Who had the greatest influence essays

Who had the greatest influence essays The treaty of Versailles was influenced by a lot of different people. The people with the most influence were probably President Woodrow Wilson of the USA and George Clemenceau of France. I am going to try and decide which of these two had the most influence. In order to do this I will need to look at what each of them hoped to achieve and what they actually got. Both Wilson and Clemenceau had one common objective in the peace treaties, to insure future peace. However they had very different ideas on how it should be done. They also had very different reasons for wanting it. Woodrow Wilson thought the best way to keep the peace was through a peacekeeping organisation through which all problems and disputes would be sorted out. He thought Germany should be made to pay for the war but should not be victimised as this would only lead to further problems. Wilson came to the Paris peace talks with a very set agenda that he put to everyone in the form of his four principles and fourteen points. His four principles were: 4) A future peace keeping organisation The fourteen points were based around these. George Clemenceau thought that the best way to keep the peace in Europe was by punishing Germany so much and keeping it on its knees so that it never had the power to go to war again. He wanted to make Germany pay the whole cost of the war; to make it give back all of its colonies and any other land it had taken; to place very harsh restrictions on the German armed forces, trade and merchant fleets; to make sure it couldnt form alliances with other countries and to generally make it impossible for Germany to ever regain any sort of economy or political strength in the world. To see what Wilson achieved I will go through his fourteen points and see which of them he achieved and which he didnt. The first point was open negotiations and treaties. This was sort of achieved, most future agreements were open but the a...

Understanding The Great Gatsby Ending and Last Line

Understanding The Great Gatsby Ending and Last Line SAT / ACT Prep Online Guides and Tips As crucial as a detailed setting or the right mix of characters is to the success of a story, nothing quite packs a memorable gut punch like the perfect ending. Think about it: the way a story ends tends to shape our understanding of what we have just read. If it ended in love and marriage, then it must have been a love story. If it ended in death, then it was a tragedy. So what do we make of the The Great Gatsby ending? Why is there so much death? Why doesn't anyone get their just comeuppance? In this article, I'll talk about the significance of endings in general, and explore the meaning behind The Great Gatsby's last line, last paragraphs, and the conclusion of the plot. Quick Note on Our Citations Our citation format in this guide is (chapter.paragraph). We're using this system since there are many editions of Gatsby, so using page numbers would only work for students with our copy of the book. To find a quotation we cite via chapter and paragraph in your book, you can either eyeball it (Paragraph 1-50: beginning of chapter; 50-100: middle of chapter; 100-on: end of chapter), or use the search function if you're using an online or eReader version of the text. Why Is the Ending of a Book Important? An ending tends to reveal the meaning (or lack of meaning) in everything that came before it. It's a chance for the author to wrap up the preceding events with either an explanation that puts them into a broader context- or a chance for the author to specifically not do that. In general, endings come in many flavors. Straightforward Explanations. These endings tell us how to feel about the book. For example, think of Aesop's fables, each of which ends in an explicit moral lesson, or think of Victorian novels (like those of Charles Dickens) that end with the narrator giving rewards to the good characters and punishments to the bad ones. These endings close up the world of the novel, wrapping it in a neat bow. Outward Connections. Endings can also be ways for the reader to open up the world of the novel into the real world. This type of ending can ask the reader a question as the final sentence (like Hemingway's The Sun Also Rises). Even more dramatically, this can mean ending the novel mid-action, or even sometimes mid-sentence (like Kafka's The Castle). Philosophical Abstractions. Finally, endings can zoom out of the world of the novel altogether and become places for a deeper analysis of the nature of life or of being human. This type of ending is often reflective and could easily be divorced from everything that has come before to form its own pithy wisdom. The ending of The Great Gatsby falls into this last category. It's like that extreme zoom out shot at the end of a movie, which eventually zooms out enough to show us a tiny Earth in outer space. Understanding the Ending of The Great Gatsby So why does the novel end the