English Essay Example | Topics and Well Written Essays - 2000 words - 1

English - Essay Example Indeed, benefits to Britain’s economic vitality have been well documented. But the arts and cultural pursuits in Britain have long played a far more profound and spiritual role than pounds and pennies, one that inspires and replenishes the soul. â€Å"The arts broaden horizons, stimulate new thinking, provide pleasure and raise aspirations – they inspire and sustain the spirit. More people are enjoying the arts than ever before (76 percent in 2008-09)† (â€Å"Why the Arts Matter,† 2010). Nevertheless, a crippling economic downturn and Europe’s largest budget deficit have raised a stumbling block that may well prove insurmountable for the arts’ single greatest patron – the British government. Name 2 Background Cuts as high as 40 percent come as hard news for arts and cultural institutions nationwide, which have benefited from an unprecedented growth in government funding over the past decade. Between 2000 and 2010, there has been an inc rease of approximately ?200 million in arts funding. In London, many arts organizations receive as much as 50 percent of their funding from the government. The impact on the city’s cultural life could be massive. London’s venerable museums may have to charge admission, a move that could cut deeply into the tourism market (Faoila, 2010). MPs have expressed concern over the curtailment of artistic activities and events and have recommended a program that would reward regional philanthropy in an effort to mitigate the damage (Phillips, 2011). Britain boasts a grand, centuries-old cultural heritage: one need only stroll through Westminster, where lie Dickens, Chaucer, Tennyson and other luminaries, to appreciate the nation’s unique contribution to Western civilization. As such, the likelihood that Britain’s coalition government could drastically curtail, or discontinue, funding for Britain’s cultural institutions amounts to nothing less than a national crisis of identity. For a nation deep in the grips of a persistent recession, adopting the American model of private philanthropy may do irreparable damage to Britain’s vibrant arts community (Faiola, 2010). With no government-sponsored alternatives on the horizon, Britons is facing a permanent marginalization of the arts, not in the short term but over time, proceeding almost imperceptibly, gradually blotting out some of the brightest stars in Britain’s cultural firmament. Name 3 Shakespeare under siege One could as well imagine the pawning of the crown jewels as entertain the possibility that The Royal Shakespeare Company could fall victim to the balance sheet. But in a report to Parliament, the company warned of dire consequences should budget cuts proceed under the current plans, which make it clear that cuts on the scale proposed (25 – 40 percent) will have real and significant impact for the arts and for the audience who enjoy them. Most likely for us it will mean fewer productions, less touring, and a curtailment of the free events and educational activities which help us reach new audiences† (â€Å"Parliamentary business,† 2011). This holds dire regional repercussions, given the presence the company maintains throughout the country. More specifically, the New Vic Theater in North Staffordshire, which receives about 30 percent of its funding through the Arts Council, played host to 175,000 visitors in 2010. This is significant, since the theater earns about 60 percent of its income

South Africa Apartheid Essay Example | Topics and Well Written Essays - 2500 words

South Africa Apartheid - Essay Example "the doctrine of Marxian socialism" is one "which aims at the establishment of a despotic system of government" and "which aims at bringing about any political, industrial, social, or economic change within the Union by the promotion of disturbance or disorder, by unlawful acts or omissions or by the threat of such acts or omissions or by means which include the promotion of disturbance or disorder, or such acts or omissions or threats."4 Besides outlawing the Communist Party, the Act authorized the outlawing of "any other organization . . . which engaged in activities calculated to further the achievement of any of the objects of Communism."5 The end of 1950s marked a difficult period for the ANC. The South African government stepped up banning and imprisonment to restrict action and protest. In a long, drawn-out trial set up by the government, many Congress leaders were charged with treason. Although the trial ended with acquittals for all who had been charged, it used up many of the resources of the Congress in terms of money and lawyers, and diverted the Congress from its principal mission. Before the massacre, On March 18, Sobukwe called a press conference, announcing that two weeks earlier he had written Lutuli, inviting the ANC to join in the campaign under the banner "service, sacrifice, suffering." 