My Philosophy of Education Essay -- Philosophy of Education Statement

My Philosophy of Education The obstacle of finding a career is something we are all faced with at one time or another. Fortunately for me, I found this decision to be a very easy one, because I have a love for teaching. The decision of my career was clear. I was going to become a teacher. The nature of students, or at least most students, is to learn and master problem-solving abilities in order to be a successful adult. I believe the student’s nature is ever changing, therefore, in that perspective, I agree mostly with progressivism. People are natural explorers, and the mind of the human is designed for problem solving. One person whose views I share is John Dewey, who is the founder of progressivism. Mr. Dewey said the schools should teach children how to think with â€Å"continuous reconstruction of experience†. Schools should not teach children what to think but how to think through a continuous reconstruction of experience. I also agree with Mr. Dewey that students should be given the power to make decisions on issues that will affect them. Participation of decisions, in life makes for a well-rounded student and adult. Knowledge must continually be redefined and rediscovered to keep up with the change. You can listen to the older generations and how they were taught and how the generation of today is taught. The older generation used small black boards to write on; where as today, the generation has computers to help in their education. The nature of ...

Themes Presented in Goblin Market by Christina Rossetti Essay -- Gobli

Themes Presented in Goblin Market by Christina Rossetti Christina Rossetti's used her poetry to express herself; her work exhibits many autobiographical elements and from it the reader can discern Rossetti's emotions, beliefs and her comments on the society she lived in. As a female poet it would have been improper for Rossetti to deal directly with these issues though and so her ideas are masked through appearing to be children's poetry and having simple meanings. 'Goblin Market' superficially appears to a moral story about two sisters one of whom gives way to the temptation of the goblins forbidden fruits but through her poetic techniques Rossetti manages to embody her fears and desires. One of the desires Rossetti appears to have in this poem is for a relationship similar to that of Lizzie and Laura; the closing lines of the poem express the joys of having a sister "To fetch one if one goes astray", but Rossetti had only brothers. This theme of friendship is crucial to the plot of the poem and maybe Rossetti yearns for someone she can feel close to. Rossetti shows the difference between the love Laura has for the goblins fruits and the love between the sisters through the use of parallelism. While Laura "sucked" the goblins' fruits "until her lips were sore" showing Laura's greed as she gives way to temptation and gives a strongly physical image, Lizzie calling "Hug me, kiss me, suck my juices / Squeezed from goblin fruits for you" brings to mind Lizzie's self-sacrifice - the difference of Laura's lust for the juices and Lizzie's love for her sister is apparent. The image by Rossetti describing the sisters "Like two pigeons in one nest" creates a strong impression of the closeness between the two s... ...n coming before love in Rossetti's life. 'Goblin Market' contains many of the key themes that appear throughout Rossetti's poetry. In typical Rossettian style it appears almost superfluous on first reading but subtexts hidden within it. The casual rhyming scheme suggests that the work is a aimed at being children's poetry but the issues it deals with are distinctly adult. Early in the poem Laura is described as "rearing her glossy head" and much later on Lizzie is referred to as being stubborn as a "horse"; this demonstrates that through repetition and subtle parallels Rossetti manages to show how both sisters are so similar and yet so far apart. Christina Rossetti's use of poetic devices allows 'Goblin Market' to work on several levels allowing her to write poetry both acceptable to the society she lived in while also allowing her to express herself.

