English poetry Essay Example for Free

English poetry Essay The second decade of the twentieth century, a change-over period in the history of English poetry, was not a very inspirational one for poets. The existing group of poets, the Neo-Romantics attempted in vain to keep the Romantic spirit alive by writing about nature and harmony but with the arrival of industrialization and the beginnings of the modern world, it became painfully clear that the lilting, peaceful Romantic style was in no way a reflection of the present state of affairs. The mechanized world of machines, factories and similarly regimented human societies, long ignored by the Neo-Romantics was finally examined and put into verse by T. S. Eliot. Of the numerous works that capture the nascent modern world, one that stands out in particular is ‘The Love Song of J. Alfred Prufrock’. Eliot dives into the heart of urban decay in the first stanza itself, when he compares the evening to an etherized patient lying comatose on the operating table. The metaphor that symbolizes the numb, unquestioning society that inhabits the deserted streets, cheap hotels and sawdust restaurants captures a theme that is constantly revisited in this poem. The women who talk about Michelangelo do so as a ritual of fashion, without understanding anything about the art itself. Eliot goes on to compare the fog that spreads across the city to a cat that skulks on the rooftops before going to sleep. The fog that slips insidiously into every home represents the clouded judgment of the people that inherit the modern world. The protagonist in the poem echoes Marvell and the preacher in Ecclesiastes with the phrase, ‘there will be time, turning Marvell’s call to seize the moment and the preacher’s teaching- to everything there is a season- upside down to suit his indecisiveness. 2 The comparisons to Hamlet in the poem once again parallel the lack of resolve that characterizes the protagonist. He longs to be the rogue element in a society that picks up on the trivial things like one’s thinning hair, or depleted weight but fails to pay heed to life’s more important aspects. The protagonists envisions himself breaking the cycle and speaking life’s messages to the gossiping crowd only to falter at the moment of action. He finds himself pinned like an insect and unable to begin speaking his mind. He wonders if it is worth the trouble and anticipates that even if he were to speak, his message would be dismissed by as not being pertinent to the gossip that the society indulges in. His inability to make a change breeds some amount of self-loathing that surfaces in parches across the poem. Death- the eternal Footman- snickers at him for being afraid. He admits that he is neither a prophet nor Prince Hamlet; that he is merely an attendant lord whose capacity to act stops at staring a scene or two. The poem ends with the ageing protagonist taking a walk on the beach and slipping into another world where the mermaids are riding the waves and singing to each other. But even here, he believes that they will not sing to him. He lingers there for as long as he can, before he is awoken by the lifeless hand of human interaction and condemned for his lack of action, to drown in its throes. The themes that Eliot discusses through this poem and others like ‘The Burial of the Dead’ and ‘A Game of Chess’ explore and hit out against the soulless modern existence which moves along in a regimented stupor and parallels the oncoming wave of industrialization.

Preferential Hiring in the North Essay Example for Free

Preferential Hiring in the North Essay Inuit in the north, specifically in Nunavut, have an agreement with the government that they receive special benefits to help with day-to-day problems because of what happened to their people in the past. It is common knowledge that when explorers and traders first went to the north, they mistreated the aboriginals up there. They introduce alcohol and tobacco, they forced them to become sedentary by killing off their sled dogs and setting up trading booths for fur trades and such, and they quickly made them become â€Å"Europeanized†. This is not a proud part of Canadian history, and there have been measures taken to try and make up for the wrongs that were done. One of these measures is preferential hiring for Inuit. Although preferential hiring may seem like a fair arrangement given all that has happened, it is incredibly unjust and creates unnecessary problems. It is a fact that in the north the government has to hire a certain percent of Inuit when they are filling job positions. I do not agree with this because what ends up happening is that to be able to meet the agreed amount of beneficiaries hired, the government then has to employ people who may not have the qualifications necessary for the job, or who aren’t as trained and competent as other candidates. What also happens in many cases is that the requirements necessary to apply for a position get watered down until they are simple enough to target a larger crowd. This results in a slow-moving government with poor decision-making skills and no proficiency nor productivity. For example, a couple of years ago, in Iqaluit, there was a position as a secretary of a school that needed to be filled. However, there were no Inuit who applied that had enough qualifications for the job, so the school board then had to change the contract, saying that the minimum education requirement was a grade 10 education. A secretary of a school has many responsibilities, and I feel that it is needless to say that a pers on working in a learning facility should have a minimum of a high school diploma. That example was not an uncommon occurrence, it happens far too regularly in the north. It is a huge part of the reason why there is no motivation