way it does? The novel's abrupt and downbeat ending mostly poses more questions than it gives answers. Why do Gatsby, Myrtle, and George Wilson die? Why does Daisy go back to Tom? Why does no one come to Gatsby's funeral? It all feels kind of empty and pointless, especially after all the effort that Gatsby put into crafting his life, right? Well, that empty feeling is basically the whole point. F. Scott Fitzgerald was not particularly optimistic about the capitalist boom of the 1920s. To him, America was just like Europe in its disdain for new money, and the elites were scornful of the self-made men who were supposed to be the people living the ideals of the country. He saw that instead of actually being committed to equality, the country was still split into classes- just less acknowledged ones. So, in the world of the novel, Gatsby, for all his wealth and greatness, can buy himself a place in West Egg, but can never join the old money world of East Egg. His forward progress is for naught because he is in an environment that only pays lip service to the American Dream ideal of achieving success through hard work. The novel is a harsh indictment of the idea of the American Dream. Think about it: the actually "successful" people- successful in that at least they survive- (the Buchanans, Nick, and Jordan) are all old money; while those who fail (Gatsby, Myrtle, and George) are the strivers. All in all, the novel is a vision of a deeply unbalanced and unfair world. Interpreting the Last Paragraphs of The Great Gatsby The novel ends with a sad Nick contemplating the historic geography of Long Island: Most of the big shore places were closed now and there were hardly any lights except the shadowy, moving glow of a ferryboat across the Sound. And as the moon rose higher the inessential houses began to melt away until gradually I became aware of the old island here that flowered once for Dutch sailors' eyes- a fresh, green breast of the new world. Its vanished trees, the trees that had made way for Gatsby's house, had once pandered in whispers to the last and greatest of all human dreams; for a transitory enchanted moment man must have held his breath in the presence of this continent, compelled into an aesthetic contemplation he neither understood nor desired, face to face for the last time in history with something commensurate to his capacity for wonder. And as I sat there brooding on the old, unknown world, I thought of Gatsby's wonder when he first picked out the green light at the end of Daisy's dock. He had come a long way to this blue lawn and his dream must have seemed so close that he could hardly fail to grasp it. He did not know that it was already behind him, somewhere back in that vast obscurity beyond the city, where the dark fields of the republic rolled on under the night. Gatsby believed in the green light, the orgastic future that year by year recedes before us. It eluded us then, but that's no matter- tomorrow we will run faster, stretch out our arms farther. . . . And one fine morning- - So we beat on, boats against the current, borne back ceaselessly into the past. (9.151-154) It's clear that the novel is trying to universalize Gatsby's experience in some way. But there are multiple layers of meaning creating this broadening of perspective. We Are All Jay Gatsby By ending the way it does, the novel makes Gatsby explicitly represent all humans in the present and the past. Compare this ending with the last paragraph of Chapter 1: But I didn't call to him for he gave a sudden intimation that he was content to be alone- he stretched out his arms toward the dark water in a curious way, and far as I was from him I could have sworn he was trembling. Involuntarily I glanced seaward- and distinguished nothing except a single green light, minute and far away, that might have been the end of a dock. When I looked once more for Gatsby he had vanished, and I was alone again in the unquiet darkness. (1.152) The language of the novel's ending paragraphs and the last paragraph of the first chapter links Gatsby's outstretched arms with the hopes of the Dutch sailors (the people of the past). Just as Gatsby is obsessed with the green light on Daisy's dock, so the sailors coming to this continent for the first time longed for the "green breast of the new world." For both, these green things are "the last and greatest of all human dreams": for Gatsby, it's his memory of perfect love, while for the sailors, it's the siren song of conquest. These two passages also connect Gatsby with the way we live today. Just as Gatsby "stretched out his arms toward the dark water in a curious way," so we also promise ourselves "tomorrow we will run faster, stretch out our arms farther." For all of us, life is all about constantly having to will ourselves into eternal optimism in the face of elusive dreams or challenging goals. Jay Gatsby's Life is All of America The novel's last paragraphs also touch on most of the novel's overarching themes, symbols, and motifs: the transformation of America from the idyllic, pristine frontier to the polluted metropolis the quest to win over a lost love, or the imperfection of real love versus an ideal love the way the past always influences, hangs over, and directs the present reinvention and perseverance, the rags to riches story versus the story of impersonation and deception the appeal and ultimate disappointment of the American Dream, and specifically the sense that it is fading away- just as New York has been completely transformed from "green breast of land" to corrupt city, all of America is escaping the pure dreams of its people New York City before the Europeans showed up to trash the place. The Last Line of The Great Gatsby The last sentence of this novel is consistently ranked in the lists of best last lines that magazines like to put together. So we beat on, boats against the current, borne back ceaselessly into the past. So what makes this sentence so great? Close-Reading the Last Sentence of The Great Gatsby On a formal level, the line is very close to poetry, using the same techniques that poems do to sound good: It is written almost in iambics. (Iambic is a meter that alternates stressed and unstressed syllables to create a ta-DA-ta-DA-ta-DA-ta-DA pattern- it's most famous for being the meter Shakespeare used). There's a wave-like alliteration with the letter b, as we read the monosyllabic words "beat," "boats," "borne," and "back." (Alliteration is when words that start with the same sound are put next to each other.) Then this repeated b resolves into the matching unvoiced p of the word "past." (The sounds b and p are really the same sound, except when you say b you use your voice and when you say p you use the same mouth position but without using your vocal chords.) Other literary devices are at play as well: There a double meaning in the word "borne" which can mean either "shouldered like a heavy burden" or "given birth to." The sentence uses the metaphor of trying to row against the flow of current. We are like boats that propel themselves forward, while the current pushes us back toward our starting place. For boats, this happens in space, on a body of water, while for people, this happens in time, in the relationship between the past and the future. Interpreting the Meaning of the Last Sentence of The Great Gatsby There are three ways to interpret how Fitzgerald wants us to take this idea that we are constantly stuck in a loop of pushing forward toward our future and being pulled back by our anchoring past. #1: Depressing and Fatalistic If we go with the "heavy burden" meaning of the word "borne," then this last line means that our past is an anchor and a weight on us no matter how hard we try to go forward in life. In this case, life only an illusion of forward progress. This is because as we move into the future, everything we do instantly turns into our past, and this past cannot be undone or done over, as Gatsby attempted. This version of the ending says that people want to recapture an idealized past, or a perfect moment or memory, but when this desire for the past turns into an obsession, it leads to ruin, just as it lead to Gatsby's. In other words, all of our dreams of the future are based on the fantasies of a past, and already outdated, self. #2: Uplifting and Hopeful If, on the other hand, we stick with the "given birth to" aspect of "borne" and also on the active momentum of the phrase "so we beat on," then the idea of beating on is an optimistic and unyielding response to a current that tries to force us backward. In this interpretation, we resiliently battle against fate with our will and our strength- and even though we are constantly pulled back into our past, we move forward as much as we can. #3: Objectively Describing the Human Condition In the final version of the last line's meaning, we take out the reader's desire for a "moral" or some kind of explanatory takeaway (whether a happy or sad one). Without this qualitative judgment, this means that the metaphor of boats in the current is just a description of what life is like. In this way, the last line is simply saying that through our continuing efforts to move forward through new obstacles, we will be constantly reminded and confronted with our past because we can't help but repeat our own history, both individually and collectively. Which of these readings most appeals to you? Why? So, wait, "boats giving birth" is what we're going with here? The Bottom Line An ending tends to reveal the meaning (or lack of meaning) in everything that came before it: an explanation on how to feel about what has just been read. a way to open up the world of the novel into the real world. philosophical analysis of the nature of life or of being human- this is The Great Gatsby ending. The Great Gatsby ends in a way that feels kind of empty and pointless, especially after all the effort that Gatsby put into trying to recreate his and Daisy's love That empty feeling underscores Fitzgerald's