Night World : Secret Vampire Chapter 9

Poppy shifted on her bed. She was unhappy. It was a hot, restless unhappiness that seemed to swarm underneath her skin.Coming from her body instead of from her mind. Ifshe hadn't been so weak, she would have gotten upand tried to run the feeling off. But she had spaghetti for muscles now and she wasn't running anywhere. Her mind was simply cloudy. She didn't try tothink much anymore. She was happiest when shewas asleep. But tonight she couldn't sleep. She could still taste the wild cherry Popsicle in the corners of her mouth.She would have tried to wash the taste away, but the thought of water made her feel vaguely nauseated. Water's no good. Not what I need. Poppy turned over and pressed her face into the pillow. She didn't know what she needed, but sheknew she wasn't getting it. A soft sound came from the hallway. Footsteps. The footsteps of at least two people. It didn't soundlike her mother and Cliff, and anyway they'd goneto bed. There was the lightest of knocks at her door, thena fan of light opened on the floor as the door cracked.Phil whispered, â€Å"Poppy, you asleep? Can I come in?† To Poppy's slowly rising indignation, he was coming in, without waiting for an answer. And someone was with him. Not just someone.Theone. The one who had hurtPoppy worst of all. The betrayer. James. Anger gave Poppy the strength to sit up. â€Å"Go away!I'll hurt you!† The most primitive and basic ofwarning-off messages. An animal reaction. â€Å"Poppy, please let me talk to you,† James said. Andthen something amazing happened. Even Poppy, in herbefuddled state, recognized that it was amazing. Phil said, â€Å"Please do it, Poppy. Just listen to him.† Phil siding with James? Poppy was too confused to protest as James cameand knelt by her bedside. â€Å"Poppy, I know you're upset. And it's my fault; I made a mistake. I didn't want Phil to know whatwas really going on, and I told him I was just pretending to care for you. But it wasn't true.† Poppy frowned. â€Å"If you search your feelings, you'llknowit's nottrue. You're turning into a telepath, and I think youalready have enough power to read me.† Behind James, Phil stirred as if uneasy at the mention of telepathy. â€Å"I can tell you it's not true,† he said,causing both Poppy and James to look at him in surprise.†That's one thing I found out from talking to you,† headded, speaking to James without looking at him. â€Å"Youmay be some kind of monster, but you really do care about Poppy. You're not trying to hurt her.† â€Å"Nowyou finally get it? After causing all this-?†James broke off and shook his head, turning back toPoppy. â€Å"Poppy, concentrate. Feel what I'm feeling. Find the truth for yourself.† I won't and you can't make me, Poppy thought.But the part of her that wanted to find out the truthwas stronger than the irrational, angry part. Tentatively shereachedfor James-not with her hand, but with her mind. She couldn't have described to anyone how she did it. She just did it. And she found James's mind, diamond-bright andburning with intensity. It wasn't the same as beingone with him, the way she had been when theyshared blood. It was like looking at him from theoutside, sensing his emotions from a distance. But it was enough. The warmth and longing and protectiveness he had for her were all dear. So was theanguish: the pain he felt to know that she was hurting-,and that she hated him. Poppy's eyes filled. â€Å"You really do care,† she whispered. James's gray eyes met hers, and there was a lookin them Poppy couldn't remember seeing before.†There are two cardinal rules in the Night World,† he said steadily. â€Å"One is not to tell humans that it exists. The other is not to fall in love with a human. I've broken both of them.† Poppy was aware, vaguely, that Phillip was walkingout of the room. The fan of light contracted as hehalf-shut the door behind him. James's face waspartly in shadow. â€Å"I could never tell you how I felt about you,†James said. â€Å"I couldn't even admit it to myself. Because it puts you in terrible danger. You can't imagine what kind of danger.† â€Å"And you, too,† Poppy said. It was the first time she'd really thought about this. Now the ideaemerged from her muddled consciousness like a bubble in a pot of stew. â€Å"I mean,† she said slowly, puzzling it out, â€Å"if it'sagainstthe rules to tell a human or love a human, and you break the rules, then theremust be some punishment foryou†¦ .†Even as shesaid it, she sensed what the punishment was. More of James's face went into shadow. â€Å"Don't you worry about that,† he said in his old voice, hiscool-guy voice. Poppy never took advice, not even from James. Asurge of irritation and anger swept through her-ananimal surge, like the feverish restlessness. She could feel her eyes narrow and her fingers claw. â€Å"Don't you tell me what to worry about!