6 On March 20, 1960, Sobukwe announced a national 'anti-pass" campaign to be held on March 21, 1960, in which his followers were to surrender themselves at police stations without passes under the slogan "no bail, no defense, no fines." It was hoped that by insisting on arrest, the defiers would clog the jails, halt industry by their absence as workers, and thus force the government to accede to their demands. The leaders were to be in the... Besides outlawing the Communist Party, the Act authorized the outlawing of "any other organization . . . which engaged in activities calculated to further the achievement of any of the objects of Communism." The end of 1950s marked a difficult period for the ANC. The South African government stepped up banning and imprisonment to restrict action and protest. In a long, drawn-out trial set up by the government, many Congress leaders were charged with treason. Although the trial ended with acquittals for all who had been charged, it used up many of the resources of the Congress in terms of money and lawyers, and diverted the Congress from its principal mission. Before the massacre, On March 18, Sobukwe called a press conference, announcing that two weeks earlier he had written Lutuli, inviting the ANC to join in the campaign under the banner "service, sacrifice, suffering." On March 20, 1960, Sobukwe announced a national ‘anti-pass† campaign to be held on March 21, 1960, in which his followers were to surrender themselves at police stations without passes under the slogan "no bail, no defense, no fines." It was hoped that by insisting on arrest, the defiers would clog the jails, halt industry by their absence as workers, and thus force the government to accede to their demands. The leaders were to be in the forefront, inspiring the masses by their example of sacrifice. The PAC felt that the ANC's leaders had hung back at critical times, when the masses were prepared to forge ahead .

The invention of the Ipod and it's impact on society Research Paper

The invention of the Ipod and it's impact on society - Research Paper Example This study explores the social context in which Apple’s iPod has gained significance in the lives of millions of users. The iPod as a technological and commercial success In October 2001, computer manufacturer Apple launched the iPod, a pocket-sized gadget that plays music that may be listened to by its wearer even while the latter is mobile. The iPod’s introductory price at $399 was considered by its critics to be a major problem since it was priced higher than many of the other music players it was competing with at the time. More importantly, the iPod was released into the market just after 9/11 and at the height of the technology slump (Economist, 2004). Instead, the iPod had instead proven to be the most popular, best-selling, and concededly the most fashionable music-player in the market. In nearly all public places, people could be seen with the characteristic white earphone leads leading to the device. The earliest models were built with a 5 gigabyte hard disk t hat could store up to 1,000 songs; the later models had upwards of 40 gigabytes and a storage capacity of 10,000 songs, when other MP3 players could only store dozens of selections at the most. Coupled with the iPod’s capacious memory is Apples’ iTunes that allows music to be downloaded at less than a dollar per track. Techno buffs point out that while the iPod is essentially a fad that may be replaced by other devises and models, it is the first music-playing device to make use of hard disk technology. In the next few years after the iPod was introduced in the market, its immediate converts belonged to the twenty- and thirty-something status-conscious young adults (Bulik, 2008), and eventually to the teen-agers whose parents could spend the nearly four hundred dollars for one device per child. These meant not only the students in college, but also their professors who used their units not only to record music, but also digital lectures and talks that they would listen to in their free time (Levy, et al, 2004). More recently, and particularly since less costly models such as the iPod Nano ($149) had been marketed, there had been growing applications for the very young. Today, nearly one-third of digital media users are ten years old and below, and more than half of them prefer the iPod (Bulik, 2008). They usually benefit from hand-me-down video iPod units when their parents switch to newer models, but which still work well. At the same time, content directed at this age group have been developed by Disney, such as customized selections from Hannah Montana, High School Muscial and Pirates of the Carribean. Other media companies are following suit. The early success stature of the iPod culture was further enhanced when celebrities began enthusing over their own units, such as songwriter Denise Rich, Will Smith who called it â€Å"the gadget of the century,† and Gwyneth Paltrow who praised iPod in Vogue and coincidentally (or not) named her b aby Apple. The device and its signature white earplug leads were seen in many movies and TV shows of the early 2000s as a common feature of daily life (Levy, et al., 2004). During the early years, the iPod had been most conspicuous in big cities and college campuses, and were patronized by students and professionals such as judges (Levy, et al., 2004). More recently, its use had spread even to unconventional locations (for a digital music player) and for reasons other than

Barriers cross cultural communication Research Paper