for a higher education in the youth of the north. These individuals know that if they can at least graduate high school, then they are almost guaranteed a job, and often a six digit salary (or very close to  it). They become lazy, and do not want to waste their time going to get a post-secondary education when they can easily get a job without one. This leads to my next point. There are many people who apply for the government jobs who have all the necessary qualifications and have the proper training and experience for the job, who don’t even get considered simply because of their nationality; if they aren’t Inuit, they aren’t wanted. This is borderline racism. The most qualified person should receive the job; all other factors (within reason) should be irrelevant. It is unfair towards all those who take the time and spend their money going through university, to be overlooked because there was a beneficiary with a high school diploma who also applied for the job. My final point is that there is no reason whatsoever for an Inuit not to have the proper credentials for a job apart from pure laziness. They are given all the opportunities imaginable, and it is their own fault if they do not take them. There is no excuse anymore for them not to have an education, because the government pays for their entire schooling. In fact, Inuit students get paid to go to university and other educational facilities. They are actually making money instead of going in to debt like most students. Therefore, one might wonder, why would someone not want to go to university and get a higher education if they are being paid for it? And the answer is because they do not need an education to get well-respected and well-paid jobs. There are plenty of examples why preferential hiring for Inuit is in fact handicapping them instead of helping them. The efficiency of the government in the north is nowhere near the same as the rest of Canada, and it is due to a lack of qualifications of those who are preferentially hired. By eliminating preferential hiring, you would be increasing motivation for a higher education and a better working society.

Are Visual Effects Improving or Damaging Film?

Are Visual Effects Improving or Damaging Film? Introduction From the very inception of film visual effects have been employed by numerous photographers and film makers to enhance, to realise and create new meaning. The very early days of film took great advantage of ‘visual magic to create illusions and trickery which have impressed countless audiences. Over a century ago when photography was emerging as an art form some unscrupulous commercial photographers would capture portrait shots using an ordinary exposure but then as soon as the subject was removed from the studio a collaborator would be positioned within the same setting, a quick exposure would be taken so as to leave a faint image trace on the film. The unsuspecting customer would then be handed a positive copy of their image with what appeared to be a ghostly figure in shot. A more subtle variation involved the customer being placed with numerous props around him or her, the props would be removed for the second exposure of the ghost character, so as they wouldnt appear too d eliberately double exposed. The ghost character would usually be wearing black clothing as film does not ‘see black due to the chemical process in the emulsion of film which identifies light only, therefore only the ghost would appear in the second image. And herein began the industry of special effects. This ghost trick was the starting point for what is now known as the matte process where unrequired objects are removed from the exposure by masking them so they do not register on the film. One of the first uses of this process in a moving image sequence was witnessed in Alexander Kordas Things To Come (1936) in which the upper levels of a futuristic underground city have been double exposed above footage of live actors, matte masks prevented one image showing on the other image. This film provides one of the earliest examples of special effects being adopted to positively improve the aesthetics of a film. Of course since films early experiments with visual effects the industry has today developed into a very sophisticated, digitally driven and technically ultra-advanced visual medium. Computers have taken special effects to an entirely new level and as computers continue to update and improve their spec so too will the film industry develop around these advances; quite simply computers and digital technology have enabled films to be produced which otherwise would not have been. However despite the often profound visual success of special effects in certain cases some people argue that film is now placing an over reliance on special effects, they argue that visual effects in some films are counter productive as they come across as ineffective and some times unnecessary. Some also question the performance of the actors if all they are doing in a film is running in front of a green screen shouting at an imagined ‘alien clutching an imagined prop. Others raise concerns regarding the films quality and the processes of putting a film together where much of it is CGI constituted. So is it really the case that films being produced now would be better received by audiences if they did not make so much use of visual effects? Or is it that some studios and directors simply cant adjust effectively to modern day film making? And who is to blame for this? Man or machine? As visual effects artist Piers Bizony points out: One of the greatest misconceptions about modern movies is that visual effects are generated by computers. Nothing could be further from the truth. Human inventiveness is the most important ingredient and it always will be. Computers offer amazing