† He frowned. â€Å"Don't you tell me not to tell you-â€Å"he began, and then broke off. â€Å"What am I doing? You're still sick with the change and I'm just sittinghere.† He rolled up a sleeve of his windbreaker and drew a fingernail along his wrist. Where the nail cut,blood welled up. It looked black in the darkness. But Poppy found her eyes fixing on its liquid beading in fascination.Her lips parted and her breath came faster. â€Å"Come on,† James said, and held his wrist in frontof her. The next second Poppy had pounced and fixed her mouth on it as if she were trying to savehim from a snakebite. It was so natural, so easy.Thisis what she'd neededwhen she was dispatching Phil to get Popsicles andcranberry juice. This sweet, heady stuff was the realthing and nothing else was like it. Poppy suckedavidly. It was all good: the closeness, therich,dark-red taste; the strength and vitality that flooded through her, warming her to her fingertips. But best, better than any mere sensation, was the touch of James'smind. It made her giddy with pleasure. How could she ever have mistrusted him?Itseemed ridiculous now that she couldfeel, directly, how he felt about her. She would never know anyone the way she knew James. I'm sorry, she thought to him, and felt her thoughtaccepted, forgiven, cherished. Held gently by the cradling of James's mind. It wasn't your fault,he told her. Poppy's mind seemed to be clearing with every second that went by. It was like waking up out of a deep and uncomfortable sleep.Idon't ever want thisto end,she thought, not really directing it at James, just thinking it. But she felt a reaction in him-and then felt himbury the reaction quickly. Not quickly enough. Poppyhad sensed it. Vampires don't do this to each other. Poppy was shocked. They would never have thisglory again after she changed? She wouldn't believethat; she refused. There must be away†¦. Again, she felt the beginning of a reaction inJames, but just as she was chasing it, he gently pulledhis wrist back. â€Å"You'd better not take any more tonight,† he said, and his real-world voice soundedstrange to Poppy's ears. It wasn't as muchJames ashis mental voice, and now she couldn't really feelhim properly. They were two separate beings. The isolation was awful. How could she survive if she could never touch hismind again? If she had to use words,which suddenlyseemed as clumsy as smoke signals for communication? If she could never feel him fully, his whole being open to her? It was cruel and unfair and all vampires must beidiots if they settled for anything less. Before she could open her mouth to begin theclumsy process of verbally explaining this to James, the door moved. Phillip looked around it. â€Å"Come on in,† James said. â€Å"We've got a lot totalk about.† Phil was staring at Poppy. â€Å"Are you. . .†Hestopped and swallowed before finishing in a husky whisper. â€Å"Better?† It didn't take telepathy to sense his disgust. Heglanced at her mouth, and then quickly away. Poppyrealized what he must be seeing. A stain as if she'dbeen eating berries. She rubbed at her lips with theback of her hand. What she wanted to say was, it isn't disgusting. It'spart of Nature. It's a way of giving life, pure life. It's secret and beautiful. It's all right. What she said was, â€Å"Don't knock it till you'vetried it.† Phillip's face convulsed in horror. And the weirdthing was that on this subject James was in perfectagreement with him. Poppy could sense it-Jamesthought sharing blood was dark and evil, too. He wasfilled with guilt. Poppy heaved a long, exasperated sigh, and added,†Boys. â€Å" â€Å"You're better,† Phil said, cracking a faint smile. â€Å"I guess I was pretty bizarre before,† Poppy said.†Sorry.† â€Å"Prettyis not the word.,, ‘qt wasn't her fault,† James said shortly to Phil.†She was dying-and hallucinating, sort of. Notenough blood to the brain.† Poppy shook her head. â€Å"I don't get it. You didn'ttake that much blood from me the last time. Howcould I not have enough blood to the brain?† â€Å"It's not that,† James said. â€Å"The two kinds of bloodreact against each other-they fight each other. Look,if you want a scientific explanation, it's somethinglike this. Vampire blood destroys the hemoglobinthe red cells-in human blood. Once it destroys enough of the red cells, you stop getting the oxygenyou need to think straight. And when it destroysmore, you don't have the oxygen you need to live.† â€Å"So vampire blood is like poison,† Phil said, in thetones of someone who knew it all along. James shrugged. He wasn't looking at either Poppyor Phil. â€Å"In some ways. But in other ways it's like auniversal cure. It makes wounds heal fast, makesflesh regenerate. Vampires can live on very little oxygen because their cells are so resilient. Vampire blooddoes everything-except carry oxygen.† A light went on in Poppy's brain. Dawning revelation-the mystery of Count Dracula explained. â€Å"Waita minute,† she said. â€Å"Is that why you need human blood?