The Articles Of The Constitution - 897 Words

To stop these unauthorized actions from happening again, in 1787 the creators of Constitution decided to prohibit states from keeping their own troops without the consent of Congress. This was an addition to the coercive power, making a Congressional power over the state government. The national government would be able to grow solidly as long as the republic still survived. The Articles of Confederation were designed to make any amendments impossible. With the rule of unanimous consent agreement, there was no chance the Articles could be changed. Not every state agreed with making an amendment, so a single vote could destroy a brilliant plan or a key factor of the constitution. That happened with many ideas such as Assize plan, Port bill, and other helpful bills. These bills required nine out of thirteen states to pass, not the simple majority as they do in modern times. This rule of amending and bill passing were changed in the Constitutional Convention and kept ever since. Just the simple majority is enough for bills and laws to pass. The president may be able to veto them, and overriding these vetoes requires two-third of both chambers nowadays. It was much easier with the Constitution for a bill to become a law. Congress would be more responsive to its citizens, fulfilling the target of democracy. The unicameral system of Congress proposed by the Articles was due to the fear of concentrated power that usually happened in a monarchy. Unfortunately, that ideaShow MoreRelatedThe Articles Of The Constitution857 Words   |  4 Pagesrepublic government. The Articles of Confederation was America’s first constitution that created a central, republican government with limited powers, assisting Americans through war and peace (Berkin 160-61). In the summer of 1787, President George Washington met with eleven of the thirteen states in a Constitutional convention in Philadelphia. Only nine states of the thirteen had to approve in order to pass the Constitution, and in September of 1787, Congress ratified the Constitution. Unfortunately, controversyRead MoreThe Article On The Constitution1111 Words   |  5 Pages CONSTITUTION PAPER By: Shian Connor The Constitution is one of the most important documents in the history of America. The Constitution is â€Å"a body of fundamental principles or established precedents according to which a state or other organization is acknowledged to be governed.† The Constitution was formed and written between May 25 and September 17 of the year 1787. However, it was officially signed on September 17, 1787 in Philadelphia. Not only did the Constitution establish a nationalRead MoreThe Articles Of The Constitution1522 Words   |  7 Pagesrevere, the Constitution, was once abhorred and feared as a much stronger government than such a democracy should allow. The government, at the time, was inept and subject to the rule of each near-independent state, not able to tax without begging, nor able to regulate the quickening and worsening conflicts in trade and monetary production between those states. Taking into account these ineptitudes, compounded by the foreign intrusions which peppere d the eighteenth century, the Articles of ConfederationRead MoreThe Articles Of The Constitution2513 Words   |  11 Pagesthe thirteen colonies failed with writing the Articles of Confederation well-known Americans came together and wanted to write what would be known as the greatest document in American history. The Articles of Confederation failed because it gave the states too much power and limited the federal government. The Constitution is known as the supreme law of the land. The Constitution has three articles and twenty-seven amendments. The three articles are divided by the Legislative Branch, the ExecutiveRead MoreThe Articles Of The Constitution1944 Words   |  8 PagesThe first form of government the United States of America had was known as the Articles of Confederation. These articles were beneficial to some, but others believed they weren t. In place of the articles then took the Constitution, which worked to cure the problem of controversy over the governmen t. When the Constitution was written in 1787, it too had some disagreements that needed to be sought out. By 1791, a solution was proposed and added to the document that still remains today. This additionRead MoreThe Articles Of Confederation And The Constitution921 Words   |  4 PagesConstitution and Articles Analysis The Articles of Confederation and The Constitution were both written I believe to ensue peace in a new nation where great freedoms had just been betrothed upon. Both written within ten years of each other, the main point it was trying to get across was the idea of one nation. They were written by the same people who all in all had similar ideas. There are many differences as well. From the main one being sovereign states, to how many states must approve an amendmentRead MoreThe Articles of Confederation and The Constitution1238 Words   |  5 Pagesgovernment has been defined by two very important documents. Reflecting on all governments of the past, they laid forth an impressive jumble of ideas that would lead the way to where we are today. These two documents are the Article of Confederation and the U.S Constitution. These two documents of precedent are both similar and unique, each with its own pros and cons, and neither being perfect. Both these documents addressed the prominent vital in national vs. state sovereignty, legislative selectionRead MoreArticle Review On The Constitution1067 Words   |  5 PagesFurthermore, the constitution has a total of seven articles. Article I, creates the legislative branch, this article gives congress its powers and limits. Congress is the legislative branch of the government which means that they are responsible for making laws for the country. Article II, creates the executive branch, whom enforce the law created by congress. Article III, creates the judicial branch, this branch is the system of courts that look at the law and applies it to different cases. ThisRead MoreThe Constitution And The Articles Of Confederation1373 Words   |  6 Pageswould enforce them? I will address some of the differences between the Constitution and The Articles of Confederation. The Articles of Confederation were designed and formed from the thirteen states that created a Confederation known as the â€Å"league of friendship†; their goal was to find solutions for problems; and one of the first attempts to create a system. The Articles of Confederation was our nation’s first constitution; during the last years of the Revolutionary war, the government had beenRead MoreThe Articles Of Confederation And The Constitution1130 Words   |  5 Pages After America won its independence from Great Britain in 1783, the Articles of Confederation were created to serve as the basis of American democracy. Years subsequent to the creation of the Articles of Confederation, delegates from all states, with the exception of Rhode Island, assembled in Philadelphia, Pennsylvania to mend the weaknesses the Articles displayed throughout its practice. This meeting on September 17, 1787, resulted in the newly drafted terms for which the United States democracy

Masculinity, Gender, And Masculinity - 1617 Words

Femininity in Homosexual Men In 2014, twenty-four-year-old football player, Michael Sam, was the first openly gay man to be drafted into the NFL. The country rejoiced at the fact that not all gay men were â€Å"sissies†. The feminine man stereotype is perceived as bad and negative; yet, most gay men have most likely had at least one â€Å"feminine† experience. However, no one knows why, exactly, that is. Why is it that there is a very evident stereotype that all gay men, do traditionally feminine things? Even more so, why is that stereotype mostly true? Where does this stereotype come from? And finally, why is there such a negative stigma? The feminine gay man stereotype has lived on for centuries, and will most likely continue for many more. It is†¦show more content†¦Alvear uses the example of his ex-boyfriend Larry. He says that he met Larry while he was in the closet, but after he came out and started hanging out with other gay men he â€Å"started shaving his legs, wearing tight shor ts, and calling everyone ‘girl.’† He goes on to say that he was most likely not born to dress like Cher, he just adapted to a culture that demanded it. In his article, Why Effeminate Gays are Fabulous, writer Vish Gaikwad, says that he is â€Å"campy, limp-wristed queen†. He goes on to say that the words gay and effeminate have become synonymous, and that the insult â€Å"so gay† is usually used when someone behaves like a woman. He, like a lot of gay men, has had to struggle for acceptance, not only from others but from himself, and the so-called narrow-mindedness toward gender expression aggravates him. When in elementary school, he says he rarely talked due to his peers making fun of his high-pitched voice too much. His older sisters tried to reassure him, but he started to think he became girly from growing up in a house with them. However, when he stole his sister’s make up and high heels to prance around his room in, she gave him a speec h on how little boys couldn’t wear make-up or heels. At age fifteen, his own mother became ashamed of him, saying things like â€Å"Walk like a man†, â€Å"Boys can’t wear that†, â€Å"Stop acting like a girl†, and â€Å"Why don’t youShow MoreRelatedGender, Masculinity, And Masculinity2484 Words   |  10 PagesThis paper is devoted to the research of masculinity, in particular, to the way men lead conversations, putting major focus on gossiping. For a long time they suggested that gossiping refers exceptionally to females, but the research proves that men gossips much more frequently than women, taking a great pleasure from this process. Masculine Gossips Introduction Conversations have always played a role of indicator of masculinity and femininity, especially when they talk about gossiping. Indeed,Read MoreGender, Masculinity, And The Hegemonic View Of Masculinity1815 Words   |  8 Pagesfemininity and upholding the hegemonic view of masculinity. Therefor I am researching the â€Å"how do gay and straight Latinos construct their masculinity?† Straight men deem anything feminine as less than, thus gay men are ousted. This ousting of gay men is a byproduct of heterosexism in which a men only date women and vice versa, thus gay men are seen as effeminate for the sole reason of dating other men. In an attempt to reclaim their lost masculinity gay men are rejecting effeminate men in an attemptRead MoreThe Representation Of Gender Masculinity1729 Words   |  7 PagesThe representation of gender in a masculine context in New Zealand is constructed through hegemonic constructions formed through colonisation. Due to being constructed by this d ominant ideology, which in terms of a New Zealand context is Pakeha and male (Hegemony), the construction of masculinity appears natural. This hegemonic masculinity is so naturalised it becomes invisible and we don’t see or think about it. Law, R (1997) states that â€Å"The concept of hegemonic masculinity allows for us to theoriseRead MoreMasculinity, Gender, And Men1375 Words   |  6 PagesMasculinity, Gender, and Men in Nursing Since the time of Florence Nightingale nursing has been popularly understood to be a highly gendered profession based on abilities of caring, helping, and nurturing – which are characteristics stereotypically identified with women and not men in the Western world (Cottingham, 2014; Rajacich, Kane, Williston, Cameron, 2013; Stanley, 2012). Nightingale’s profound influence on nursing was filtered through the rigid Victorian cultural concepts of her time thatRead MoreMasculinity and Gender Roles1232 Words   |  5 PagesHow is gender and gender roles socially constructed? Soulliere states that gender is a cultural creation that is frequently developed by and represented through popular cultural media such as advertisements, music, sports, and entertainment television (Soulliere 2006). The article â€Å"Wrestling with Masculinity: Messages about Manhood in the WWE† by Danielle M. Soulliere (2006), examines messages about manhood revealed by televised professional wrestling (Soulliere 1). Messages concerning