to move away from portraying the traditional male hero one who was physically imposing, clearly motivated by an aim, and a man of more action rather than words. Nichols, on the contrary, presents the viewer with a male hero (Benjamin) who is small, introvert, awkward, indecisive, and feels lost throughout the film. As The Graduate was entering Hollywood cinema at a time where films were projecting high innovation, it could be argued that Nichols opts to go for something new in his characters to represent this trend. In the process he undermines classical narrat ive convention by portraying a male hero who has no clear motivations. Therefore as well as reflecting the changing gender dynamics of the period, Nichols gives rise to a new kind of star impersonation in his male hero. Moreover, Katharine Rosss character Elaine (the daughter of Mrs Robinson and Benjamins true love) also reflects the changing gender attitudes of the 1960s. At a time when the womens movement was gathering in strength, so the depiction of women in Hollywood cinema was also shifting. By ultimately rejecting the prospect of a mundane marriage and suburban lifestyle, Elaine liberates herself from the lifestyle forced on her by her parents; she shows herself to be capable of making decisions about her future. However, in choosing to marry Benjamin, Elaines representation reflects how marriage was still deemed imperative to the fulfilment of femininity in the 1960s. Nonetheless, the educated Elaine thinks independently, and like Benjamin, she chooses to abandon the older generational norms in favour for her self-fulfilment and romantic desires. The institution she attends for her college education (Berkeley) is also an important place for constructing her forward thinking mentality since i t was the centre of radical movements including class, gender and politics. By ending the film with Elaines romantic escape, the film stays also stays in touch with the 1967s year of proclaimed summer of love. Even though there is a slight change in the gender roles for the female protagonists, the women in The Graduate still conform to ingrained patriarchal norms, thus making the film a product of its time. The 1960s was a period where the second wave of feminism was gaining momentum, however in the face of these changes, inequality between the sexes remained; accordingly, the Hollywood industry only made minor adaptations in female character roles to reflect this. Benjamins mother and Mrs Robinson still inhabit a feminine role, acting as subservient counterparts to their working husbands, and although Elaine is an educated woman, her part in the story is mainly as a foil to Benjamins quest for identity. Moreover, in the shots of Mrs Robinsons legs and semi naked body, she can be viewed as what Laura Mulvey would state, an object of the male gaze. The leopard print coat which Mrs Robinson wears on her first meeting with Benjamin at the hotel is an important animal motif representative of her sexually predatory nature; she adheres to the voyeuristic erotic pleasures of the male audience. Although it can be argued Mrs Robinson is an assertive sexual subject in her own right, the counter argument would assert that she merely upholds sexual power over a physically petite, self-conscious, unconfident young man one whos young enough to be her son. In casting two aesthetically attractive women protagonists in Mrs Robinson and Elaine, The Graduate becomes another film of its time which fulfils the neurotic needs of the male ego Furthermore, the affair between Mrs Robinson and Benjamin is mainly a manifestation of an old fashioned male fantasy having a sexual affair with an older married woman. From this viewpoint, The Graduate places constraints on its radicalism and rather offers a constructed form of narrative experimentation in order to attract widespread audiences. By depicting this male fantasy, the film once again lives up to patriarchal norms. Due to the patriarchal norms of the time, The Graduate also keeps in conventional Hollywood custom by naturally focusing on a male protagonist in the narrative. The entire film revolves around Benjamin and, in typical fashion, the focus remains on his character development, identity struggle (making the adjustment from youth to adulthood), and the sexual relationships he gets caught up in. Mrs Robinson and Elaine, who are the key women protagonists in the narrative, are only defined in their sexual relationships with Benjamin. This demonstrates the Hollywood industrys tendency to heavily rely on the individuality of a male hero. The major success of The Graduate just became another platform for the industry to persist with notions of a male hero, whilst female characters had constraints on their freedom and remained mostly marginalised. Nonetheless, Elaine does have a good measure of freedom, and it is perhaps this along with her youth which make the psychologically and sexually suppressed Mrs Robinson jealous of her; consequently Mrs Robinson perhaps has an affair with Benjamin to reclaim her lost youth. To her, Benjamin provides the only escape of happiness in an otherwise dreary traditional suburban housewife life with a man she no feelings for. When the audience are made to realise Mrs Robinson and her husband share separate beds, one becomes conscious that they merely live under the false pretence of a happy marriage to keep up appearances in a rigid class structured society. It is aspects like these with which The Graduate is attacking the conformist ideals attached to middle-class values. Due to the dark, biting satire of the film, one cannot help but find the whole situation amusing, especially the dialogue regarding the moments Mr Robinson discovers the affair: in Benjamins defence he says, it didnt mean an ythingà ¢Ã¢â€š ¬Ã‚ ¦we might just as well have been shaking handsà ¢Ã¢â€š ¬Ã‚ ¦I dont love your life, I love your daughter sir to which Mr Robinson replies, As far as Elaines concerned, you are to get her out of your filthy mindà ¢Ã¢â€š ¬Ã‚ ¦and thats all Ben, youll pardon me if I dont shake hands with you. Benjamins awkward, spontaneous replies are so absurd that one cannot help but laugh. The interchanging comments between them underpin the many comic moments of the film; comedy gives an effective platform to mock the societal values of the traditional American people a direct example of this is when Benjamin, in his lifeless monotone voice replies no sir to Mr Robinsons question about whether Benjamin respects him. The films ability to confine all these serious moral issues into dark humour reflects the growing confidence of filmmakers, and the freedom that allowed them to assemble contentious film projects around multiple genres. Overall, although the period of transition in the Hollywood industry during the fifties and sixties bought much needed freedom to filmmakers, The Graduate still remained an industrial product; the film speaks to a incessant helplessness in the world, and inability to change and to create change for example, when The Graduate does portray action, it is performed by an isolated hero in a particularly antisocial method (going against societal norms and traditions), further establishing that genuine change, collectively carried out, is unattainable. Even though Benjamin and Elaine escape together in a typical happy ending, they do it at the expense of leaving their families behind; after everything, the final shot of them staring blankly into space is an uncomfortable one, especially Benjamin who produces the same look of disillusionment like the one in the opening of the film. Nichols does very well in artistically capturing the themes of the 1960 counterculture; however, in a commerci ally dominated industrial sphere, Nichols is inevitably indebted to stay within the constraints of total freedom of expression because he needs to get the film funded. By using calculated methods of visual experimentation and having a very constructed radical plot, The Graduate ensures economical success and with it, the widespread appreciation of the film from audiences.