new possibilities, but the underlying challenges of movie illusions are the same today as they were nearly a century ago when the industry was young . Chapter 1: The Profound Benefits of Using Visual Effects in Film Digital effects have significantly impacted on mainstream films, indeed digital technology is now synonymous with exceptional visual effects. Michael Baileys sci-fi film Armageddon (1999) provides a good example of a director engaging with digital visual effects which achieves an impressive and hugely successful end product. The disaster film depicts the efforts to prevent Earth being destroyed by a huge meteorite on a collision course with it. Teams of ‘heroes are sent into orbit in an attempt to blow the meteorite up and save the world. The film is saturated with digital effects some of which are the result of a very complex process. These computer generated sequences include the entire orbit scenes, the meteorite shots and the films climax. The evolutionary process by which the visual effects product is accomplished can be an awe inspiring process in itself; take for example the asteroid in Armageddon which began life as a small sketch on a napkin, the image was then refined and digitized, then colour was added to it in Photoshop. After this a physical model of the asteroid was constructed out of foam. Numerous shots were then taken and fed back into a computer so that other effects could be added such as gasses and rocks. A second and larger model was then built and using an intricate technological process wired the model so that a computer could read every single three-dimensional detail of it. The final product we see in the film is an image which is the result of multiple digital imagery layers with many of the films scenes comprising of between fifty and a hundred layers. It is an astounding feat of modern visual trickery. If the film had been made several years before hand it would have had to employ the more conventional optical printing cinematographic process. However this would have left green lines visible on the subjects and depreciated the overall aesthetic qualities of the film, today computers can remove these lines thereby rendering the composite process invisible to the viewer. Contemporary modern visual effects engender a film culture based on a production process that in actual fact is less ‘physical. As academics and authors Peter Lehman and William Luhr observe: As a movie like Armageddon makes clear, much of what we now see in Hollywood films never existed in front of the camera and this has had a profound effect upon how we think about movies. The quality of the visual effects necessarily impacts on the believability of the film for the viewer and most Hollywood films strive to hide any signs of the film making methods used with the aim of providing the spectator with a ‘real experience. Some label this style of Hollywood film making a ‘the invisible style and digital visual effects in many instances now makes this film making approach even more attainable, and more easier to produce as costs are cut. Films like Cecil B. De Milles The Ten Commandments (1956) used to be a rare event in Hollywood because of the costs involved in creating the special visual effects, but now thanks to modern visual effects financial barriers have been removed and we now see Hollywood increasing their output of more visually daring films. Michael Baileys follow-up to Armageddon was the hugely successful blockbuster Pearl Harbour (2002) which again repeated the success of his previous film as regards the use of visual effects and wen t on to generate worldwide box office sales of just under  £300,000,000. When Ridley Scotts historical action drama Gladiator (2000) was released there was wide media coverage focusing on many of the visual effects the film had employed . In the film many of the scenes occur in the Roman coliseum and we are treated to plenty of shots of an entire coliseum where hoards of spectators occupy it observing the macabre event taking place below. However the spectacle was in actual fact constructed from multiple digital layers and is another example of visual effects making an invaluable contribution to the film industry. It is only through digital technology that we can enjoy with such visual fluidity the epic structure of the coliseum, the gladiators engaging in their fierce battle and the jeering spectators all in one shot. James Cameron is a Canadian director with numerous titles to his name and is well known for his use of cutting edge visual effects technology. His first blockbuster foray into the visual effects arena was with his groundbreaking sci-fi The Terminator (1984) in which we witness a director pushing the boundaries of special effects capabilities. The film epitomises a trend of the time in which Hollywood was experimenting with new means of visual effects through the production of films which fused the genres of science fiction and horror including Alien (1979), Blade Runner (1982), Robocop (1987) and Predator (1987), a breed of films which author Mark Jancovich describes as films which: Contain strong female leads; an interest in the family; concerns about scientific-technical rationality and the military; killing machines which lack conscious motivation; and forms of body/horror . Within Camerons Terminator film we can glean an overpowering sense of directorial creativity which, for all of the films impressive and successful visual effects, is still somehow constrained not by the mind of the director but by the technology available to him. The film was low budget costing around  £4m to make but due to its huge popularity generated  £30m in box office sales in America alone. The Terminator bred a franchise and to date four films have been made although only the first two were