† â€Å"That's one of the reasons,† James said. â€Å"There aresome†¦some more mystical things human blooddoes for us, but keeping us alive is the most basicone. We take a little and that carries oxygen throughour system until our own blood destroys it. Then wetake a little more.† Poppy settled back. â€Å"So that's it. And it isnatural†¦.† â€Å"Nothing about this is natural,† Phil said, his disgust surfacing again. â€Å"Yes, it is; it's like whatdoyouca!lit, from biologylass. Symbiosis-â€Å" â€Å"It doesn'tmatterwhat it's like,† James said. â€Å"Wecan't sit here and talk about it. We've got to makeplans.† There was an abrupt silence as Poppy realized whatkind of plans he was talking about. She could tellPhil was realizing it, too. â€Å"You're not out of danger yet,† James said softly,his eyes holding Poppy's. â€Å"It's going to take one more exchangeof blood, and you should have it as soon as possible. Otherwise, you might relapse again. Butwe're going to have to plan the next exchangecarefully-â€Å" â€Å"Why?† Phil said, at his most deliberatelyobstructive. â€Å"Because it's going to kill me,† Poppy said flatly before James could answer. And when Phil flinched she went on ruthlessly, â€Å"That's what this is allabout,Phil. It's not some little game James and I are playing. We have to deal with the reality, and the reality isthat one way or another I'm going to die soon. And I'd rather die and wake up a vampire- than die andnot wake up at all.† There was another silence, during which James puthis hand on hers. It was only then that Poppy realized she was shaking. Phil looked up. Poppy could see that his face wasdrawn, his eyes dark. â€Å"We're twins. So how'd youget so much older than me?† he said in a mutedvoice. A little hush, and then James said, â€Å"I think tomorrow night would be a good time to do it. It's Friday-do you think you can get your mom and Cliff out ofthe house for the night?† Phil blinked. â€Å"I guess-if Poppy seems better, theymight go out for a little while. If I said I'd staywith her.† â€Å"Convince them they need a break. I don't want them around.† â€Å"Can't you just make them not notice anything? Like you did with that nurse at the hospital?†Poppy asked. â€Å"Not if I'm going to be concentrating onyou,†James said. â€Å"And there are certain people who can'tbe influenced by mind control at all-your brother,here, is one of them. Your mom could be another.† â€Å"All right; I'll get them to go out,† Phillip said. Hegulped, obviously uncomfortable and trying to hideit. â€Å"And once they're gone†¦then what?† James looked at him inscrutably. â€Å"Then Poppy andI do what we have to do. And then you and Iwatch TV.† â€Å"Watch TV,† Phil repeated, sounding numb. â€Å"I've got to be here when the doctor comes-andthe people from the funeral home.† Phil looked utterly horrified at the mention of thefuneral home. For that matter, Poppy didn't feel toocheerful about it herself. If it weren't for the rich,strange blood coursing inside her, calming her †¦ â€Å"Why?†Phillip was demanding of James. James shook his head, very slightly. His face wasexpressionless. â€Å"I just do,† he said. â€Å"You'll understand later. For now, just trust me.† Poppy derided not to pursue it. â€Å"So you guys are going to have to make up tomorrow,† she said. â€Å"In front of Mom and Cliff. Otherwiseit'll be too weird for you to hang out together.† â€Å"It'll be too weird no matter what,† Phil said underhis breath. â€Å"All right. Come over tomorrow afternoon and we'll make up. And I'll get them to leave us with Poppy.† James nodded. â€Å"I'd better go now.† He stood. Philstepped back to let him out the door, but James hesitated by Poppy. â€Å"You gonna be all right?† he asked in a low voice. Poppy nodded staunchly. â€Å"Tomorrow, then.† He touched her cheek with hisfingertips. The briefest contact, but it made Poppy'sheart leap and it turned her words into the truth.Shewouldbe all right. They looked at each other a moment, then Jamesturned away. Tomorrow, Poppy thought, watching the doorclose behind him. Tomorrow is the day I die. One thing about it, Poppy thought-not many people were privileged toknow exactly when they weregoing to die. So not many people had the chance tosay goodbye the way she planned to. It didn't matter that she wasn't reallydying. Whena caterpillar changes into a butterfly it loses its caterpillar life. No more shinnying up twigs, no moreeating leaves. No more El Camino High School, Poppy thought.No more sleeping in this bed. She was going to have to leave it all behind. Herfamily,her hometown. Her entire human life. Shewas starting out into a strange new future with noidea of what was ahead. All she could do was trustJames-and trust her own ability to adapt. It was like looking at a pale and curving roadstretching in front of her, and not being able to seewhere it went as