Barriers cross cultural communication - Research Paper Example In the business world, increasing globalisation has been resulting in the formation of many multinational companies (MNCs). Initially, these were mostly dominated by the West, whereas Asian Multinational Companies (AMCs) have mostly been of Japanese or Korean origin. Lately, a new breed of AMCs are emerging that are mostly of Chinese and Indian origin. Their expansion however, as with the earlier MNCs before them, is posing challenges related to cross-cultural communication. This paper seeks to identify the typical barriers to effective cross-cultural communication in this new context and how they can be overcome. The greater focus is on examining Chinese culture and the experience of Chinese managers of AMCs working within the American socio-cultural environment. Such Chinese high-profile AMCs include Haier, Lenovo and Huawei, and Indian AMCs include Tata and Bharti Airtel. Both countries have some domestic economies. Apart from issues such as the need to improve governance, have greater transparency, and so on (Moller, 2008), they also recognise the need to adapt to different cultures. This entails stressing responsibility and accountability, and to be more responsive to local needs (Rajan et al., 2009). The Chinese realise that it is knowledge and skills for operating internationally that are needed more than owning shares due to the previously limited exposure and general seclusion. The Indians on the other hand have had a longer exposure to the market economy. Both acknowledge that knowledge acquisition is paramount for innovation (Teagarden et al., 2008), but new knowledge has to be communicated using language in order to be acquired (Welch & Welch, 2008). Tata’s acquisition of South Korea’s Daewoo vehicle company in 2004 was seen as a success but that is because their cultures shared many similarities to begin with (Rodrigues, 2006). The language barriers were overcome easily, which speeded the integration, and confidence developed

Cognitive Behavioral Theory Essay Example for Free

Cognitive Behavioral Theory Essay Cognitive behavioral therapy (CBT) is a short-term, problem-centered therapy that is used to address psychopathology within the individual (Beck, 1995). This model of therapy is used to address issues of depression, anxiety, eating disorders, relational problems, and drug abuse, and can be utilized when working with individuals, as well as within group and family modalities. The core aspects of this therapy include collaboration and participation by the client, a strong alliance between therapist and client, and an initial focus on current problems and functioning (Beck, 1995). The theory of CBT emphasizes the relationship between the individual’s thoughts feelings and behaviors, which is seen as being the underlying cause of psychopathology in individuals. Therefore, this theory asserts that the identification, evaluation, and modification of one’s negative thoughts will lead to an improvement in one’s mood and behaviors (Beck, 1995). It is important to understand the concepts and theory from which CBT is based in order for it to be efficiently implemented in therapeutic work with individuals, groups, or families. While CBT is used to treat psychological disorders, this theory can be examined by looking at the thoughts, feelings, and behaviors of individual’s with an absence of psychopathology. Beck (1979) and Beck (1995) present the cognitive model in order to explain the theory of CBT. The cognitive model demonstrates that the emotions that an individual experiences and the behaviors that they exhibit are a result of their perception of a situation or event (Beck, 1995). When in any given situation, an individual’s immediate thought response is their automatic thought (Beck, 1995). These thoughts are an immediate evaluation of the situation, which in turn directly influence the feeling that a person has about the situation. Automatic thoughts are experienced by everyone and occur in the individual’s mind prior to reasoning. These thoughts occur swiftly and often times the individual may be unaware that they have occurred, being more observant of the emotion that they are feeling in the moment (Beck, 1995). Once an automatic thought occurs within the individual, it triggers a feeling, which in turn triggers the individual’s response, such as a behavior and/or physiological response. For example, after a young child begins to pick up his blocks to be put away, his mother rubs him on the back and gives him praise for his actions. His automatic thought may be, â€Å"I am good when I put away blocks,† triggering a feeling of confidence, an increased level of physical energy, and the behavior of putting away the remaining blocks. Automatic thoughts can be neutral, positive, or negative. We all have our own automatic thoughts as we move through our day-to-day lives and interact with others. In regards to individuals with psychological disorders, the cognitive model looks at how negative thoughts influence the individual’s feelings and behaviors (Beck, 1995). From a CBT lens, it is the negative automatic thoughts that an individual has that perpetuate symptoms of psychological disorders, the occurrence of negative mood, uncomfortable physiological responses, and maladaptive or inappropriate behaviors (Beck, 1995). While we all