under Camerons direction. In Terminator 2: Judgement Day (1991) Cameron teams up with George Lucass Industrial Light and Magic visual effects house and three other special effects houses. Cameron builds on his rendered water tentacle he created for The Abyss (1989); he was encouraged by some of the concepts used for The Abyss and in Terminator 2 created a Terminator constructed of liquid metal – the T–1000. On screen we witness T-1000, a polymorphic assassin, shape-shifti ng into anyone it touches. To achieve many of the films visual effects Cameron fused two elements of computer generated graphics with a film composite to create blue prints which were heavily used with astounding success. Between Cameron and the four visual effects houses the film boasts three hundred optical and mechanical shots incorporating state of the art computer produced imagery as well as more conventional optical trickeries and process photography. Each of the four effects companies provided the film with their own unique contributions. For example visual effects company ‘Video Image produced the twelve TerrorVision shots from the Arnold Schwarzenegger T-800 characters infra-red point of view. This was achieved by scanning into a computer live footage and manipulating the colour scheme then overlaying it with flashing graphics. ‘Fantasy Film II effects company had the task of producing the opening ‘future war sequence by improving it with intricate optical enhancements, they also created optical lighting and lasers for the shots of the arrival of the Terminator. It was ‘4Ward Production which created the nuclear blast scenes in which Los Angeles is devastated by a nucl ear bomb. The sequence was partly electronically created by using a big layered painting of the city which included a blast dome and by using the Apple Mac programme Electric Image very effectively simulated the destruction of buildings to capture the blasts destructive effects. However it was Industrial Light and Magic and Stan Winston Studios working in collaboration who were presented with the challenge of making the T-1000 which would turn out to be a combination of mechanical prosthetics, moving puppets and complex processes of computer generated digital imagery. Camerons Titanic (1997) was until very recently the worlds most successful box office film. The film made great use of visual effects as well as employing some more traditional special effects processes. Cameron constructed an entire Titanic replica which was able to be flooded and broken apart for the sinking sequences. Most of the visual effects were supplied by Camerons own company Digital Domain which made use of both CG and miniature models to recreate the journey and eventual fate of the ship. Digital Domain also generated hundreds of digital passengers, digital water and numerous digital matte paintings and also created particle effects which simulated smoke. Other visual effects work on the film was carried out by VIFX who composited icy breaths onto some of the characters to ensure maximum authenticity for outside scenes. A number of other collaborators include POP Film who created some very clever digital face replacements and complex matte paintings. And CIS Hollywood made blue sky substitutes and bluescreen composites. The whole collaboration ensured the final product did what it was supposed to do. The films visual effects are an overwhelming credit to a Hollywood narrative film which, in true Hollywood style, hopes to ensure its audiences beliefs are suspended so the journey is as real as it can get, there can be no doubt that the visual effects in this film was a key ingredient in helping the audience achieve that belief suspension. On the 29th August 2009 the Daily Mail ran an article with the title ‘How James Camerons 3D Film Could Change Cinema Forever. The story previewed James Camerons latest sci-fi adventure film Avatar (2009) and the articles author claimed: A movie revolution will take place at the end of the year potentially offering as big a leap in our viewing experience as the change from black-and-white television to colour. The remark was perhaps a little over zealous but nonetheless captured the sentiment of the huge visual success celebrated by the release of Avatar. The film had been a concept in Camerons mind since the mid 1990s but due to the deficit in technological capabilities the film remained unmade. In actual fact Cameron didnt completely wait for the technology to catch up he made technology catch up by creating specialist cameras and equipment required to make the 3D film a reality. The imagery in Avatar constitutes 60% CGI and most of the CG character animation sequences are filmed using live actors with groundbreaking new motion-capture processes. The other 40% of the film comprises of live action imagery and relies on more conventional special effects. In bringing Camerons CG characters to life he has essentially created a whole new method for filming motion capture; he makes his actors wear special body suits with a standard definition camera attached to a head ring which will repeatedl y take photographs of their faces. Then the data is sent to another camera which creates a real-time image of the ‘live actor in costume. Of the processes used to create his visual effects in Avatar Cameron stated: Its this amazing ability to quickly conjure scenes and images and great fantasy scapes that is very visual†¦When you are doing performance capture, creatively its very daunting. Its very hard to imagine what it will look like. But if you can see it, if you can have a virtual image of what is it going to be like, then you are there . Avatar adopts further new motion capture processes with its Facial Performance Replacement (FPR) technique which allowed Cameron to reshape the facial movements of