Peace On Manor Farm :: Essays Papers

Peace On Manor Farm The animals lived in peace on the Manor Farm. The owner, Mr. Jones, took advantage of them but they did not know any better. Old Major was one pig that had a dream because he knew that they were getting taken advantage of. He tells the other animals of a life without Mr. Jones and how oppressive the humans are. The animals have this in their mind now but do not take any action really until one day when they are not fed. The men that work for Jones do not feed the animals for over a day. Starving, the animals break into the storage shed where food is kept and begin to eat. Mr. Jones and his men try to beat the animals back with whips. The animals become angry at this mistreatment and turn on the men and drive them off the farm. The animals lock the gate to prevent the human's return. They celebrate and gallop around the farm and they build a fire, which they throw the human's tools and possessions into the fire. They then paint out Manor on the farm sign and change it to say Animal Farm. Then on the barn they paint the Seven Commandments of Animalism. Though the whole incident the pigs lead them. The pigs were the most intelligent of all animals. From the beginning of the rebellion there are two pigs that stood out above the rest as leaders. Their names were Napoleon and Snowball. Snowball takes charge in running the farm. Every animal is equal and gets treated equally. Snowball introduces a plan to build a windmill. Napoleon disagrees with Snowball. During one of Snowball's speeches "Napoleon stood up and, casting a peculiar side long look at Snowball, uttered a high-pitched whimper of a kind no one had ever heard him utter before." (Orwell, page 57) Then nine enormous dogs rush into the barn and dashed straight for Snowball. They chased Snowball away. Up until this point the pigs are good and are equal with all the other animals. Napoleon takes control of the farm and things start to change. Napoleon wants absolute power and uses the dogs for his protection and other purposes. He says that Snowball is a traitor.