have moments of experiencing negative automatic thoughts, for those with psychological disorders, and more pervasive difficulties in living, negative thoughts are often experienced in situations that are neutral, producing negative feelings that lead to maladaptive behaviors or responses that would not typically be expected from the neutral situation (Beck, 1995). Aaron Beck presents theory of the cognitive model of how depression is rooted and perpetuated in individuals as a result of the interaction between negative automatic thoughts, feelings, and behavioral response. In this discussion, depression is conceptualized in terms of the cognitive triad, which describes three components of negative thinking of the depressed individual: the individual’s negative view of self, their negative view of the others and the world, and their negative view of the future (Beck, Rush, Shaw, Emery, 1979). The cognitive triad is maintained via the remaining components of Beck’s cognitive model of depression, the individual’s schemas, or core beliefs, and the utilization of faulty thinking, or cognitive errors (Beck, Rush, Shaw, Emery, 1979). Cognitive theory asserts that our automatic thoughts are rooted in our core belief system or cognitive schemas. Core beliefs begin to be developed early in life and are based on experiences that the individual has throughout their life. Because these beliefs are so grounded in how the individual views their life, others, and the world, and begin to be cultivated so early in development, they become a fundamental aspect of the individual, who considers them to be absolute truths (Beck, 1995). Core beliefs are deeply rooted in an individual, so much so that the individual may be unaware of the belief and how it influences their thoughts about themselves and the world. Each belief can have varying levels of presence within an individual’s day to day life, with some core beliefs remaining predominately dormant and only being activated in certain situations, while others may be frequently present in an individual’s thoughts (Beck, 1995). It is the individual’s cognitive schemas that allows for the categorization and evaluation of different experiences or situations (Beck, Rush, Shaw, and Emery, 1979). The core belief system maintains the way an individual experiences and thinks about a given situation (Beck, Rush, Shaw, Emery, 1979). While everyone conceptualizes a given situation in their own way, each individual typically conceptualizes similar situations in a similar way based on their own core beliefs (Beck, Rush, Shaw, and Emery, 1979). Within a set of similar situations, the individual’s core beliefs trigger automatic thoughts, which in turn trigger the individual’s emotional and behavioral response. Over time, the individual’s responses to similar situations become more consistent, thereby causing the development of a routine response to these types of situations. As this consistently occurs, the schema connected to particular type of event is further developed and the individual’s assertion that the belief holds absolute truth is strengthened (Beck, Rush, Shaw, Emery, 1979). Beck’s theory underlying CBT focuses on the idea that symptoms of depression, as well as those of other psychological disorders, are developed and maintained through to the individual’s negative core beliefs and triggered negative thoughts. In addition to the individual’s negative schemas, Beck’s theory states that the cognitive triad of negative cognitions of self, others, and future is further perpetuated through patterns of faulty thinking (Beck, Rush, Shaw, Emery, 1979). There are a variety of faulty thinking mechanisms that are used by individual’s to support their automatic thoughts and core beliefs, even in light of contradictory evidence (Beck, Rush, Shaw, Emery, 1979). This type of thinking can be characterized as labeling, over generalizing, personalization, emotional reasoning, magnification or minimization, and all-or-nothing or impetrative thinking (Beck, 1995). These cognitive errors are often extreme and unrealistic ways in which the individual assesses and draws conclusions regarding their problems, which is then used to further support their negative belief system and automatic thoughts. CBT theory declares that the individual can learn to identify their automatic thoughts, thereby creating an avenue for changing the emotions, behaviors, and psychological responses to various situations. When utilizing CBT with a client, it is necessary for the therapist to conceptualize the individual’s presenting problems from the perspective of the cognitive model (Beck, 1995). This can be done through the work of gathering information regarding the individual’s current problems, diagnosis, and how the problems have been developed and maintained. As this information is collected, the CBT therapist begins to assess and identify the inaccurate and unhelpful thoughts connected to the problems, and the behaviors that are exhibited as a result of this thinking (Beck, 1995). As this is done, the therapist can then begin to guide the individual to identify, examine, and correct or modify the negative automatic thoughts, underlying core beliefs, and faulty thinking mechanisms that have sustained the presenting problems (Beck, 1995).