the actors. So where dialogue is altered after principal photography on a scene it is still capable of being perfectly integrated into the final scene thereby avoiding actors having to re-shoot another take with their body suits and head rigs on again. Its as though Cameron is constantly merging the boundaries of CGI and live action imagery but appears to have created the desired result although at cost. Whilst the film was in production James Cameron said in an interview on Canadian television that:Were in CG hell. Were trying to create a world from scratch. Its like trench warfare. Were working with computer-generated characters that are photo-realistic. Thats tough. We set the bar high. Were just now getting confidence that its going to work .Its the type of remark that embodies the drive behind an artists creative inte lligence and reveals his determination as well as frustration of a project which ultimately will be successful, James Cameron must be sitting comfortably with the knowledge that he broke his own previous record. Avatar is now the biggest box office success in cinema history. Chapter 2: When Do Visual Effects Damage Film? It is incontrovertible that visual effects have augmented many film experiences and that todays modern technological advances have created a film industry capable of exceeding audiences expectations. However despite the immense success of these visual effects there is a growing feeling among many people and film makers alike that digital effects are eroding the quality of some films. CGI used to be a hugely expensive process so much so that George Lucass Star Wars (1977) only contained a ninety second CGI sequence which took three months to complete. However almost twenty years later and the cost of CGI has significantly reduced which enables Pixar Animated Studios to profitably produce an entirely computer generated film – Toy Story (1995). Just another six years later and Sony manages to remove the difference between cartoon and ‘real life with its production of Final Fantasy: The Spirits Within (2001). Today CGI is an integral ingredient for many filmmakers who employ its use for most of Hollywoods big action sequences. Despite the affordability of CGI it still remains an expensive process and is very time consuming and this is precisely why it is often contracted out of Hollywood to specialist visual effects companies. As we have seen above Avatar had at least four different visual effects companies work on it, and Terminator 3: Rise of the Machines (2003) had eleven outside companies produce the visual effects. Herein lies one of the key areas of concern regarding the use of visual effects in contemporary film making. So that this type of digital outsourcing can be facilitated the film is essentially divided into two separate productions: firstly the studio or location based live action scenes and secondly the CGI element which is made on computers. During the live action filming the actor will quite often be working on whats called a ‘limbo set in which there will be few physicalities to the scene, instead the actor will be required to simulate particular actions and even mouth certain words of dialogue, all the omissions will then be filled in at a later stage on computer when engaging the CGI stage of the production. It will paint bold background imagery, place elaborate costumes on characters, implant certain objects into the actors hands and create sounds and dialogue befitting of the scenario. When the live footage has to be completed and even the editing of the live film the divide between the live and the CGI work becomes more distinct and problematic as quite often directors havent seen any of the CGI imagery at that stage. One classic example of this situation was during the filming of Jonathan Mostows Terminator 3. The film began shooting in July 2002 and Warner Brothers required the film to be submitted within twelve months for its release. However the sub-contracted CGI element of the production would take eight months for the subcontractors to complete, and so due to the time restriction this meant that Mostow had no choice other than to provide storyboards to the CGI teams so they could begin work and so were not working from the live footage which Mostow had yet to film. The split nature of this method of film making is epitomised, almost bizarrely, in the film itself in the face of Arnold Schwarzenegger. The right side of his face has ordinary make-up on it, the left side is green this is because the digital animation supervisor San Rafael directed the CGI which would become Schwarzeneggers right side of his face, whereas Mostow directed the left side of his face in Los Angeles. Once the CGI had been completed there was simply no time to facilitate a re-do. Mostow stated at the time: For a filmmaker that is the worst thing you can imagine. In the regular rhythm of making movies you shoot, you edit, you hone the editing, and then you add the finishing touches. Computer graphics turns the normal procedures of filmmaking upside down . This method of filmmaking was also witnessed in the production processes of Avatar which outsourced the digital effects work to a number of different companies. One of those companies was London based Framestore and some of the work they had to carry out vividly illustrates the production issues of films which employ heavy use of CGI, Jonathan Fawkner of Framestore said: So what we got from the production was literally an actor in a green background, and we were required to put everything else, including set material props and people . Hollywood studios often believe that digital effects are worth their price, even if it is just to enjoy the profit margin from the spin off sales of merchandise of toys and computer games. However if CGI can not sustain