masculinityRead MoreRepresentations Of Gender And Masculinity1503 Words   |  7 PagesRepresentations of gender and masculinity in Pat Barker s Regeneration. One of the major themes in Pat barker’s ‘Regeneration’ is gender and masculinity, this is my chosen theme. The novel overall reflects the struggles of World War one soldiers and their attempts to overcome the trauma of war experience. In this essay, I will be exploring ways which Barker represents my chosen themes. By discussing in depth and focusing on homosexuality, parenthood, emasculation, and mutism as a symbol. A keyRead MoreGender Identity : Gender And Masculinity Essay1509 Words   |  7 PagesGender plays an enormous role in every society around the world. There are debates about whether gender is defined by strictly biological characteristics or social attributes. Others argue that gender is a spectrum, rather than the dichotomy of male and female. Masculinity and femininity are sets of attributes, roles and behaviors that are associated with men and boys and girls and women, respectively. Both masculinity and femininity have specific traits that are both biologically and socially definedRead MoreMasculinity : Gender And Sexuality1997 Words   |  8 Pageswho does not fit the idea of masculinity has been placed in the other category. Kids have a hard time to self-identify themselves because of all the masculine role moles that present themselves in the media. Masculinity has created a structured binary that makes their role the ideal role for society to be. That ideal role is traced b ack to a long history of old traditions, that society cannot look past. This ideal of masculinity has created complications within gender and sexuality that have madeRead MoreGender Identity : Gender And Masculinity1285 Words   |  6 PagesWhat is gender? Most people feel as though gender consists only of the terms â€Å"boyâ€Å" â€Å"girlâ€Å" , but it’s so much more than that. Gender is a very complex reality that is not just about what genetalia you have. In this paper I will explore all the subcategories and misconceptions of gender. The range of characteristics pertaining to and differentiating between masculinity and femininity is the definition of gender. We usually associate gender with genetalia and in our society, we like to stuff everyoneRead MoreGender, Masculinity, And Gender Roles1380 Words   |  6 Pagesthemselves. They are not observed from outside in, but from the inside out. At the same time, Danzon reverses and thus subverts the classic representations of gender, while relocating and challenging gender roles. Unlike the common representation of women in former Mexican cinema, femininity is not defined as being an opposition to masculinity in the film. In fact, men almost rarely appear. When they do appear, they appear as constructed discourse, female imagination, or as feminized subjects. The

Charlie Parker free essay sample

A discussion of the life and works of Jazz musician Charlie Parker and the influence he had in the field. This paper sheds light on important aspects of Charlie Parkers life and times. It introduces a jazz musician who completely transformed this type of music through his talent, originality and improvisation skills. The paper discusses the changes that he brought into jazz styles and also focuses on Parkers influence on society and economy of his days. For this reason, many magazine articles and few books were consulted and research in this paper is appropriately supported by expert views and comments. Charlie Parkers name is synonymous with innovation in jazz music. This is because in his short life of 34 years, the man was able to transform the world of music by introducing new and better tunes and jazz styles that made him immortal. Charlie Parker was born in 1920 in Kansas City but later moved to New York where he found a more intelligent audience that appreciated his alto sax tunes and helped him in discovering new techniques including the famous Bebop. Because he never had lessons or formal training, he often struggled playing music. Eventually, with proper training and practice Charlie mastered the basics.He memorized the records made by the tenor saxophonist Lester Young, until he could play them all from memory. Charlie practiced up to 14 hours a day until he could play anything he wanted. Unlike other gig school kids, Charlie spent his days practicing his sax and preparing for his performances with swing bands. At night, he would often visit Kansas Citys Jazz clubs to see famous performers. He was passionate about music as a young man. Charlie moved to New York City after a short stay In Chicago.He found work playing in swing bands but started experimenting with his own style of playing. Late at night, he would gather with other musicians who wanted to play fast-paced, fiery music. This Jazz style would later become known as bebop. At first many of the older Jazz artists and fans did not like bebop. The unpredictable beats and lengthy improvisations were not Like the smoother rhythms of swing music. For swing fans, jazz was music for dancing. Unlike swing, bebop was powerful music for listening.Charlie was the genius behind bebop. The exciting pace and expressive solos of bebop won over the musical community. Other Jazz musicians desired to play Like Charlie. Luckily, he made many great recordings, and even played with a large group of violins, violas and cellos. To this day, much of Jazzs language comes from what Charlie Parker played. Unfortunately, Charlie started using drugs and alcohol as a manager In Kansas City and became addicted as an adult. HIS long time use of alcohol and heroin took over his life.Sadly, Charlie died when he was Just 34 years old, a time when many artists are In their peak years. Charlie Parker By Walter Charlie moved to New York City after a short stay in Chicago. He found work playing improvisations were not like the smoother rhythms of swing music. For swing fans, bebop won over the musical community. Other Jazz musicians desired to play like teenager in Kansas City and became addicted as an adult. His long time use of old, a time when many artists are in their peak years.