it disappeared into the darkness. No more Rollerblading down the boardwalk atVenice Beach, Poppy thought. No more slap of wetfeet on concrete at the Tamashaw public pool. Nomore shopping at the Village. To say goodbye, she looked at every corner of herroom. Goodbye white-painted dresser. Goodbye deskwhere she had sat writing hundreds of letters-asproven by the stains where she'd dropped sealing wax on the wood. Goodbye bed, goodbye misty white bed curtains that had made her feel like anArabian princess in a fairy tale. Goodbye stereo. ouch,she thought. My stereo. And my CDs.I can'tleave them; I can't†¦. But of course she could. She would have to. It was probably just as well that she had to dealwith the stereo before she walked out of her room.It built her up to start dealing with the loss ofpeople. â€Å"Hi, Mom,† she said shakily, in the kitchen. â€Å"Poppy! I didn't know you were up.† She hugged her mother hard, in that one momentaware of so many little sensations: the kitchen tileunder her bare feet, the faint coconut smell thatdung to her mother's hair from her shampoo. Hermother's arms around her, and the warmth of hermother's body. â€Å"Are you hungry, sweetie? You look so much better.† Poppy couldn't stand to look into her mother'sanxiously hopeful face, and the thought of food madeher nauseated. She burrowed back into her mother's shoulder. â€Å"Just hold me a minute,† she said. It came to her, then, that she wasn't going to beable to say goodbye to everything after all. She couldn't tie up all the loose ends of her life in one afternoon. She might be privileged to know that this was her last day here, but she was going out just likeeveryone else-unprepared. â€Å"Just remember I love you,† she muttered into hermother's shoulder, blinking back tears. She let her mother put her back to bed, then. Shespent the rest of the day making phone calls. Trying to learna little bit about the life she was about toexit, the people she was supposed to know. Trying to appreciate it all, fast,before she had to leave it. â€Å"So, Elaine, I miss you,† she said into the mouthpiece, her eyes fixed on the sunlight coming in her window. â€Å"So, Brady, how's it going?† â€Å"So, Laura,thanks for the flowers.† â€Å"Poppy, are youokay?†they all said. â€Å"When arewe going tosee you again?† Poppy couldn't answer. She wished she could callher dad, but nobody knew where he was. She also wished she had actuallyreadthe play OurTownwhen she'd been assigned it last year, instead of using Cliff Notes and quick thinking to fake it. All shecould remember now was that it was about a dead girlwho got the chance to look at one ordinary day in herlife and really appreciate it. It might have helped hersort out her own feelings now-but it was too late. I wasted a lot of high school, Poppy realized. I usedmy brains to outsmart the teachers-and that reallywasn't very smart at all. She discovered in herself a new respect for Phil,who actually used his brain to learn things. Maybeher brother wasn't just a pitiful straitlaced grind afterall. Maybe-oh,God-he'dbeen right all along. I'm changing so much, Poppy thought, and sheshivered. Whether it was the strange alien blood in her orthe cancer itself or just part of growing up, she didn'tknow. But she was changing. The doorbell rang. Poppy knew who it was withoutleaving the room. She could sense James. He's here to start the play, Poppy thought, and looked at her dock. Incredible. It was almost four o'clock already. Time literally seemed to be flying by. Don't panic. You have hours yet, she told herself,and picked up the phone again. But it seemed onlyminutes later that her mother came knocking on thebedroom door. â€Å"Sweetie,Phil thinks we shouldgoout–andJames has come over-but I told him I don't thinkyou want to see him-and I don't really want to leave you at night†¦.† Her mother was uncharacteristically flustered. â€Å"No, I'm happy to see James. Really. And I thinkyoushould take a break. Really. â€Å"Well–I'm glad you and James have made up. ButI still don't know†¦.† It took time to convince her, to persuade her that Poppy was so much better, that Poppy had weeks or months ahead of her to live. That there was no reason to stick around on this particular Friday night. But at last Poppy's mother kissed her and agreed. And then there was nothing to do but say goodbyeto Cliff. Poppy got a hug from him and finally forgavehim for not being her dad. You did your best, she thought as she disengagedfrom his crisp dark suit and looked at his boyishlysquare jaw. And you're going to be the one to take care of Mom-afterward. So I forgive you. You're all right, really. And then Cliff and her mom were walking out,and it was the last time, the very last time to saygoodbye. Poppy called it after them and they both turned and smiled. When they were gone, James and Phil came into Poppy's room. Poppy looked at James. His gray eyeswere opaque, revealing nothing of his feelings. â€Å"Now?† she said, and her voice trembled slightly. â€Å"Now.†