audience interest because it lacks other fundamental film elements such as narrative then no groundbreaking computer generated graphics will compensate for an audience dissatisfied with the story of a film. This was illuminated when Sony had to learn a bitter lesson after it released the sci-fi digital effects imbued Stealth (2005) which performed abysmally at the box office. DreamWorks also had a bloody nose in the same year with the release of The Island (2005) which again generated disappointing box office sales. As journalist and author Edward Epstein states: If this new economy of illusion allows the CGI side of a production to overwhelm the directors ability to tell a coherent story in his live-action side, digital effects may prove to be the ruination of movies . Another aspect of film erosion some argue is occurring when film requires the use of stunts to increase the action to higher levels of intensity. When American actor, writer, producer and director Douglas Fairbanks in the 1924 film version of the fantasy Thief of Baghdad impressively jumps from one huge pot to another with all the anticipation captured beautifully in the film he does so himself, with two unseen trampolines used to support the actor as he performs the stunt. The action sequence is thoroughly effective because it is real. Martial arts actor and director Jackie Chan brings to us films which are highly charged with plenty of karate sequences, this is for many part of the appeal of his films. The fighting scenes always use trained martial arts experts to bring the audience closer to the fighting action so they dont just see and hear it they feel it. However CGI threatens this authenticity by injecting scenes of action which are physically impossible for the human being. T he reality is that sadly with the continuing development of CGI there will be less impressive live stunts in film to enjoy. Another argument which criticises digital visual effects concerns the relationship with the aesthetics and the deeper meaning of what the aesthetics are depicting. If we look at a much older film such as the The Thief of Baghdad (1940) we observe a film which makes very effective use of visual effects for its time. It is obvious watching the film that the visual effects are easily identified as visual augmentations but in those aesthetics they actually capture a large degree of reality. Clearly the audience knows that horses and carpets are not capable of flying by themselves yet in the film that is precisely what we see and a visual treat it is despite its lack of visual sophistication. If those scenes were filmed today they would be produced through CGI processes which would load the scenes with fast paced shots of the horses imagined responses if it could fly which would be generated with intricate detail and seamless visual flow, we would see overview shots of the landscapes bene ath and we might even see an eagle or two because the whole sequence would be so busy that the audience just doesnt have time to appreciate the whole point of the scene that someone is flying through the air on a horse or carpet! And this is the problem when visual effects take over the scene it reduces the significance of what it portrays. Digital visual effects also seem to engender a type of laziness amongst some film makers. However in the film X-Files: I Want to Believe (2008) attention was focused away from digital support in favour of more traditional effects, the audience is aware that theyre not always seeing real bodies or real severed body parts but the effects were impressive and no CGI was used, the film makers instead employed model making efforts to realise the visual characteristics of the film. US scriptwriter and film critic Roger Ebert says: I have nothing against digital technology. It tricks the eye just as matte paintings and miniatures did. What Im concerned about is that filmmakers take it for granted. When youre not dealing with something physical, like a matte, youre tempted to go for broke, and then your ‘real life movie feels like a cartoon. The best effects are those that are entirely story-driven and character-driven. In many peoples view CGI is simply becoming overused. Steve Becks horror Ghost Ship (2002) received strong censure from critics and spectators for its digitally constructed scenes and lack of attention to narrative. The unreal look which comes with CGI can often destroy credibility for the audience. Special effects co-ordinator Randy Cabral believes that CGI has a damaging effect on some films, he says: I go to the movies often and Im taken out of the moment completely when you see something and its so unreal, so unbelievable and it just screams CGI that it completely ruins the film for me. Conclusion Looking at the top ten most successful films of all time, commercially speaking, every single one of them has employed CGI to a significant extent . From Harry Potter and the Philosophers Stone (2001) to The Lord of the Rings: Return of the King (2003) through to Toy Story 3 (2010) and of course Avatar (2009) between them these films have thrilled worldwide audiences and rewarded them with a visual feast. There can be no denying the merits of digital effects and the overwhelming contribution it has made to cinema. The success in sales figures both at the box office and in DVD and Blu-ray profits matches the success of what CGI has achieved on screen. The advantages to the film industry are plenty as is evident from above, but what some directors and film makers some times overlook are the negative aspects of this technology. CGI can not replace a good story or substitute an intelligent script with meaningful dialogue and whilst it can indeed create stunning three dimensional characte rs it can not produce the depth of character which audiences can