Is it more useful to analyse Scarface (1932), Scarface (1983) and Goodfellas (1990) as genre films Essay Example

Is it more useful to analyse Scarface (1932), Scarface (1983) and Goodfellas (1990) as genre films Paper The Gangster film has always struggled to maintain a precarious balance; to portray the Gangster as a charismatic and crowd-pleasing character, at the expense of his eventual demise for the social good. The Gangster, as Robert Warshow puts it, is a quintessential tragic hero, a character whose very nature and deeds ultimately condemn them to a short and fruitless existence, outside of the boundaries of normal society. The Gangsters place within cinema is an important one, and the genre has now developed to a point of sophistication far beyond the flailing reach of the petty criminals on which it was based. In this essay I intend to examine exactly how the Gangster genre has changed and developed during its 90 year life span. There are a number of ways in which to go about this, although I will be focusing on four in particular; where the genre came from, the mythology surrounding its protagonists, the development of the genre as a whole (both aesthetically and psychologically), and the film-makers instrumental in this development. This approach, then, will obviously require references to both genre and auteur theory, and so I will establish how these two theories can coexist to develop and redefine a genre. To do this I will draw on much critical debate surrounding genre, as well as referring to specific examples from celebrated and diverse filmmakers and auteurs, such as Martin Scorsese, Howard Hawks and Brian De Palma. Firstly, who is the Gangster, and what allows him to exist? The Gangster genre has had a different development to many of the other staple genres of the studio system. We will write a custom essay sample on Is it more useful to analyse Scarface (1932), Scarface (1983) and Goodfellas (1990) as genre films specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Is it more useful to analyse Scarface (1932), Scarface (1983) and Goodfellas (1990) as genre films specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Is it more useful to analyse Scarface (1932), Scarface (1983) and Goodfellas (1990) as genre films specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Thomas Schatz, in his seminal book Hollywood Genres, identifies that the other genres being developed concurrently to the Gangster had in fact either been translated from literary formats, or had developed from an already established mythology within American society (the Western is a prime example of both). Conversely, the Gangster film, rather than dealing with modern sentimentality or attempting to rewrite history, was lifted straight out of the newspaper headlines. Schatz, 1981, p. 82) The passing of the vastly unpopular prohibition act in 1919 gave rise to enormous public demand for alcohol, something which many American immigrants and ambitious workers were only too pleased to fulfil. Thus the Gangsters of Americas cities rose to wealth and power by bootlegging quickly produced alcohol, and then distributing to or selling it in the secretive speakeasys, often their own. These Gangsters made great press. The tabloids glorified the enigmatic social rebels and their vertically integrated industry day after day, until criminals such as Al Capone and Hymie Weiss became legendary for their decadent lifestyles and thinly veiled abuse of the system. The Gangster became an inverted hero, a twisted, parasitic advocate of the American Dream that people respected, admired and feared. Thus the mythology of the Gangster was born. D. W. Griffiths (perhaps Hollywoods original auteur) laid the template for the Gangster film with The Musketeers of Pig Alley in 1913. However, it was not until the introduction of cinematic sound in 1927 that the Gangster film became a mainstream genre. The first talking Gangster film, Lights of New York (1928), introduced the Gangster protagonist as he would remain for the duration of the genres Classic period; a charismatic, ambitious underdog whose aspirations consume him, to the point that he kills his friends and his boss, and so must suffer death for his deviance from the social norm. The films that followed invariably portrayed the Gangster in this way, and always depicted him as a social outcast, by way of his foreign status, fatherless upbringing or his role as a disillusioned war veteran. These characters were popular with the audience for a number of reasons. A public disgruntled with prohibition laws, the depression and a bleaker view of the American dream than they once had held found it easy to relate to these ambitious working class heroes. It was also comforting to know that a major institution such as Hollywood was on the same wavelength as themselves, and could point out the intrinsic flaws in the state system. Hollywood product during the post-depression era certainly emphasised this, with films such as The Public Enemy (1931), Scarface (1932) and Angels with dirty faces (1938) all showing the Gangster as being as much a victim of American society as an exploiter of it. The Gangster genre, as I have said, did not have any substantial literary foundation to draw from, and so the genre was initially constructed of an amalgam of literary, journalistic and filmic references. Perhaps though, the most obvious source of inspiration for the Gangster genre was that of the Western. In terms of the setting, the iconography and the structure of the Gangsters society, it seems at first that the two are not very closely related. However, if one is to look beyond the exterior of a Gangster film, many similarities can be identified between the two. For example, both perfectly fit the genre of order suggested by Schatz, as well as readily conforming to Mcconnells genre cycle. This goes further than to prove that they are just formulaic productions of the studio system. If one is to closely examine the various Western heroes that have developed during that genres evolution, it is easy to draw parallels between these characters and the Gangster. The Gangster is a social outcast, relying on his gun and his wits to get him out of trouble. He provides a service to the community (albeit it not a legitimate one) and depends upon that very society for his existence, although he can never be a part of it. Consequently his demise is as inevitable as that of the Western hero, he must either die or ride off into the sunset, as he has performed his duty and now cannot settle into society as he would like (a theme particularly emphasised in some of the more unorthodox Gangster films, such as Brian De Palmas 1993 film Carlitos Way). Thus the Gangster contains elements found in many Western protagonists, the parasitic, violent impulses of the Man With No Name, or the ability to simultaneously crave, protect and shun family values as Shane did, for example. The films deal with different settings and iconography, although the themes