pessimism about America as a place that only pays lip service to the idea of the American Dream of working hard and achieving success The novel's last paragraphs connect Gatsby to all of us now and for the humans of the past and touch on many of the novel's themes we are like boats that propel themselves forward, while the current pushes back The last line of The Great Gatsby is a metaphor of trying to row against the flow of current. We can take this metaphor to be: depressing and fatalistic, that the past is an anchor and that life only an illusion of forward progress uplifting, that we battle against fate with our will and our strength objectively describing the human condition, that we can't help but repeat our own history What's Next? Consider the significance of the green light at the end of Daisy's dock. Compare the meaning of the ending to our analysis of the beginning to see whether the novel's payoff reflects its starting assumptions. Analyze the character of Jay Gatsby to see how this flawed protagonist comes to represent humanity's striving for the unreachable. Investigate the themes of the American Dream and society and class to see how they are addressed in the rest of the novel. Explore the rest of Chapter 9 to see how the novel leads up to its conclusion. Want to improve your SAT score by 160 points or your ACT score by 4 points? We've written a guide for each test about the top 5 strategies you must be using to have a shot at improving your score. Download it for free now:

200 Villagers Houses Burnt Down Again Near Barrick Gold Mine in Papua Essay

200 Villagers Houses Burnt Down Again Near Barrick Gold Mine in Papua New Guinea - Essay Example This behavior of the national court is known to be a result of Barrick Limited request. The expected impact on the company as a result of such unethical behavior will have severe impact on the company’s reputation, sales and stock prices as it has violated human rights of the citizens of Papua New Guinea and also demonstrated lack of environmental responsibility. However, this extent of this impact depends on the extent of public awareness and international community/communities about this issue. Barrick Gold Corporation cannot be considered as an ethical corporation as it has violated the human rights of the villagers of Papua New Guinea and also has failed to do business in environmentally friendly and sustainable manner. Barrick Gold operates its but Porgera subsidy as a joint venture with the local government. It is possible to suggest that actions undertaken against the local citizens of Porgera village were initiated solely by the government of Papua New Guinea, however, it doesn’t relieve the company from ethical responsibility. One of the competitors of Barrick Gold is Sumatra Copper & Gold plc. This company has established a detailed Code of Business Conduct, which covers â€Å"a wide range of business practices and procedures† and sets up guiding ethical principles for all employees and managers of the company (Sumatracoppergold.com, 2014). Also, the company seeks to minimize the environmental risks at the company’s sites and comply (Sumatracoppergold.com, 2014), while Barrick Porgera Gold mine obviously fails to do so, despite its claims (Barrick.com, 2014). In order to address the problem there should be undertaken some serious measures and initiatives. First of all the company has to adjust its financial plans to the sustainability principles, which pursue not only economic benefits, but also social and environmental benefits. Thus, the company has to adjust the whole strategy to become socially and

The impact of World War II Term Paper Example | Topics and Well Written Essays - 1250 words

The impact of World War II - Term Paper Example The roaring 20’s also give the rise to employment laws and regulations, which consisted of minimum wage, 8 hour work shifts, and 5 days of regular work. Ford was the first company to introduce this idea behind a clever strategy of consumer spending. If it enabled its workers to have spare time, they would spend it in leisure which would boost the nation’s economy. The 1920’s also was marked by the Great Depression that occurred post World War I. In addition, the 1920’s signified the ban of alcohol through prohibition, which drastically reduced the death rate from drinking. The 18th Amendment was one of the critical elements that banned.One of the more prevalent and essential events that occurred during the 1920s was discrimination and racism that plagued the nation. The rise of William Simmon in 1920’s was drastic as the emergence of the new Klan began. As immigrants continued to pour in from nations, Simmons used this as fear tactic and as an oppor tunity to reap money where he sold memberships along with life insurances. The rebirth of the KKK continues to gain strong support as, Catholics, Jews and Chinese became target of hate crime. The whole nation and even Congress itself passed the National Origins Act, which limited citizenship to