The Crucible – Performance Review

The Crucible A joint cast from Melbourne High School and Mac. Robertson Girls’ High School were recently involved in a production of Arthur Miller’s The Crucible. The cast, led by Gilbert Stalinsfield as John Proctor and Greta Nash as Elizabeth Proctor, was able to captivate the audience for an the entirety of the performer. Director Anne-Marie Brownhill’s interpretation of the play, while short, allowed for each actor to contribute his or her own ideas to the story without removing the overlying theme of the empowerment provided through lies and playing on people’s fears.Each actor showed a deep understanding of the plot and was able to convey the message about McCarthyism and the symbolism of the witch hunts for the way people were suspected and persecuted in the 50s when McCarthy was most influential. Miller’s work successfully illustrates the parallels between the series of events that occurred in the late 1600s known as the Salem Witch Trials a nd the events that had been occurring during the time that The Crucible was written in the 1950s. The combined cast from Melbourne High School and Mac.Robertson Girls’ High School were incredibly impressive in their demonstration of these issues and the effects that these situations can have. Leading the female cast was Year 11 Alexandria Liistro. A shock choice for the role, Liistro understood her character and was able to portray the vindictive Abigail Williams to perfection. The seduction of John Proctor and lying to the judges appeared to come naturally in this wonderful performance, which employed the technique of realism to enable the character to be understood by the audience.It was hard to find a member of the audience who, after seeing the play, didn’t feel a sense of disgust towards the way Williams had acted throughout the plot. Liistro seemed to play on this disdain shown towards her and her character by not only the audience but also the actors on stage. S he truly showed the manipulative nature of Abigail Williams. The gentle giant James Ness was very cleverly chosen to play Judge Danforth, the deputy governor of Massachusetts that presided over the Salem Witch Trials in this play. Ness’ giant stature and booming voice commanded attention as he delivered a pitch-perfect performance.The way in which Ness was able to control an entire act with his presence throughout the trials of Elizabeth Proctor, played by Greta Nash, made for very intense and enjoyable theatre. Ness was also able to convey the subtle compassion that Danforth has when he is offering Proctor the chance to save his own life by admitting to the heinous crime of devil-worshipping. The power in the delivery of every line by James Ness sent shivers through the audience and kept them interested from the first time he is seen on stage until the end of the play. The choice of costuming was very successful in portraying the true intentions of each character.Abigail Wil liams was dressed in a black with a red headband, showing the evil that litters her soul, while the rest of the girls that were testifying against ‘the devil’ in court were wearing black with green headbands, showing the confusion and sickness that dominated their understanding of what they were doing. The green of the headbands worn by the group of girls were matched with the green light used in the first act when Betty Paris has fallen sick due to the witchcraft that has been performed. Both John Proctor and Elizabeth Proctor wore lighter colours dominated by white and light greys.This choice of colour was to display the purity and innocence of these two people, despite what was happening around them. Secondary characters that cared only a little bit about the witch trials that were occurring but only for selfish reasons, like Giles Corey, were placed in costumes dominated by greys to show both the good and the evil in them. The set design and direction for this inter pretation of The Crucible was very well thought out. The early acts of the performance are dominated by a very crowded stage by both actors and props. This adds to the effect of the confusion that is intended displayed throughout the beginning of the play.As the acts continue, it appears as though there is more and more unoccupied space on the stage to allow for the real message of the play to be conveyed through the words of the story and the performance of the actors. The stage for the final act is completely bare and very few actors are on stage at once. This set being stripped for this section was so that the raw emotion delivered through the acting was more powerful and more easily observed and understood. The set appears to be a symbol for logic and altruism. As the play continues, so does the logic and altruism displayed by any of the characters.