relate to if the character has no characteristics or depth of expression. It seems that some directors and the Hollywood system have not learnt these lessons fully yet. The recent sci-fi film Skyline (2010) relied heavily on digital effects, some which were quite clearly weak in parts, and lacked depth of narrative. The film attempted to ride on the back of recent successes in the genre like War of the Worlds (2005), Cloverfield (2007) and District 9 (2009) but failed to match their achievements. Skyline unfortunately is a modern example which demonstrates that Hollywood continues to ignore fundamental film constituents in favour of computer generated sequences to realise a film, perhaps after the box office failure of Skyline Hollywood may begin to effectively address this issue. Even directors like Tim Burton who have strong views on digital effects and resisted using them extensively for his remake of Charlie and th e Chocolate Factory (2005) still dont appreciate the damage CGI can do, as the film still featured many scenes that were not enhanced by the visual effects but were in fact weakened by them. Having considered many of the advantages and disadvantages of the use of visual effects within the film industry there are clearly two opposing perspectives. Some advocate the continuing and indeed increasing use of CGI as a key method for the production of major film projects and to realise the creativity of the human mind whilst others prefer a more moderate approach to the use of digital effects. James Cameron when being interviewed by Charlie Rose said: I threw everything I had at making it a great piece of entertainment and that was the 3-D, the CGI and creating the world and every trick I knew to get people to come to a theatre, and then every trick I knew as a filmmaker to engage them in terms of the story and the actors and so on . It is probably fair to suggest the most efficacious means of producing films should incorporate a balance, and ensure the right calculation between using digital technologies to realise the film and the other essential ingredients which makes the film successful. If the film industry chooses to ignore the genuine complaints of digital effects use then it may well find itself producing more films which do not connect with audiences, and thus runs the risk of damage not only their profits but their credibility also.

Death Of A Salesman Annotated Bibliography :: Miller Death Salesman

Arthur Miller's "Death of a Salesman" reflects the numerous issues post-war United States was dealing with during the late 1940's when it was written. Death of a Salesman was written and published in 1949, when the United States was booming with new economic capabilities and new found power, resulting in a golden age regardless of the growing tensions of the threat of communist invasion. Racial violence and the escalating issues regarding the deluded American dream that was turning out to be quite different than that which our founding fathers had originally idealized. During the time "Death of a Salesman" was created, Post-War United States was undergoing a metamorphosis into a new era of prosperity, communist paranoia, and social/philosophical change. World War II had left the United States into an economic nightmare, but its resilient nature allowed a hasty return to glory. The United States entered the late 1940's as the strongest, most stable and powerful economy in the world (Wikipedia). Trade surplus and booming business's engulfed the country as the nation initiated into a new period of economic miracle. The deciding factors in this were the record breaking trade surpluses and the raising real income and investments into foreign business. Rising productivity and lowering unemployment allowed the nation to conjure a time where confidence in business and government reigned supreme. in business and government grew greatly, as large industrial corporations accounted for vast portions of the national income. Nevertheless, the Yalta conference did make USSR the second leading superpower after Nazi Germany's fall in 1945 (The American Pageant). The Communist machine led a monstrous influence to countless countries and possible allies to the democratic United States. Such neighboring nations to the staggeringly huge Soviet led nation succumbed quickly to its humungous size and sheer military strength. The result of this was a terrifying internal attack on the United States by alleged communist enthusiasts. Led by the brainwashed and borderline insane Joseph McCarthy, the Red Scare during the 1950's led to a new concept of warfare dictated by the drawn out Cold War (Wikipeida).

Process of Learning Essay -- Education Essays Observational Cognitive

There are many ways that children and adults learn but there are two processes of learning which have been of great debate for many years. Observational learning and cognitive learning have been theories which many great philosophers have been researching extensively. Both theories provide valid points and both can be applied to our world today. The question is do I believe in them and can they somehow be integrated? I believe that learning is observable yet I also recognize that there are many other factors to consider when discussing this issue. First I believe that being observant means that we focus and pay attention to what we are observing. If you want to learn anything, it is critical to pay attention. Anything that may come in the way of your attention is going to decrease your learning, including observational learning. Second I believe that each individual's environment, culture, and family greatly affect how someone responds to what they have observed. We can look at this topic from a simplistic point of view and use the example of a child observing someone throw...