immigrants. Anti-immigration legislation such as this one was a critical element as it marked the beginning of restricting immigrants after the open door policy. The Progressive Era, which lasted until the 1920’s, was a response to an industrial era and a shout for reform.... The whole nation and even Congress itself passed the National Origins Act, which limited citizenship to immigrants. Anti-immigration legislation such as this one was a critical element as it marked the beginning of restricting immigrants after the open door policy. The Progressive Era, which lasted until the 1920’s, was a response to an industrial era and a shout for reform. Its effects touched virtually all Americans and transformed the role of government in American society. The Progressive Movement was successful as it was promoted by both parties in Congress. One of the prominent players in this reform was Theodore Roosevelt, who used his passive presence to dominate the political scene. In two terms of service, he solidified the navy, won the noble prize, aggressively pursued the building of the panama canal, and played a vital role in ending the Japanese-Russian war. He gained popularity amongst his supporters and tremendously helped the nation in the reform movement. Th e New Deal was one of the most essential legislation that continues to be prominent in American history. This deal was introduced by Franklin Roosevelt, who had a vision of reform to boost the United States economy back on its feet. FDR gained so much popularity by citizens that he was elected four times due to his reputation and the ongoing of the War. The New Deal enabled the American government to passively play the role of a â€Å"big government.† Prior to the depression, society felt that the government did not play a big role in regional community. However, that soon changed as the government began to directly implement programs and services that effected peoples’ lives

Survey of Human Genetics Research Paper Example | Topics and Well Written Essays - 500 words

Survey of Human Genetics - Research Paper Example For numerous reasons the two copies of the same gene are not always exactly identical. There are often times two or more alternative forms for any particular gene. Genes that code for analogous proteins but have slightly different nucleotide sequences are called alleles (Alleles, 2009). An organism may possess only two alleles for any particular gene, and these alleles may be the same or different. All the variations within the genomes of each species are expressed through the various combinations of alleles, and this gives rise to the patterns of allelic expression. The different possible combinations of alleles directly result in some of the variation in physical characteristics which we observe in different members of the same species. These ideas about genes and their influence on physical traits come from the work of Gregor Mendel who is known as the "father of genetics". Mendel was a priest and scientist who lived in Austria during the 1800's, he performed experiments with peas. He observed that one group of pea plants produced peas that were always yellow and smooth. Another set of pea plants only produced peas that were green and wrinkled. When Mendel mated the two groups of plants, he found that all of the offspring produced peas that were yellow and smooth.

Film Sense Shot Essay Example for Free

Film Sense Shot Essay The development of formalist film theory was deeply connected with the formation of cinematograph as the autonomous art. The specific character of this theory, hence, should be understood in terms of theoretical and practical elaboration of film production instruments and thorny path of mastering various means for delivering cinematographic ideas and content to spectators. It should be noted that the basic elements of formalist film theory, such as montage, lighting, scoring, shooting etc. became generally accepted technical means in cinematograph, which were used irrespectively of theoretical approaches preached by a given director. However, it should be noted, that notwithstanding universal spread of major theoretical and technical findings of formalist theory, it has its own unique historical features, represented by the work of such notable contributors as S. Eisenstein and R. Arnheim. Generally speaking, formalist film theory may be described as the totality of views, which claim the centrality of technical and formal means of film production to maintaining its inherently artistic and cultural nature. Eisenstein, the pioneer of formalist theory, in his major works Film Form and Film Sense Shot claimed that montage is the central practice to film-making, because it covers its both technical and artistic aspects (Beyond the Shot, p. 13). The utilization of technical approaches to montage and shooting is essentially linked with general objectives of film production, as it is understood in formalist film theory, that is, creating meanings and artistic ideas through