Gladiator: Critical film essay Essay

Ridley Scott’s Gladiator is the critically acclaimed 2000 film starring Russell Crowe which won forty-eight awards, including a BAFTA for best film. Gladiator depicts the tale of Maximus Decimus Meridius and his struggle against the might of the Roman Empire and the vicious gladiatorial arenas. Throughout Scott’s masterpiece are a wide range of filmic techniques in the visual and auditory channels that collaborate in enunciating the overall narrative. The opening sequence is a prime example that uses Mise-en-scene, lighting, costume and film speed to enunciate the key scene. The opening scene begins with some historical information that introduces the audience into the scene and sets up the narrative. Scott informs his audience on the vast scale of the Roman Empire, â€Å"One quarter of the world’s population lived and died under the Caesars.† The emphasis is on â€Å"and died† in order to set the scene for the incoming battle. The Universal and Dre amWorks logos are in a sepia colour. This colour informs the audience that the film is set in the past due to it being used for old photographs and ink. The historical information is accompanied by calming, serene music which leads to the first view of the protagonist. Scott has made use of coloured lighting, incorporating gold (which is representative of the wealth the Roman Empire had) in many scenes throughout the film. The colour gold is an interesting choice because it represents peace and riches which could also be a reference to the Roman afterlife Elysium. Scott has used Mise-en-scene in the first shot of the protagonist, brushing his hand in the corn field. Although the audience are only presented with an extreme close up shot of his hand; they learn about his character through Scott’s control of what appears in the frame. The audience sees a wedding ring on his hand and so learn that he is a family man. The critic John Gibbs also comments on Mise-en scene, â€Å"the contents of the frame and the way they are organised.† During the close-up of the protagonist’s hand, the audience can hear a diegetic sound of the wheat blowing. A non-diegetic sound of children playing and soothing music can also be heard which again tel ls the audience he is a family man with something to loose. The consonant tone of music and golden cornfields set up an idyllic scene of calmness which instantly contrasts when the frame cuts to a harsh, cold and dark Germanic battlefield. The camera uses a medium close up of Maximus’s face which reveals the emotions of a tired soldier. Maximus catches a glimpse of a red  robin which symbolises his near return home to the summer and his family. The robin’s red breast could also be a signifier of the forthcoming bloodshed. When Maximus moves on to greet his army a long shot is used which displays him walking alone. The theme of isolation comes into play which also recurs throughout the film. As the battle scene draws near, a high angle long shot is used to display the mighty Roman army. Costume is used a great deal in Gladiator and adds to the films authentic feel. A medium close up shot is used for the first time on Emperor Marcus Aurelius which shows him wearing rich clothing and surrounded by knights. This scene only lasts a few seconds but the audience discover he is a man of importance through costume. Moreover, Scott wanted Maximus to appear as a strong character that holds high authority as an important character. This is achieved through costume as Maximus’s armour is bigger than all other characters and has different insignias weaved into it. The costume for the barbarian army is rather contrasting to that of the Roman Empire. The barbarians are dressed in rugged cloth which suggests they are not nearly as advanced or wealthy as the Roams who wear steel armour. A Critical Introd uction to Film highlights the importance of costume, â€Å"Costume provides information about time and place, but, more importantly, they express social milieu and personal style.† At 04:41 the barbarian leader steps forward from his army and lunges the head of the Roman messenger into the swampy ground and disrespects the Roman army. This is a casual chain of events that help drive the plot forward, â€Å"Film narration moves forward by a succession of events linked in a casual chain.