Dementia: Forgotten Memories Essay -- Dementia Condition and Symptoms

While the average life expectancy of the world’s population has increased, the number of detected dementia cases has commensurately risen to astonishing levels. Along with improved discovery of this disorder, new causes and treatments have been found, from which many innovative techniques have been developed towards the prevention of future incidences and reduction of the effects of this condition; however, the quest for these solutions have raised more questions than it has answered. Why do some develop this disorder, while others do not? Can early detection be achieved to reverse the processes or limit its effects? Further specifics on these topics have been categorized into three main sections, which include: 1. Dementia – Condition and Symptoms 2. Causes of this Disorder 3. Treatments and Cures Dementia – Condition and Symptoms â€Å"Dementia is the progressive deterioration in cognitive function - the ability to process thought† (Nordqvist, 2009, para. 1) and can be separated into two main categories: cortical and subcortical, physically speaking; for example, Alzheimer’s disease is a type of cordical dimentia, while Parkinson’s disease is classified as subcortical in nature. Many of the people suffering from these afflictions, which are usually middle-aged and older, appear to lose the ability to recall particular events, time of day, or in more advanced stages, the identity of their friends and family. Other symptoms of this condition have been reported as difficulty with speech, depression, balance issues and general disorientation. Causes of this Disorder Although Alzheimer’s disease appears to be the most common cause of dementia, â€Å"more than 50 conditions are associated with dementia, including degenerative ... ...g conditions that mimic the outward signatures of dementia, which were thought to be reserved for Alzheimer’s disease, or other mind altering conditioned patients. It has been shown that depression, while treatable and not directly related to dementia, can exhibit the very same signs and should be carefully examined and studied before rushing to judgement. References Michaels, A. (2007, April 22). Drug Treatment for Dementia Sufferers. Article Directory. Retrieved October 19, 2008, from Articlesbase database. Nordqvist, C. (2009, March 19). What is Dementia? What Causes Dementia? Symptoms of Dementia. Medical News Today. Retrieved June 16, 2010, from http://www.medicalnewstoday.com/articles/142214.php Swirzewski, S. (2000, Jan 02). Dementia Causes. Neurology Channel. Retrieved June 17, 2010, from http://www.neurologychannel.com/dementia/causes.shtml

Barclays: Matt Barrett’s Journey †Winning Hearts and Minds Essay

The fact that Barclays is one of the four most dominant retail and commercial banks in the U.K. says a lot about its reputation. This company has faced many challenges between the time periods of 1980-2000. Matt Barrett has several great ideas to turn this company around, and the factors that should be considered are essential to the success of his strategy. Social/Demographic The Company initiates good customer relationship skills. They have built personal relationships with one out of five personal customers, and have direct relationships with 25% of the businesses in the U.K. On the downside, the company’s cost base is much higher than its competitors. The plan is to change the core infrastructure of the company in order to build a stronger customer base. Becoming more competitive and offering value to its core products will give Barclays the competitive edge it needs to help increase profit and attract new clients. Technological Barrett and his Executive Committee (ExCo) team have plans to restructure the company by shifting its culture. In order to shift the culture, the mind-set of the employees has to change. Barrett promoted younger talent to join his ExCo team to give the company fresh innovative ideas. These new ideas will give solutions to replace the incompetence of traditional strategies that are no longer useful. The company also did an analysis on the industry and company data to figure out which segments were making money, and which ones weren’t. A value-based management approach gives the ExCo team an opportunity to take on challenges and risks, and make strategic decision about what segments to add, and what to take away. Economic Considering that Barclays is a reputable company, and the fact that an estimated 20% of its profits are generated outside of the U.K; it would be ideal for the company to expand to gain exposure. The company is the ninth largest bank in Europe, and already has a customer base in the country. Developing a second home market in continental Europe would allow the company to create a larger customer base, therefore increasing profit. Environmental/Geographic Barclays is located in a stable economy with a strong domestic franchise. The only crutch is that they need a strategy to compete with new entrants. The U.K. accounts for 80% of the company’s profit, so plans to restructure core products will require a dynamic strategic plan. Using diverse tactics to differentiate product/customer markets will help aid in maximizing the economic value of the company; and improving these products by offering value to clients will aid in creating a stronger customer base. Political/Legal/Governmental Barclays is the first foreign bank to file with the Securities and Exchange Commission in Washington D.C. This is an advantage to the company on a global scale because banking laws are enforced according to SEC regulations. On the downside, the company may be overlooked by firms who are looking to establish offshore accounts in order to bypass these regulations.