Django Unchained (2012) Film Analysis Postmodernism

Django Unchained (2012) Film Analysis Postmodernism Django Unchained (Tarantino, 2012) set in Texas in 1858, deals with a variety of issues such as race, slavery, revenge and violence. The film sparked controversy worldwide and amongst critics. Filmmaker Spike Lee talks about the film during an interview with Vibe magazine: All Im going to say is that its disrespectful to my ancestors. Thats just me. Im not speaking on behalf of anybody else (2012). Tarantino argues that although the film is indeed graphic and brutal, it does not compare to the real-life discoveries and findings from the research into this topic. The film sugar coats the violent happenings, as it leaves out factual gory details: We all intellectually know the brutality and inhumanity of slavery, but after you do the research its no longer intellectual any more, no longer just historical record you feel it in your bones. It makes you angry, and want to do something Im here to tell you, that however bad things get in the movie, a lot worse shit happened (Child, 2013). Django Unchained is a gruesome depiction of what life as a slave was like during 1858 pre-civil war Texas, as well as a glimpse of existence outside the slave industry such as in Dr. King Schultzs (Christoph Waltz) case or the wealthy Calvin Candie (Leonardo DiCaprio). It is a highly entertaining film which simultaneously disturbs and thrills, while also incorporating a healthy dose of humour throughout. The purpose of textual analysis is simply to critically analyse a piece of cinema. As a research method, it can be used to deconstruct the aim or overall meaning of the film. Focusing on elements such as narrative structure, exposition, narrative voice and editing is important when using textual analysis. Mise-en-scene, setting, colour, tone, costume, props and lighting all play important roles in the examination process. A textual analysis approach allows the text to be thoroughly studied, for example, looking for patterns/relationships, finding the key/central themes and symbolic significance, as well as the ways in which the audience engage with the text, for instance, if an audience feel sympathy or pleasure towards a certain part of the film. Monaco discusses the importance of visuals, describing that it is useful, even vital, to learn to read images well so that the observer can seize some of the power of the medium (2000, p.159). I intend to examine the ways in which Django Unchained can be viewed as a postmodern text. Postmodernism is a critique of modernism, the idea that there is no set genre or structure; no absolute truth: Post-Modernism is fundamentally the eclectic mixture of any tradition with that of its immediate past: it is both the continuation of Modernism and its transcendence (Jenks,1996). Jean Baudrillard talks about simulation, simulacra and hyperreality. Baudrillard argues that the audience live in an artificial world, drawn in by images and media; this is not reality and leads to hyperreality: Images are no longer the mirror of reality, they have invested the heart of reality and transformed it into hyperreality, where from screen to screen, the only aim of the image is the image. The image can no longer imagine the real because it is the real; it can no longer transcend reality, transfigure it or dream it, since images are virtual reality. In virtual reality, it is as if things had swallowed their mirror (Zurbrugg, 1997, p.12). Disneyland is an example of this as the fine line between reality and fantasy is unclear. Postmodern cinema contains a variety of features such as intertextuality, non-linear narratives, referentiality and pastiche. Frederic Jameson talks about the importance of pastiche in postmodern films: Pastiche is, like parody, the imitation of a peculiar or unique, idiosyncratic style, the wearing of a linguistic mask, speech in a dead language. But it is a neutral practice of such mimicry, without any of parodys ulterior motives, amputated of the satiric impulse, devoid of laughter (Jameson, 1991). Django Unchained demonstrates features of postmodern theory and this is often the case with Tarantinos work, as described by Rehling: Tarantino is generally considered the postmodern filmmaker par excellence due to his penchant for intertextual allusions (2010, p.203). The film follows the story of a bounty hunter (previously employed as dentist) Dr. King Schultz, who is searching for a trio of men named The Brittle Brothers. Schultz understands that Django (Jamie Foxx) is familiar with the brothers as he was once a slave to them, and realizes he must free Django for him to assist Schultz on the journey. Schultz mentors Django, and offers to pay him for his services while helping Django to live as a free man. The pair begin finding and killing various wanted men. Django explains he wishes to rescue his wife Broomhilda Von Shaft (Kerry Washington), and is determined to find her. Schultz agrees