Marketing Jugo in Maldives

Marketing Jugo in Maldives

Free Essays on Nanotech

Molecular nanotechnology is the ability to build a device with â€Å"every atom in its specified place†1. Some envision that molecular manufacturing will be here within 20 years. A nano-factory can be the size of a table top. Products will be more powerful and use less energy due to its size1. â€Å"Declaring that â€Å"nanotechnology has the potential for unintended consequences, which is precisely why we can’t allow the societal implications to be an afterthought,† National Science Foundation Director Rita Colewell announced two new grants have been awarded that are worth more than one million each†2. These grants are for studies on the impact on society. The grant recipients will be studying things like impacts of manufactured material on our health and the environment. On the medical side, nanotechnology will be able to â€Å"monitor, repair, construct and control the human biological system at the molecular level† 3. This won’t be possible, however, until the machines and robots are developed. This is being actively pursued by a number of different companies. One is the Institute for Molecular manufacturing. They are a nonprofit foundation that researches nanotechnology4. One use of nanotechnology that is in use today is a product called SoilSET. According to one report5 Sequoia Pacific Research Company has developed a soil binder that is a mixture of organic and biodegradable concentrate. This product will bind at the â€Å"nanoscale† and stick to soil to help retain water and germinate seeds. It was field tested in 2002 in the Mendocino National Forest. The forest’s hydrologist said â€Å"the product did its job and prevented erosion before it dissolved in a year’s time†6. Quantum computers differ from what we use today. Today’s computers rely on the laws of physics while quantum computers rely on quantum mechanics. Part of the idea of quantum computing is that instead of something being true or... Free Essays on Nanotech Free Essays on Nanotech Molecular nanotechnology is the ability to build a device with â€Å"every atom in its specified place†1. Some envision that molecular manufacturing will be here within 20 years. A nano-factory can be the size of a table top. Products will be more powerful and use less energy due to its size1. â€Å"Declaring that â€Å"nanotechnology has the potential for unintended consequences, which is precisely why we can’t allow the societal implications to be an afterthought,† National Science Foundation Director Rita Colewell announced two new grants have been awarded that are worth more than one million each†2. These grants are for studies on the impact on society. The grant recipients will be studying things like impacts of manufactured material on our health and the environment. On the medical side, nanotechnology will be able to â€Å"monitor, repair, construct and control the human biological system at the molecular level† 3. This won’t be possible, however, until the machines and robots are developed. This is being actively pursued by a number of different companies. One is the Institute for Molecular manufacturing. They are a nonprofit foundation that researches nanotechnology4. One use of nanotechnology that is in use today is a product called SoilSET. According to one report5 Sequoia Pacific Research Company has developed a soil binder that is a mixture of organic and biodegradable concentrate. This product will bind at the â€Å"nanoscale† and stick to soil to help retain water and germinate seeds. It was field tested in 2002 in the Mendocino National Forest. The forest’s hydrologist said â€Å"the product did its job and prevented erosion before it dissolved in a year’s time†6. Quantum computers differ from what we use today. Today’s computers rely on the laws of physics while quantum computers rely on quantum mechanics. Part of the idea of quantum computing is that instead of something being true or...

The Lottery by Shirley Jackson Essay Example | Topics and Well Written Essays - 750 words

The Lottery by Shirley Jackson - Essay Example It rose to significance in the early 20th century as a sort of reaction towards the romanticist theories related to literature. The romanticist theories focused on the author and his or her creative genius, previous works, personal history, etc. However, Meyer and Gardner point out that formalism is aimed at analyzing, interpreting, or evaluating the very inherent characteristics of a text. Technical issues related to grammar and syntax and literary tools like tropes and meter are important from the perspective of formalism. Formalism reduces the significance of a text’s cultural, historical, and biographical backgrounds (1541). Formalism has played an influential role in the field of literary study in USA approximately from the end of World War II through the 1970s. Of late, this approach of literary criticism is resurging once again. In such a state of affair, the concepts related to this approach must be reflected on. There are two major concepts in formalism: The first one is the intentional fallacy that puts forward that an author’s purpose or plan (i.e., intension) in creating a literary work is not relevant in evaluating or analyzing that work since the value and meaning of a work of literature should lie in the text only. In this regard, the formalist critic does not pay much attention to the â€Å"intent of the author† (Meyer and Gardner, 1539). The second important concept entailed in this critical approach is that of the affective fallacy, which holds that the very evaluation of a literary work cannot be based on its psychosomatic effects on the reader or the audience. Instead, constructive criticism should be concentrated towards the very qualities of the text itself, which might produce such sort of effects. (Meyer and Gardner, 1540) Consequently, formalist approach of criticism must entail close reading and analysis of the text. Further, it requires that all the opinions about the literary work should be properly referenced to the text. In the present paper, the formalist approach of criticism has been adopted to evaluate and analyze â€Å"The Lottery†. This piece of literary work can be categorized under short story. The work involves fiction, which has been empowered by a structured approach that involves visualization of certain situations by the means of vivid expressions. This sort of language skills is displayed at the very beginning of the story as Jackson writes, â€Å"The morning of June 27th was clear and sunny, with the fresh warmth of a full-summer day; the flowers were blossoming profusely and the grass was richly green.† (5) The concept of the affective fallacy entailed in formalism can readily be applied to the text as extracted above. The phrases like â€Å"richly green† (5), â€Å"fresh warmth† (5), and â€Å"blossoming profusely† (5) are the certain quality pieces of text, which are capable of producing profound emotional effects by the me ans of detailed description. Since the short story is based on fiction and formal approach does not give much importance to any historical context, this piece of writing qualifies as an effective literary text with distinguished taste. The concept of intentional fallacy can be applied to evaluate the value and meaning of the text throughout. The author’s intensions are rightly not of prime importance, since the creation of mystery and horror has been accomplished in a skillful way. â€Å"The Witchcraft of Salem Village came out in 1956, offering a simple history of witchcraft and a chronicle of the early puritan’s fear of the evil spirits.† (Jackson, 30). The carefully repeated use of the word â€Å"