† It is evident that the Roman army will fight now and Maximus kneels down to run dirt through his hands which is a recurring motif. The motif shows the spiritual side of Maximus, he asks the gods to fight beside him. As Maximus kneels down the audience are given a Point of View shot through Maximus staring into a dog’s eyes. The dog symbolises the brute force of Maximus and suggests he is a wild character. As Gladiator mounts his horse the music quickens and a non-diegetic drum beat begins to enunciate the battle scene. The music increases pace as the battle almost begins which heightens audience’s tension and excitement. As the battle begins a wave of Roman arrows are dispersed and computer generated imagery showcases a variety of special effects. A long range establishing shot on a high angle displays the dest ruction that the Roman Empire is unleashing. As  Gladiator rides with his cavalry there is an array of fast cutting shots that last a few seconds each. The fast paced shots give the audience a battle like feel with exaggerated sound effects of swords clashing and explosions. Maximus demonstrates his leadership role by shouting commands like, â€Å"Stay with me† and â€Å"Hold the line† . After the establishing shots of the battle Scott includes scenes that are more subjective to Gladiator. The gory battle follows Maximus as he enters a slow-motion phase that displays his disorientated point of view of the battle and a montage of his men fighting. Furthermore, the dog also engages in battle which suggests he is strong and independent like Gladiator. Ridley Scott’s Gladiator incorporates brilliant techniques that contribute in enunciating the opening sequence. These techniques are things such as the use of costume which generates an authentic feel and camera speed which demonstrates a terrifying battle. A strong use of Mise-en-scene shows how the narrative develops through camera lighting and casual chains in the plot.

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

Essay Example The following is a precise and detailed script of the relationship of film aesthetics and socio-cultural, political and the economic environment. Further, the script entails the process of conceptualizing and practicing realism in filmmaking (Anheier & Isar 2008:57). The art tends to manipulate the artistic framework in execution of procedures such that the viewer or reader can establish the message conveyed by the work, whether stipulating economic, political, or social situations. The art representations should follow a sequential motion of play to draw attention from the audience, rendering them the ability to depict an outcome of the whole situation. The film â€Å"Taste of Honey† of the 1962 establishes social and economic relations at the same stance. It narrates of a young white teenage girl who engages in sexual relations with a black sailor, eventually resulting in pregnancy. Thereafter, the girl loves white man, ignorant to realize he is homosexual. All these aspects depicted in the film establish a controversy of societal norms, and the reality. For example, falling in love with a black sailor was an antisocial practice since the black race represented the inferior group of the human race. On the contrary, the sailor would cater for her monetary needs effectively, until the girl went on to fall for a white homosexual with no knowledge of the status (Eleftheriotis & Needham, 2006:58). 1. The relationships between film aesthetics and the social / political / economic contexts in which they are locate Film aesthetics in the movie, â€Å"Loneliness of a Long Distance Runner† reveals realism in the sense that a person seeks to satisfy many needs at the same time. In context, a rude teenage boy joins a rehabilitation foundation and through passion, he succeeds to rule in the field of long-distance running and draws a spectacle attention from the people and authorities. The problem arises when the athlete seeks to coax the past with the presen t in pursuit of societal recognition as a reform rather than the obvious bully. The athlete realizes honorary of the state to his performances, and monetary incentives that change his lifestyle. Despite this entire prowess, the athlete finds it hard to find the right woman for marriage, since everyone knows of his antisocial practices during the teenage stage. Therefore, the film aesthetics in this context tend to stipulate the value of relations, compared to that of economic and political prowess (Chapman & Allison, 2009:67). Aesthetics used in the art of â€Å"The Sporting Life† establishes the artistic use of realism in posing an unexpected fate in the life of a famous rugby player. Frank Machin, initially a coal miner, quits the job in search of better pastures, thus landing in the local rugby team. He rises to a star in the new team but fails in to cooperate with teammates due to his pride. Machin’s zeal to amass wealth turns a success, and he goes ahead to entice his property owner into a lustful relationship. Eventually, Frank decides to marry the woman, but the marriage halts on the wedding day after a fellow teammate attacks the would-be wife. Hence, realism ascertains to the viewers and readers that, despite economic stability, deprivation of social welfare could be more traumatizing. The chauvinist rugby player is overwhelmed by pride thus; his relationship fails to succeed (Lazaro & Willis, 2004:79). â€Å"