remain similar. Whereas the Western hero struggles to transform desert into garden, in the Gangsters world the garden has developed a life of its own and overgrown into the untameable urban jungle, nurturing and subsequently destroying the characters it produces. Therefore, it is true that both the Gangster and the Westerner are a victim of their own environment, and both of them must be banished or destroyed in order to repay their debt to society. The fact that the gun is feared and respected within both genres as the method of entry into the protagonists profession is significant, as the gun also provides the exit from the narrative. The gun is the most important artefact within the genre. It gives raw, masculine power to those who use it, but only at the ultimate price. The Gangster, like the Westerner before him, is inevitably doomed. This brings us to the next stage of our analysis, which filmmakers are responsible for creating such a socially deviant, yet likeable, character? French film critics writing in the Cahiers du cini ma in the late 1950s collectively developed a new theory regarding the construction and internal authorship of Hollywood cinema, which they labelled the politique des auteurs. This politique broke away from the previous theories of filmmaking as a collaborative process, and instead identified one artist as the creator (or author) of the film the Director. They began to identify filmmakers such as John Ford and Howard Hawks, whom had been working during the days of the studio system, and argued that the films of these directors had a distinctive personal style that surpassed the limitations of the factory style of production. American film critic Andrew Sarris was at the vanguard of the English language auteur arguments, and stated that D. W. Griffith had already delineated every Hollywood genre by 1915, The debt that all filmmakers owe to D. W. Griffith defies calculation. Even before The Birth of a Nation, he had managed to synthesize the dramatic and documentary elements of the modern feature film. He effectively argued, then, that the history of cinema could be attributed to a few great men, otherwise known as the auteurs. (The Cinema Book, 1999, p. 2 57) The Gangster film is no exception to this, and this is a genre undoubtedly overrun with auteur directors. The Gangster genre is attractive to many visionary filmmakers for a number of reasons. Firstly, whereas the Classic cycle of the Gangster genre was prematurely shortened with the introduction of a stricter censorship regime, the opposite is now true, with filmmakers allowed unprecedented freedom since the changes in classificatory and self-regulatory laws introduced in the 1960s. This allows modern filmmakers to capitalise on what had been previously forbidden graphic portrayals of sex, drugs and violence that emphasise the level of excess by which the Gangster lives. Secondly, the Gangster genre has always consisted of a highly stylised and overtly character-driven formula, which gives the filmmaker freedom to produce a highly complex psychological portrait of the American criminal. Finally, and perhaps most importantly, the Gangster film has always been intrinsically American in nature stemming from the genres portrayal of the protagonists search for the American dream, and how the unreality of that dream leads to corruption. This gives the filmmaker an almost unparalleled opportunity to cross-examine contemporary American society, and in the process weave an intricate web of corruption and violence that encompasses every part of that society. This cynical and depressing examination is not even possible in that most American of genres, the Western, which is limited by the constraints of rewriting history in an ideologically correct manner. Therefore, the Gangster genre and the Western can be viewed as one. Whilst the Western establishes the American dream and the difficult urbanization of the wilderness, the Gangster acts as an extension of this, with a new breed of cowboy and a new ideological struggle as a result that of trying to maintain the dubious social order that that has risen from the ashes of so many Western heroes. Hence the Gangster can be seen as the most important of Hollywood genres, one in which the filmmaker can lay bare both the foundations and the present condition of American society, and criticise it in a detached manner. It is, then, a genre that encompasses every aspect of America, from flag-waving patriotism to hard-hearted cynicism, and in the process uncovers corruption at every turn. This rich and intriguing subject matter can therefore make for compulsive viewing, and so the genre has attracted a multitude of talented and influential auteurs as a result. Scarface: The Shame of the Nation was directed by Howard Hawks and produced by Howard Hughes, and released in 1932. The Hawks/Hughes partnership was a particularly fertile one, and the two collaborated on many projects during the era of the studio system. This is interesting, as it immediately questions the validity of the directors auteur status, due to the fact that much of the productions raw and violent nature was directly down to Hughes. The film was actually finished in 1930, but due to censorship issues with the (then) MPPDA, the film was only released after two years of lengthy court battles regarding the remorseless moral standpoint of the film, which Hughes, incidentally, won. Despite this however, it is undoubtedly true that Howard Hawks maintained a distinctive artistic style whilst working within the constraints of the studio system, but does this mean that it is more appropriate to consider Scarface as such a production? Scarface is certainly recognisable as one of the very few landmark Gangster films from the Classic stage of the genres cycle. The film is notable in that its main protagonist, Tony Camonte (Paul Muni), shows no remorse for what he has done to achieve his decadent lifestyle. Not only this, but his status as Gangster is not depicted in the same way as characters played by James Cagney or Edward G. Robinson. Schatz mentions that, Munis Scarface is not clearly superior in courage and intelligence to rival his own henchmen. In fact, his rise to power seems somewhat arbitrary, due primarily to the fact that Camonte was among the first gangsters in the city to procure a machine gun, that new innovation in the technology of urban warfare. (Schatz, 1981, p. 91) This seems to indicate that, even though Scarface was among the first of the Classic Gangster films, Hawks was already toying with the psyche of the protagonist. Whereas other Classic Gangster films (such as Little Caesar and The Public Enemy) have a clearly deliniated rise and fall structure, Camonte is in fact at the top of his game when he is destroyed, and his fall is precipitated by the events of a single night. Therefore, it appears that Hawks is attempting to build on and consolidate the mythology of the Gangster, with overt references to the Live fast, Die young existence