to help Django on his mission to release Broomhilda, who they later discover is a slave of Calvin Candie at his plantation CandieLand. The two men begin their journey to CandieLand and adopt a strategy in the hope to free Djangos wife. The film has been described as a spaghetti western due to the amount of violence involved as well as a Blaxploitation film. The main hero of the film is Django, a black character, and this contrasts with other 19th century Western movies where the central hero is often white, such as John Waynes character in The Searchers. It is also uncommon for a German character to be shown as the hero in this film genre. Djangos main goal is to locate and save Broomhilda from the slave trade. Although the film is violent in nature, comic relief is used throughout, for example, when Broomhilda faints at the sight of Django after he says Hey little troublemaker, to which Schultz replies you silver tongued devil, you. Pastiche is apparent when the Klansmen are preparing for a raid. The men bicker over the quality of the masks provided for them and this allows the spectator to laugh or poke fun at the characters. Humour is used as a tool to help the audience cope with gory imagery and the overall neg ative themes. Hyperreality is evident in Django Unchained as the film mimics a fictional world. Schultz tells Django about the famous German myth concerning a princess named Broomhilda who is held in captivity by a fierce dragon, until she is finally saved by her hero. This relates to Djangos main objective to free his wife and adds to the fairy-tale notion. Calvin Candies estate is referred to as CandieLand which has rather positive connotations however the harsh reality is that CandieLand is where Broomhilda and other slaves are kept as prisoners. Another aspect of postmodernity within Django is the intertextuality used, such as the reference to other films. The 1966 film Django is referenced firstly with the films title and actor Franco Nero (1966 Django) plays a cameo role. During Django and Schultzs time within the Candie mansion, Nero asks Django how he spells his name. Django replies that the letter d is silent, to which Nero replies, I know. It then becomes evident why Neros character is i mportant and his presence may spark curiosity in the viewer. In addition, Broomhilda Von Shaft is a reference to the Blaxploitation film Shaft. The soundtrack within the film is somewhat mismatched, combining a variety of different genres, and this seems unusual due to the historical period when Django is set. Costume design stands out greatly, especially during the scene were Schultz encourages Django to pick his own clothes. His first freedom outfit is extravagant and the blue suit imitates to the famous painting The Blue Boy (Gainsborough, 1770). This mimicking effect encourages a postmodern feel, and the notion of bricolage or that nothing is infinite; everything in existence is a copy of itself. Gender in cinema is significant and Django Unchained represents gender in different ways. Laura Mulvey (1975) talks about the male gaze: The determining male gaze projects its phantasy on to the female figure which is styled accordingly. In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness (Mulvey, 1975, p.62). Mulveys theory can be applied to Django Unchained as the female characters do not have demanding roles or are depicted as damsels in distress. Mulvey talks about woman as image, man as bearer of the look (1975, p.62) implying the notion that female characters are admired by a male audience solely down to their physical appearance. The male characters keep the film moving forward as Django and Schultz lead the story, while supporting males are crucial to the plot such as Calvin Candie and Stephen (Samuel L. Jackson). The viewer may appreciate the visuals provided by the female however can relate more to the male characters: Voyeuristic visual pleasure is produced by looking at another (character, figure, situation) as our object, whereas narcissistic visual pleasure can be derived from identification with the (figure in the) image (Smelik, 2001, p.9). Throughout Django, the female image is displayed in soft lighting, encouraging a sense of beauty and romanticism. During these moments, for example, the hallucinations Django has of Broomhilda, the viewer appreciates the imagery and momentarily shifts away from the narrative, as the female characters appearance tends to work against the development of a story line, to freeze the flow of action in moments of erotic contemplation (Mulvey, 1975, p.62). Although Broomhilda is incredibly important to Django, her character alone is not of importance. We witness Broomhilda being whipped and beaten however it seems we are not so concerned about her wellbeing but more so the way in which this affects Djangos actions. There is an underlying notion that the women in the film are the property of the male characters (Broomhilda belongs to Django, Lara Lee (Laura Cayouette) belongs to Calvin Candie, etc.). The female characters have little dialogue compared to the male characters, implying the idea that they should be seen and not heard. It can however be argued that Broomhilda is strong and independent, due to the fact she has endured endless torture and suffering since Django has been apart from her. In addition, she has attempted to escape CandieLand without the help of Django. Mulvey describes female objectification: Woman displayed as sexual object is the leit-motif of erotic spectacle: from pin-ups to strip-tease, from Ziegfeld to Busby Berkeley, she holds the look, plays to and signifies male desire (1975, p.62). At CandieLand, Schultz asks for alone time with Broomhilda due the fact she is fluent in German. Django had predicted earlier that she was being used as a comfort girl (a slave for sex). There is the suggestion that Schultz is expecting a sexual encounter with Broomhilda and this view is held by everyone at CandieLand aside from Django. It becomes apparent that the women are sexual objects for men and this should not be questioned but rather expected. Schultz realises that if he does not pretend this is indeed his intention with Broomhilda, there may be suspicions about him and Djangos presence. We see Broomhilda being removed from the hot box, as she is naked and continues to scream. This contrasts with the next time Broomhilda is seen; she has been dressed up to appear beautiful and presentable for Schultz emphasising the idea that her purpose is only to be looked at and her performance from earlier is unacceptable. Lara Lee is shown in a similar way, as she often appears doll-lik e and attractive, wearing elaborate dresses. She acts elegant and polite around the male characters, as though to impress them. Laura Lees behaviour relates to the idea of fetishism and the notion of these women being hyper-polished: Fetishizing the woman deflects attention from female lack and changes her from a dangerous figure into a reassuring object of flawless beauty (Smelik, 2001, p.11). Sadism is introduced in the film; this is the belief that the woman should be punished or forced to seek forgiveness within the narrative. An example of this is during the scene when Broomhilda is asked to undress and reveal her scars to the group of men in the room. Candie is determined to remind Broomhilda of her place at CandieLand, ensuring she and those in the room understand that Broomhilda belongs to him. He has branded her physically with these scars, and she has evidently been punished through such torture. She is also continuously being punished through the fact she must show herself to these men. Once Djangos identity is discovered, he wakes up to realise he has been tied upside down. A man enters, explaining he is to be castrated using a hot knife. This scene stands out as the man reveals he has received these orders from Lara Lee. This highlights male fears around the female presence; the woman is viewed as a danger or threat as well as male anxiety regarding castration. Classic cinema solves the threat of castration in one of two ways: in the narrative structure or through fetishism (Cook Bernink, 1999, p.354). The black male characters are objectified in Django Unchained, for example, during the Mandingo fighting scene. Candie demands these black slaves to fight one another, for his own pleasure. The men are dressed with little clothing and like the females, do not have any dialogue in the film nor are they given names. They are simply there to be looked at; for Candie to witness them fighting. The men often grunt throughout, implying the notion that they are animals or beasts used only to fight, as though they are being trained like dogs, which also dehumanizes them. The audience observe the fight from Candies objectifying point of view with minimal flashes of Django or Schultzs reactions, to restore the understanding of how cruel this act is. Within Candies dining room, a marble statue of two naked men fighting can be seen. Once Schultz meets Broomhilda and explains the escape plan to her, Django appears at the door however he is filmed in a seductive manner. The camera begins at Djangos feet and slowly moves upwards, scanning over his entire body. This allows the viewer to look at Django and examine him closely before dialogue is heard, and technique is unusual as it would normally be used for a female character: There is, in other words, a specific and even ritualized form of male objectification and eroticization in Hollywood cinema (Weems et al., 2010, p.83). There may be a somewhat homoerotic relationship between Candie and his loyal and oldest house slave Stephen. Stephen always supports Candie and appears desperate to please him or win his respect. Stephen is not afraid to disagree or argue with Candie, which is evident when Django arrives and Stephen is appalled that he has the same rights as a white man. Candie states that he grew up in a house full