copulation/combination of images, shots and sound elements. Basic features and premises of the formalist film theory Formalist film theory is premised on the dialectical understanding of relations between form and content in film production. Technical means, including montage, shooting, lighting, sound are not neutral vis-a-vis artistic content of a given film. In contrast, their collision or sequence, help realize artistic ideas. Based on this theoretical underpinnings Eisenstein developed several approaches to montage, which should be utilized depending on specific goals director pursues. Eisenstein defines five basic approaches to montage such as metric, rhythmic, tonal, overtonal and intellectual (Eisenstein 1949 72-79). All these approaches are premised on the complexity of artistic ideas, which director delivers to spectators. The dialectical relations between shots in these types of montage are based on conflicts between volume, rhythm, scale, speed etc. Metric montage may be described as the control of time sequence of different episodes and images, irrespectively of their intellectual content. These include various formal transitions and interruptions in the visual sequence of shots. Rhythmic montage includes metric elements, but pays specific attention to the visual composition and content of shots, which is made to deliver complex meaning. One of the notable examples of this type of montage, developed by Eisenstein and practiced by his colleagues such L. Kuleshov and D. Vertov, is a famous scene from Eisenstein’s masterpiece Battleship Potemkin, often referred to as ‘Odessa Steps’. This scene portrays the massacre of protesters (including women and children) in Odessa by Imperial Cossack Forces. Metric and rhythmic approaches to montage are extensively used to portray the ugliness and brutality of Tsarist regime and its servants and the sufferings of ordinary people. To achieve this effect, Eisenstein ‘copulates’ shots of soldiers’ boots, marching down the steps with shots of baby carriage with a child in it, moving downstairs. Besides this, Eisenstein uses close images of people, who were killed and massive flight, caused by the gunfire. Temporal metric transitions, hence, are copulated with rhythmic elements, delivering emotional content (Eisenstein 1925). Tonal montage ranks the next stage in complexity of emotional appeal. It uses entire image to create certain emotional effects in spectator. Using specific lighting, sound techniques or special effects, a director creates certain aesthetic atmosphere, which communicates new artistic meanings to visual dimension of the episode. The next type of montage, which Eisenstein calls overtonal, represents combination of tonal, metric and rhythmic elements to produce complex psychological impact on the viewers. The characteristic features of each type of the montage are used in complex to capitalize on the volume, rhythm, scale and speed. And, finally, the most complex type of montage is intellectual montage, which does not only affect feelings, but imbues thinking and reflection. Objectives of formalist film theory Hence, the main objective of formalist film theory, as Eisenstein constantly repeats, is creating artistic effects and meanings, which are communicated to spectators. Eisenstein vividly showed this opportunity, provided by montage, referring to Japanese hieroglyphs, which create new meanings by adding new elements to already existing (Eisenstein, Beyond the Shot 14). Formalist theory’s basic objective may be described as creating conditions for artistic representation of reality in film production. According to Eisenstein and Arnheim, using technical means is not neutral vis-a-vis objective representation of reality. Inability to master technical means results in negative implications for films artistic content and precludes ‘intellectual’ perception of reality. Therefore, formalist film theory, seeks to overcome mere reproduction of reality, peculiar to commercial movie projects. Besides this, representatives of formalist theory hold that spectators should be influenced emotionally and intellectually in order to give them proper understanding of director’s ideas and subjective goals. This goal has its real historical reasons, because the formalist theory developed within a tradition of revolutionary propaganda films, such as Battleship Potemkin and Alexander Nevsky by S. Eisenstein. Arnheim, who is another important representative of the formalist film theory, showed that representation of reality peculiar to cinema, essentially differs from physical contours of reality. Hence, according to Arnheim, formal elements of film-making have great significance for creating emotional and intellectual effects (Arnheim 323). Arnheim gives vivid examples of unique modes of reality perception, generated by films. As he states, film images can not be reduced to physical dimensions. Neither a position of shooting, nor its objects can not be defined mathematically, because they are premised on