and the inevitable descent into the gutter of the Gangster protagonist. If this is the way in which an auteur may be defined, then George Stevens is undoubtedly deserving of the same status for his similar attempt at consolidating the mythology of the Western hero in Shane (1953). If not, then we must identify other characteristics that distinguish a Hawks film from other directors working during the same period, such as Mervin LeRoy (Little Caesar) and William Wellman (The Public Enemy). Scarface is certainly an interesting film, in that it confronts both the cinematic taboos at the time of its production (such as its explicit violence), as well as exploring the motives and ethics of the Gangster protagonist. This, then, is undoubtedly the scriptwriter of the films premise as much as the directors. Ben Hecht, an ex-journalist whom would obviously have had an intricate knowledge of the Gangsters of New York and their lifestyles, penned the script for Scarface. Hecht was renowned for his loaded dialogue and intense psychological characterisation, and so much of the credit for making Scarface a distinctive Gangster film must obviously go to him. If this is the case then it is true that Hawks is a distinctive director, but that Scarface is more accurately seen as the product of a trio of influential filmmakers, Hecht the scriptwriter, Hughes the producer and Hawks the director. Many filmmakers have been labelled as auteur during the course of cinema, but few have produced, written and directed their own films entirely self sufficiently. Even directors such as Alfred Hitchcock and Frank Capra, two who have attained the directorial Holy Grail in cinema, their name above the title, have failed to direct a film entirely on their own without artistic input from their writers or producers. Therefore, I suggest that the lone director needs his gang as much as the urban lone wolf needs theirs. The authorship of a film consists of a trio of roles, and it is rare indeed that one filmmaker can perform all three. Hence the auteur theory is flawed, but not so much that it cannot help us to identify a more deviant and intellectually challenging filmmaker. Therefore, I will identify whether the two remaining directors, Scorsese and De Palma, both working in similar genres during the same timeframe, can be classified as auteurs, both in Sarris sense of the word and my own. Brian De Palma has had a chequered history of commercial success within Hollywood. This of course is the best place to begin an analysis of an auteur director, as the definition of an auteur is obviously determined by the industry within which they are working. The Cahiers du cini ma writers, and their English speaking equivalents, believed that an auteur director was one that could take a standard script, star and budget, and yet still stamp a distinctive, individual style on the finished product. Due to the almost completely dominant status of Hollywood products within worldwide film criticism, and the commercially driven factory style of production employed at the time, it was not difficult for these writers to single out directors whom surpassed the production limitations of the studio system. During the days of the studio system, the production methods were so formulaic that if a film had a good script and star, then it was a surefire hit. It was up to the director to simply elaborate on the basics and incorporate their sublimity of expression into what was, most of the time, standard fare. Now things are certainly different. Due to the financer status of the major Hollywood studios, it is now difficult to grant a more distinctive director a budget due to the uncertain financial return on such a project. An auteur director, for all of their artistic integrity and filmmaking prowess, is still undoubtedly going to have a few commercial failures listed in their filmography (take Scorseses The Last Temptation of Christ or De Palmas Mission to Mars for example). De Palma is notable in that he has managed to produce many highly stylised and self-referential films within the Gangster genre stemming from his in-depth knowledge of Hollywood cinema. This knowledge, gained from his studies at New York University, has helped him to identify key elements of genre, and subsequently deconstruct the Gangster film to assist in its development. One particularly good example of this is Carlitos Way. Carlito Brigante (Al Pacino) is a character torn by the dilemma of choosing between the Gangster lifestyle and that of an ordinary citizen. The entire film is told in flashback, as a retrospective acknowledgement of the Gangsters tragic status by the Gangster himself. De Palma and Pacino masterfully portray the rise and fall of the charismatic protagonist, insinuating that the Gangster is created by society (Pacino buys a gun for self-defence, and subsequently becomes drawn deeper into the underworld) and destroyed by it, courtesy of Benny Blanco from the Bronx. Carlito is in fact very similar in nature to Shane; he is a reformist Gangster willing to settle into civilised society, but he cannot have children, maintain a relationship or find legitimate work, and his past will always come back to haunt him. Carlitos Way takes the inevitable demise of the Gangster even further than ever before. Whereas De Palmas 1983 remake of Scarface had portrayed Tony Montoya (Al Pacino) dying in a hail of self-inflicted bullets ten years earlier, Carlitos Way sees us sympathising as the protagonist is destroyed only moments from freedom. Both of these characters are flawed and are not, for the most part, operating within the confines of the law. However, no matter how illegitimate the activities of the Gangster are, De Palmas films invariably portray the society within which the Gangster is working as morally bankrupt, and indeed depict the Gangster as the only character with any real ethical or moral code. This idea of the Gangster as a morally sound and highly honourable character, despite their anti-social status, is one that has been explored regularly within the genre (particularly by another Hollywood auteur partnership, Joel and Ethan Coen in their 1990 film, Millers Crossing). This is a crucial point, as De Palmas juxtaposition of a deeply flawed capitalist ideology and the cinematic requisite of a likeable criminal protagonist has created a fertile ground for criticising American society. Therefore, for these reasons alone it seems that we have found proof positive that De Palma has been instrumental in developing and refining the Gangster genre. De Palma has certainly explored many facets of the Gangster lifestyle and their role outside of society, and has added much to the genre by way of his intricate psychological portrayal of the ethics and motives of the Gangster protagonist. If this is the case, that some directors do indeed independently deconstruct and consequently develop a genre by way of their films, then is it more useful to view auteur directors as a genre unto themselves? Perhaps the fact