Legalizing drugs Essay Example | Topics and Well Written Essays - 1000 words

Legalizing drugs - Essay Example ‘This means buyers and sellers cannot resolve their disputes with lawsuits, arbitration or advertising, so they resort to violence instead’ (Miron, 2009). This led Miron to controversially conclude ‘the only way to reduce violence is to legalize drugs’. I aim to discuss arguments supporting the controlled legalization drugs. ‘The legalization of drugs would massively reduce organized crime’ (Micklethwart, 1994). Legalization wouldn’t mean the existing ‘evil drug pushers’ controlling the market. Instead, official legal businesses (e.g. cigarette companies) would take control of the drug industry. ‘The number of drug related murders would fall because turf battles would be settled by law instead of gun fire and corruption/blackmail/bribes by drug dealers to judges, government officials and the police, etc would diminish’ (Micklethwart, 1994). Cussen and Block (2000) also claim that the price of drugs could fall if they are made legal due to increased competition amongst drug companies, which could reduce theft, and murder rates among addicts in order to get their next ‘fix’ because they wouldn’t need as much money to afford them. The increased availability of drugs could therefore decrease drug-related crime. Drug revenues of cartels (often international organisations which support terrorism and add to violent crime) could also diminish due to drug revenues being increasingly distributed by free-market forces (Cussen and Block, 2000). On the whole, crime figures would reduce dramatically as formerly illegal activities become ‘socially approved business transactions (Cussen and Block, 2000: 528). ... However, when prohibition ended, alcohol related crime decreased. The same scenario could happen if drugs were legalized too. The legalization of drugs could also stop the ‘potency effect’, which is best summarized with the example of prohibition. During this time, the sellers would sell alcohol with higher alcoholic concentrations (higher potency) because ‘hard liquors’ had greater value (per unit of volume) (Cussen and Block, 2000). This resulted in people drinking alcohol with higher concentrations such as vodka, which, when drunk excessively is more dangerous than beer and wine. The same ‘potency effect’ can also be applied to today’s drug trade, in which dealers carry more potent drugs (which are also the most dangerous to consume, e.g. cocaine) due to their greater monetary value. I believe the ‘potent effect’ of drugs could be reduced is they were legalized. A legalized drug trade could also save taxpayers money. For e xample, in the UK, drug related crime costs the state department ?16 billion a year. Easton (2009) estimated that a regulated drug market for cocaine and heroin would see ?7 billion worth of savings due to savings in the cost of drug crime. ‘Jails are also often overcrowded and large amounts of tax payers dollars are being spent on enforcement efforts that only aggravate the problem’ (Cussen and Block, 2000: 532). Legalizing drugs could therefore cut the costs, not only of the consequences of addicts’ habits, but also for tax payers. Legalizing drugs would also mean that they could be taxed like alcohol and cigarettes, which would provide the state with a new substantial form of revenue which could outweigh related expenditure / costs, occurred onto