of niggers, which portrays that Stephen has perhaps raised Calvin and a further reason behind their closeness. Within CandieLand, Stephen has not suffered or been tortured in the same way other slaves have, and thus sees Django as a threat to his position. It can be argued that Stephen may be suffering from Stockholm Syndrome or has simply become brainwashed as his life at CandieLand is all he has ever known. To conclude, Django Unchained is a well written film which deals with an array of issues throughout. The film is evidently postmodern in nature, as it presents aspects of postmodern theory such as intertextuality. It can be argued that Mulveys argument relating to the male gaze is apparent due to the representation of female characters in Django, and the way in which they differ from the male characters, for example, having little dialogue or action/purpose within the films narrative. Male objectification however also manifests itself in Django, and thus the sexualisation of both genders is noticeable. References Bealer, T. (2013) Did Quentin Tarantinos Feminism Take a Step Backwards in Django Unchained? [Online] Available: http://www.genderfocus.com/2013/01/07/did-quentin-tarantinos-feminism-take-a-step-backwards-in-django-unchained/ [Accessed: 9 March 2017]. Child, B. (2012) Django Unchained Wins Over Black Audience Despite Spike Lee Criticism. The Guardian. 3 January. Available: https://www.theguardian.com/film/2013/jan/03/django-unchained-spike-lee [Accessed: 8 March 2017]. Cook, P. and Bernink, M. (1999) The Cinema Book. 1st ed. London: British Film Institute. Doyle, H. (2010) Gender, Sadism, and Masochism in the Works of Wilkie Collins. [Online] Available: http://vc.bridgew.edu/undergrad_rev/vol6/iss1/34 [Accessed: 7 March 2017]. Gainsborough, T. (1770) The Blue Boy. [Oil on Canvas 178 x 112cm] Henry E. Huntington Art Gallery, San Marino. Haastrup, H. (2014) Storytelling Intertextuality. Film International. Vol.12(1), pp.85-97. Jameson, F. (1991) Postmodernism, Or, The Cultural Logic of Late Capitalism. 1st ed. Durham: Duke University Press. Jencks, C. (1996) What Is Post-modernism? 4th ed. Michigan: Academy Editions. Monaco, J. (2000) How to Read A Film. 1st ed. New York: Oxford University Press. Mulvey, L. (1975) Visual Pleasure and Narrative Cinema. Screen. [Online] Vol.16(3), p.62. Available: https://www.asu.edu/courses/fms504/total-readings/mulvey-visualpleasure.pdf [Accessed: 9 March 2017]. Rehling, N. (2010) Extra-Ordinary Men. 1st ed. Lanham: Lexington Books. Smelik, P. (2001) And the Mirror Cracked. 1st ed. Basingstoke: Palgrave Macmillan. Tarantino, Q. (dir.) (2012) Django Unchained. [DVD] The Weinstein Company. 166 mins Weems, C., Berger, M., Wallis, B. and Watson, S. (2010) Constructing Masculinity. 1st ed. New York: Routledge, p.83. Zurbrugg, N. (1997) Jean Baudrillard, Art and Artefact. 1st ed. London: Sage.

Our Town Analysis :: essays research papers

Our Town Analysis   Ã‚  Ã‚  Ã‚  Ã‚  In fact my town does not resemble the setting displayed in this play although I am sure the setting of our ancestors’ towns were much like this one. Back then everybody knew each other and they did not have to lock their doors and they had a strong fear of death and judgement which was indirectly implanted in their religion.   Ã‚  Ã‚  Ã‚  Ã‚  This play was interesting because the representation of death portrayed as being so sudden. When death hit Emily, she suddenly realized how she had wasted her life on earth because they were repeating the same actions everyday of their. She became sad and also regretful that she could not tell her husband George to get on with his life and end this incessant mourning.   Ã‚  Ã‚  Ã‚  Ã‚  The setting is very important because the play is set in a small simple town and it demonstrates the precise actions of people of that time. The setting is special because it is vague therefore it lets your mind imagine the precise details of the scene. This is interesting because you see the scene the way you want it so the author does not need to go into dull descriptions which are not too pleasing.   Ã‚  Ã‚  Ã‚  Ã‚  The atmosphere is very obvious in this play because it is one of the most prominent factors in the play itself. In the first act the dominant mood is happiness because everybody is pursuing their normal activities and gossiping and the first act is used to introduce the characters for us to know their attitudes. In the second act the action is sped up and there is a special event which is marriage involves George and Emily. Emily shows a great deal of hesitation and the attendants at the ceremony are discussing the couple and how they were when they were young. In the third act the mood is sorrow and sadness caused by the death of Emily and her reaction at the overview of her own life.   Ã‚  Ã‚  Ã‚  Ã‚  The relationship between George and Emily is very evident throughout the whole play. In the first act they shared a boy/girl relationship and were good neighbors.