that a Scorsese or De Palma film is so instrumental in adding to the genres development merits analysis from an individual point of view. If we are to analyse an auteur director within this context, then we must identify what drives such a filmmaker to create such provocative and influential films. It is clear that any director with an intricate knowledge of Hollywood cinema, as well as the various theoretical frameworks used to analyse it, is going to be much better equipped to create what Christopher Frayling terms critical cinema. Should we, therefore, view an auteur director as a filmmaker creating cinema about cinema, within the confines of a certain genre? Should the films of such directors be placed under a sub-genre, or do they in fact push the genre into the next stage of its cycle? Martin Scorsese, like De Palma, has obtained an intricate knowledge of Hollywood cinema through his study of film at NYU. His talent as a filmmaker is undisputed, and perhaps this, coupled with his passion for Hollywood cinema, allows him a critical free reign. Both Scorseses and De Palmas Gangster films accurately fit Schatzs genre of order and McConnells genre cycle, within which all can be placed in the Satire Post-Modern category. Both directors are concerned with consolidating the mythology of the Gangster, mainly by depicting the Gangster as a tragic character of Macbethian proportions, and focusing on satirising the generic rules laid down by Classic directors such as Hawks and LeRoy. Thus films such as Goodfellas are certainly obeying the generic codes and conventions of the Gangster film, whilst still adding a new or deviant twist to the narrative (for example, Henry Hill suffers a fate worse then death in Goodfellas when he is condemned to the life of a shmo under the witness protection program). Films such as Raoul Walshs The Roaring Twenties (1939) and Brian Singers The Usual Suspects (1996) were both primarily concerned with establishing and satirising the mythology of the Gangster respectively. Scorsese and De Palma are certainly noteworthy as auteurs in one respect, their attempts to revitalise a genre with each new film, whilst still conforming to the constrictive nature of a well-established set of generic conventions. Both directors films are constructed of many cinematic references, for example, De Palmas use of many of Hitchcocks most recognisable imagery, or Scorseses imitation of Hawks overhead crowd shot in Scarface (1932). These directors produce self-referential and intertextual films that provoke and stimulate audiences and filmmakers alike, thereby guaranteeing the genres progression to the next stage of its cycle. Goodfellas is a fascinating and diverse film. Scorsese seems to have clearly held in his mind exactly how he wanted his Gangster to appear, and he consequently adds much to the genre by way of his portrayal of the rise and fall of real-life Gangster, Henry Hill. Henry Hill is the embodiment of the twisted, parasitic advocate of the American dream mentioned earlier. He is not a highly intelligent or courageous man, much like Tony Camonte, but proves himself willing to exploit the system at every turn, in order not to end up as just another 9 til 5 shmo. The film satirises the mythology that has built up around the Gangster persona, by emphasising the decadence and glamour of the Gangster life style through a number of distinctive characters. The protagonist, Henry Hill, narrates the film and we realise at the end of the film that he has given us a blow-by-blow account of how he came to be a Gangster by way of a courtroom confession. Throughout the film we are introduced to a number of Henrys surrogate mafia family, all of whom give us a little more insight into the psychology of the Gangster and his underworld. For example, Henrys pathologically insane mentor, Jimmy Conway (Robert De Niro), proves to us that an older Gangster must be erased from society, as the lifestyle begins to take control of its owner. Henrys accomplice Tommy De Vito (Joe Pesci) pushes the violence employed by the Gangsters to the extreme at every available opportunity, swearing and kicking his way into the role of the most psychotic Gangster ever to grace the screen. As for the rest of the family, Paulie is a Gangster stuck in his ways, an old man with a deep-rooted fear of becoming institutionalised by New York State Penitentiary until the end of his days. Henrys headstrong Jewish wife Karen, at first completely at odds with the criminal Italian-American lifestyle, becomes drawn deeper and deeper into the equation before finally resisting the sordid and unbearable lifestyle of the Witness Protection Program, ultimately a much stronger character than her husband. This surrogate family, then, serves to present an inverted microcosm of society. The Gangster values family above all else, and yet ironically is incapable of sustaining any kind of family lifestyle himself. The Gangster community lives off a society that they can never be a part of, on the fringes of civilisation as an outmoded and insecure bunch of immigrant misfits, psychopaths and outcasts. An analysis of the iconography utilised within a Scorsese film is essential to creating a full appreciation of the text, as the characterisation of these Gangsters is emphasised by their clothes, cars, guns and their dependence on these items. The Gangster seems to have literally acquired more money than sense, and Scorsese plays on this with references to their overblown demeanour, terrible gaudy taste and lack of discretion with respect to their criminal activities. However, this is counter pointed by the fact that the Gangster does not fear the law. In fact, the Gangster is above the law. The only things that the Gangster fears is loss of their excessive lifestyle and lacklustre surrogate family, two things that the Gangster cannot avoid, due to his own self-destructive nature. Thus Scorsese emphasises elements of the Gangster only alluded to by Hawks and De Palma. The Gangsters of Goodfellas are parasites unintelligent, violent and excessive characters that live only to exploit society. These characters are irredeemable, everything they touch is corrupted, even that rare commodity (and indeed a commodity they are) in the Gangster film, a good woman. Thus the Gangster is a misogynistic, materialistic degenerate, and yet still captivates the audience with his charisma. The audience can still identify with the criminal, even though they have never performed the acts depicted, because of the Gangsters caricatured status. Upon viewing of a Gangster film the audience must suspend disbelief, emphasising the illusionary and tragicomic nature of the Gangster lifestyle. Therefore it is clear that the films of films of directors such as Scorsese and De Palma are highly critical of the mythology that has developed around the Gangster hero, and so prompt the audience to re-evaluate the Gangster as a character bereft of any socially acceptable features, save for their crowd-pleasing charisma.