artistic taste and understanding of reality. Moreover, as Arnheim states, film and visual realities significantly differ in depth, as films are neither absolutely two-dimensional, nor three-dimensional, but something in between(Arnheim 324) For instance, in Ruttmann’s film Berlin, the director creates interesting juxtaposition of two physical dimensions, depicting trains moving in the opposite directions (Arnheim 324). Tensions and Contradictions within Formalist Film Theory Notwithstanding positive elements, inherent in the formalist film theory, it has certain contradictions and inner tensions, which are often mentioned by the representatives of opposing film theories. For instance, Andre Bazin, one of the most prominent representatives of realist film theory, claimed that formalist understanding of form and technique of film production is manipulative and precludes genuine communication between spectators and artistic subjects (Bazin 48). Besides this, it should be noted that heavy emphasis of formalist film theory on formal and technical means prevents directors from focusing on objective cognition of reality and its representation, making it (reality) a hostage of subjective manipulation with it. However formalist film theory claims that it provides the tools for objective representation of reality, in fact, it is one of the most subjective approaches, even more subjective than auteurship film theory. According to Bazin, formalist film theory breaks world into many small separate pieces, which are then linked to produce structured, but subjective worldview (Bazin 48). Advantages of formalist film theory and its relation to other film theories Formalist film theory has its unique advantages, which are proved by the widespread utilization of its theoretical findings and innovations by film currents, which theoretically contradict its main premises. The importance of montage and other technical procedures was recognized by the majority of directors, who worked after S. Eisenstein. Today, we can not imagine any film, which does not use montage to produce certain artistic affects. Even documentary films, which represent a separate genre, essentially focus on montage. Besides this, deep connections are obvious between formalist film theory and auteur theory, which both put significant emphasis on the role of subjective artistic appeals and aims, which are necessary to maintain cinematograph as a genuine form of art. Both auteur and formalist film theories oppose neutral and quasiobjective film production, which is prone to standardization of techniques and approaches to achieve certain commercial results. In such kind of film production standard genre elements, ideological prejudices and common sense significantly erode the instance of auteurship, transforming films into faceless (without auteur) products of cinema conveyer. It should be noted, however, that formalist film theory is characterized by excessive emphasis on such elements of film production, which often have negative effect on the quality and artistic value. The parasitizing on formal elements and conscious manipulation, as it was noted, is harshly criticized by representatives of realist film theory. It seems that this critique has proper theoretical grounds. Realist film theory, represented by Bazin, calls upon to following the continuity of real images and events and finding artistic meanings in their mere existence. In this view artistic truths should be found in difficult relations between time and space, which entails montage, having subordinate function. Moreover, unlike realist film theory, formalism leaves practically no room for the freedom of interpretation and understanding, aggressively imposing already designed meanings and interpretations on spectators. Such important elements used in realist film theory as deep shot and focus, which help meet its theoretic goals, are ignored in formalist film theory. Failing to master these tools leads to losing visual integrity of reality, which is, according to Bazin, is even more important than montage (Bazin 49). Formalism in Hitchcock’s Spellbound We have already mentioned the use of formalist theory of montage in Eisenstein’s film Battleship Potemkin. However, it should be noted that crucial aspects of formalist film theory may be found in films, directed by people, who are not openly associated with this tradition. This is, for instance, the case with Hitchcock, who based his techniques of film production on Expressionist approach. Hitchcock’s film is based on psychoanalytic and surrealist subjects, which may be proved by its plot and extensive use of Dali’s designs in the Brown’s mysterious dream. One of the major characteristics of Spellbound, which links it with formalist film theory, is that it distorts normal physical perception of time and space in reality. As we remember, Arnheim’s main requirement for film production referred to its creative approach to time and space, designed to break false continuity and present