Shared Student Shopping System Assignment Example | Topics and Well Written Essays - 2000 words

Shared Student Shopping System - Assignment Example This shall ensure students utilise the system significantly once it becomes operational. PACT analysis People The system targets students living in shared accommodation. Shopping malls and supermarkets shall adopt the system through which grocery orders shall be received from students. The system shall be available online, and accessible from computers as well as other devices with internet connection like mobile phones. Availability of the system online would attract a surmountable number of students into using the system. Majority of these students own, and have access to these devices. The students shall be able to order through an online system from devices of their choice. This immensely simplifies the shopping experience as individuals can choose favourite devices to use. Since students extensively use the internet, accessing this system shall become part of their routine. Individual differences of people shall be catered for through the freedom to access the system using devic es of one’s choice. Majority of the targeted population can efficiently operate computers and mobile phone. These people also possess enough knowledge of the internet. The individuals, therefore, shall not require familiarisation training before using the system. The system provides guidelines for users to interface with the program controlling the system. With the system utilising commonly used devices, motivation for individuals to utilise the shopping system shall increase significantly. Activities The activities to be undertaken by the system revolve around purchasing grocery. The system contains a list of grocery items commonly used in households. Offering a list to choose from reduces the chances of forgetting an item when purchasing. A person may also remember a required item appearing on the system list. The system allows individuals to search for availability of required groceries. The supermarket database indicates the remaining amounts of stock. This allows buyers to order for available groceries only. Following every order received the system records that a purchased stock is needed. When the order becomes complete, the system produces a virtual list of all items requested. Against each item an indication of availability appears. The buyer could effectively erase items not available while retaining the ones available. At this stage the buyer gets an opportunity to review items requested. Upon reviewing, additions or subtractions of items could be performed. If no amendments required the system requests the buyer to confirm order. The order then is sent, via the internet, to the relevant grocery store awaiting delivery. These activities reduce the time taken to travel to grocery stores, and energy for carrying the groceries to the residence. Context The context of this system lies in establishing a reliable online shopping system. The congestion of people within supermarkets and other grocery stores necessitates a different approach towards g rocery purchasing. There appears to be an increasing need to change the shopping habits of individuals aimed at reducing the congestion. This system allows individuals to make grocery orders at the comfort of their residence. The activity may also be carried out in remote locations outside residences. The ability to undertake these activities without physical presence at shopping malls simplifies shopping

Controversial topic Essay Example | Topics and Well Written Essays - 250 words

Controversial topic - Essay Example Regarding effects due to gene-flow, the EPA showed in 2010 that 83% of wild or weedy canola contains genetically-modified herbicide-resistant genes that were linked to GMO canola crops [2]; if the canola plant were a â€Å"pest plant†, this could hurt the environment Insect-resistance strains significantly decrease pest populations while increasing non-pest insect populations; insect-resistant strains also decreased the amount of pesticides used – and their negative effect on the environment – by 15%, in 2006 [3] Also, not as much resistance as might believed: a series of studies from the Pew Institute showed that most Americans do not support the banning of GMO foods, but instead want the safety of the foods highly regulated [6] End with quote from economist Paul Collier, of Oxford University: â€Å"Genetic modification is analogous to nuclear power: nobody loves it, but climate change has made its adoption imperative.† [7] In this case, increasing world population, combined with decreasing farmable land, may make the adoption of GMOs inevitable. So, let’s fund more research and oversight of GMO