Case preparation Essays

Case preparation Essays Case preparation Essay Case preparation Essay Use the following questions to guide your thinking and analysis as you prepare a case for class. The instructor may or may not ask these specific questions in class. Case: Arrow Printing and Publishing 1. Identify what Tunnel wants to do. This analysis requires an understanding of the owners personal objectives as well as the corporate objectives set out for business. 2. Identify what Arrow needs to do in order to be successful. This involves an analysis of Arrows external environment: competitive analysis, customer analysis, and value system analysis. Identify what Arrow can do. This requires identification of the companys strengths and weaknesses through analysis of the companys four functional areas: human resources, operations, marketing, and finance. Case: Straightening at Monarchic Matt International 1. How is the firm performing? 2. What is your assessment of the organizations vision? 3. What is your analysis of the Wine industry in the USA? 4. What factors may influence the U SA wine industry in the future and how? 5. What is your analysis of the firm business strategy? 6. What would you recommend to Seem Title? Case: Coral River Divers 1 . What external factors affect Coral Divers competitive position? 2. How do these factors affect Coral Divers strategy? 3. What are Coral Divers resources? Can any of them be considered a competitive advantage? 4. How is Coral Divers strategy affected by its strategy? 5. What would you recommend to Greenly? Case: Mumbles Candle 1 . What is Mumbles Candles strategy and how successful has it been? 2. How does Mumbles Candles value chain work? How does it create added value? 3. What do you see as the main strengths and vulnerabilities of its value chain? 4. Could a competitor imitate Candles value chain? Europe? 2. What kind of measures could be introduced to further improve the ecological and social aspect of sustainability without impacting the economic success at Host Europe? Case: West Lake Home Furnishing This case explores how to assess a strategic opportunity. 1 . As a trusted advisor to Bowman what is your analysis of the WOLF performance? 2. What is your analysis of HELP strategy? 3. How does this strategy fit within HELP strategy? 4. What are some of the implications / impact of accepting the proposal? 5. What is your assessment of the financial associated with his opportunity?

Chinese Namesâ€Choosing a Good Mandarin Name

Chinese Names- Choosing a Good Mandarin Name Students of Mandarin usually adopt a Chinese name. There are a few reasons for this: It provides a glimpse into Chinese cultureIt makes introductions easier when visiting Chinese-speaking countriesIt provides good tonal and pronunciation practice Western names can be transcribed into Chinese, and this is often done for celebrities and politicians. Elizabeth Taylor is known in Chinese-speaking countries as yÄ « là ¬ shÄ  bi ti là ¨ (ä ¼Å Ã¨Å½â€°Ã¨Å½Å½Ã§â„¢ ½Ã¦ ³ °Ã¥â€¹â€™). Choose a Real Name Such a name, however, is not a Chinese name, which usually consists of three characters. Many people from Mainland China use two-character names. There is an art to choosing good names, and many parents consult a fortune-teller to name their newborn child. A good name is expected to pave the way to a successful and prosperous life. Students of Mandarin don’t need to consult a fortune teller. You can ask a Chinese-speaking friend to give you a name, or you can consult a name book or use online and offline tools. Tools for Choosing Mandarin Names Whichever name you choose, it should be fairly easy to write and easy to pronounce. It’s no good if you can’t say your own name! Many of the online resources for picking Chinese names are next to useless. They usually translate a given name and don’t include a surname. But the Mandarin Tools website has a highly recommended tool for choosing a Chinese name. An offline version of this tool is available as part of DimSum Chinese Tools.

George Campbell's rhetorical theory Essay Example | Topics and Well Written Essays - 500 words

George Campbell's rhetorical theory - Essay Example As an admirer of the classics, Campbell reminded his theological students to immerse themselves in such specific works as Quintilian's Institutio Oratoria, Cicero's De Inventione and De Oratore, the Ad Herennium, Longinus' On the Sublime, and the critical essays of Dionysius. What he liked most of all was the classical emphasis on rules as an art form. In his Lectures on Pulpit Eloquence, Campbell taunted his contemporaries for their inability to extend the highly artistic approach to rhetoric developed by the ancients. "As to the rhetorical art itself," he said, "in the particular the moderns appear to me to have made hardly any advance or improvement upon the ancients. I can say, at least, of most of the performances in the way of institute, which I have had an opportunity of reading on the subject, either in French or English, every thing valuable is servilely copied from Aristotle, Cicero, and Quintilian." Underlying Campbell's philosophy was the idea that rhetoric is a dynamic, developing process.