artistic sequence. Hitchcock pays primarily attention to the characterization of different protagonists and objects, but not on their appearances and actions, which is so characteristic of mainstream thrillers. The characters of Constance, false Dr. Edwards, Dr. Murchison are developed in a coherent way, following strict formal structure of plot development. Besides this, Hitchcock utilizes other techniques of formalist film theory, such as fragmentary editing, psychological collision of shots, various lighting effects, and extreme angles. Moreover, Hitchcock uses different approaches to montage, elaborated by Eisenstein. Rhythmic and tonal types of montage are extensively used in scenes, designed to produce strong emotional effects on the spectators. Rhythmic montage is used in the scene depicting Ballantine/Brown/false Edwards phobia of seeing black lines on white things, when these objects are juxtaposed with protagonists’ scared look. Another example includes Constance reading false Edward’s book on the guilt complex and notices that Dr. Edward’s signature differs from that of the man who is the author of the book (real Dr. Edwards). Intellectual type of montage, developed by Eisenstein is evident in surrealist dream scene, when false Dr. Edwards looks at the wall covered with eyes. The same episode includes rhythmic juxtaposition of the close-up shots of Constance and Brown, looking at each other, as well as purely technical tool of shots’ imposition, which creates flexible and vague atmosphere of surrealist dream. Another episode including this type of montage is when Constance, while recollecting Brown’s dream, realizes that the real murderer is Dr. Murchison. In this scene, her recollection of the dream is juxtaposed with her thinking process and eventual discovery. To sum it up, we have analyzed basic characteristics of formalist film theory, its objectives, positive and negative aspects and relation to other film theories. Practical realization of formalist film theory was researched based on the examples of Eisenstein’s Battleship of Potemkin and Hitchcock’s Spellbound. Works Cited Arnheim, Rudolf. Film as Art. University of California Press,1957. Bazin, Andre. What is cinema? Vol. 1 2 (Hugh Gray, Trans. , Ed. ). Berkeley, University of California Press, 1967-71. Eisenstein, Sergei, Film Form: Essays in Film Theory, New York, Hartcourt. Trans. Jay Leyda, 1949. Eisenstein, Sergei. dir. Battleship Potemkin, 1925, USSR. Hitchcock, Alfred. dir. Spellbound. 1945, USA, Vanguard Films. Ð °

Teachers Salary :: National Budget Teaching Pay Essays

Teachers' Salary When was the last time that you saw a teacher sporting off a brand new Lexus? Or when was it that you heard of a teacher owning a ranch? The answer to this question is probably never. Although material possessions such as owning a luxurious home or driving an extravagant car might be chump change for people like the rich and famous, for teachers this kind of spending is literally an arm and a leg. Even simple necessities are out of reach with a teacher’s salary. The reason for this problem is due to our nation’s budget. Teachers along with others in the school system are underpaid and are not being adequately compensated for their services. Instead of rewarding teachers with higher pay the government is undermining their work. As a result, teachers are unable to buy that expensive car or even pay off that Honda that they bought when they were in college working for their teaching degree. School budgets must be increased immensely in order to insure the educational growt h of students and the professional development of teachers. There are four main reasons that are discussed in this paper, as to why more money should be spent on education. There are a number of key reasons why we must ensure adequate funding of our schools. To start, we must increase the accessibility of the Internet in our schools. With our society growing by the minute the need for technology is rapidly on the run. Today we depend heavily on the Internet to provide us with fast information. It is used in high tech businesses, in homes and in schools. Through the Internet we enable students to explore new and interesting issues. In addition to the books found in our local library, the Internet serves as a fundamental tool for education. With all of the assets that the Internet provides not all schools have it at their disposal. â€Å"According to a 1999 survey, conducted by Education Week only 87%, in states like Pennsylvania had Internet access† (Gazette 99). â€Å"This number however rose to 90% in 1999.† Although the numbers did rise there are other states that are not even close to that number of access. This poses as a major proble m because while other students are building their skills and are learning more, others still rely on books and articles. Through Internet use students will not only be introduced to a wide a ray of topics and search engines but will also be able to familiarize themselves with technology.