Investigatin a ski jump Essay Example for Free

Investigatin a ski jump EssayAimTo investigate how the starting position of a ski jumper affects the crosswise distance travelled in the jump. I go away not resign air vindication, friction and other various type of aught mixed-up into account, still in practical I have to keep in mind that they do exist and cause variation in my results. Introduction Ski leap is a sport event that involves a steep ramp and a landing zone, where the skier has to travel as far as possible after release the ramp horizontally. When the skier is in motion in the air and the purge it reaches is what I am investigating.This motion is called the projectile motion and the dis entrustment, velocity and acceleration of the projectile atomic number 18 all vector quantities. Each of these tin be placed into vertical and horizontal components. In my experiment, I will create a similar representative of the ski jump using a plastic curtain rail as the slope and model the skier as a particle, in t his case, a world bearing. Diagram This is a diagram of the basic equipment setup This investigation has much room for expansion on the original above setup. The accuracy can be im straind using a combination of more than sensitive measuring equipment and a more accurate measuring setup.B 1. The friction between the screw dinner gown and the curtain rail, along with the air resistance are neglible, therefore, will not be accounted for in this experiment. 2. The ball bearing is taken as a point, as the motion of a rolling ball differs from anything else.3. Gravity does not affect the horizontal velocity Prediction/Hypothesis I have based my fortune telling on the boded formula R=V(4hH).Ball Bearing Object that models skier as a particle Meter Ruler Will be utilize to barroom the range (x) travelled by the ball and the height (h) of the starting position. Measurements recorded in metres. Set square To make sure the height obtained is plumb line to the table G-Clamp This will c lamp the curtain rail to the table Table Where the slope will be placed on and clamped to Sand Tray This will be placed on the floor in the spot where the ball will land, leaving its scar. Method Variables Controlled Variables Constants Launching position Height of table.Acceleration due to gravitational attraction Time of f visible light Mass of ball Velocity 1. Test all equipment to make sure there are no problems and also test the sensibility of the sand tray. 2. Set up appartus as show in diagram. 3. Check all apparatus are set up correctly and clamps are tightened firm 4. Using the meter rule mark the maiden height at which the ball will be destroyped from. In my case, I am recording 8 different heights ranged 0. 20m 0. 55m. Each within a 0. 05m interval. 5. Using the set square against the height, the exact position of the ball is determined. 6.The ball is manually held in place at the desired height and released, allowing the ball to roll down the ramp and off the ed ge of the table, landing on the sand. 7. The distance from the edge of the table to the mark made in the sand is measured and then recoded. 8. This is process is then repeated untill all results have been collected. Safety Precautions in that respect are few baby bird risks in doing this experiment, which with careful setting up and appropriate behaviour, can be avoided. These are When bending down to record measurements of the range, it is possible to bas your head coming up. precisely be aware of your surroundings. Having a sand pit on the floor can prove to be an obstruction to passers-by and can be a lot of tripping over. I will make sure there are no obstructions by the landing zone when in practise. The ball bearing is sonorous enough to cause injury to anyone if hit by it. Keeping distance should prevent this. Data interpretation Alongside doing the experiment I will piece a graph. This will allow for any correlations to be spotted early on and then further prediction s to be made. It will also allow the investigattion of anomalies. consequently drawing a graph alongside the experiment allows for greater scientific accuracy and better end results. Sensitivity The sensibility of this experiment is concerned with by the accuracy of the equipment available. For example, a much more accurate measuring device can be utilize to distinguish to an accuracy of i 0. 1mm, but the ruler markings are only accurate themselves to i 1mm. Therefore, this creates a small fallacy and show that to get the best out of the results, the most accurate equipment should be used in all situations. Accuracy.The accuracy of this experiment can be improved in a number of ways When reading the ruler the eye moldiness be at the same level as the object, otherwise an incorrect value will be seen. The range measuring ruler must measure from the point the ball leaves the ramp, which in this case is the edge of the table. This hatchs that it must be accurately aligned under t he table, this can be achieved using a plumb line. It is facing directly downwards, allowing the ruler to be placed directly under the point at which the ball leaves the ramp. There may be a small error in the position of the plumbline of about i2mm. The sand in which the ball drops into may be uneven and the mark made when the ball strikes the sand may prove to be difficult to measure precisely. A travelling microscope could be used to measure the precise impact with the sand. But considering the level of accuracy used through with(predicate)out the rest of the experiment, this would be an inefficient method. Results Height h/cm Height Distance x/cm Distance xi /cmi xmean H/m /cm2 1st 2nd 3rd Mean 1st 2nd 3rd Mean 1st 2nd 3rd.There were no ill-considered results recorded in this experiment Error in distance x To calculate the positive error in x, the Xmean value is taken away from the Xmax value. To calculate the negative error in x, the Xmiin value is taken away from the Xmean value.Distance xi /cmi xmean xmax xmin Positive Error Negative Error Analysis From looking at the graphs, a positive correlation between the squared value of the range and the height the ball is dropped from can be seen, although points vary from the line of best fit. The results prove that the equation is correct and that the range of a ball does depend mostly on the height it is dropped from and the height the ball leaves the ramp. The formula (Ri =4Hh) states that an increase in the drop height, h, increases the range of the ball. The results have proved this and my prediction to be correct.However, the percentage at which the graphs agree to this equation is H = 92cm 4H = 368cm (expected) Gradient of distancei graph = 192. 3 (experimental) Expected slope = 368 192. 3 x 100% = 52. 3% agreement. 368 Conclusion In conclusion the experiment occurs the following way The ball is released with high gravitational potential energy as it rolls down the slope, this energy is converted int o kinetic energy, the higher the drop height, the longer the ball is travelling down the slope, so more energy can be transferred giving more kinetic energy and hence more speed when the ball leaves the ramp.From the results it is also seen that there are other factors that affect the range as the gradient was smaller than expected. The equation is correct, but the only part that could affect the results in this way was the assumption that all energy was transferred. The transfer is possible to be less efficient than assumed, 100% energy transfer from potential energy to kinetic energy is extremely unlikely. The energy can be lost in a variety of ways which are the limitations. Limitations Air resistance is an important limiting factor as it would have the most affect on the results.This was not counted for when doing the experiment and therefore has some affect on the results. As the ball moves through the air, the air itself is putting up a resistance against the ball, laboured its speed, and its distance travelled. Air resistance is dependant on the size of the object, as the larger the object the more air it has to push to the side. It also depends upon the speed at which the object is travelling, as an object travelling at faster speeds has to push aside more air in the same time. This effect can be used to explain the slight curvature at the top of the graph.This is because the ball is travelling at higher speeds (because it is being dropped from greater heights), with more air resistance acting upon it due to the higher speeds, causing it to cover less distance. Evaluation The trend of the graph 2 is a very clear with a positve correlation. There can be three different ranges of the line of best fit but I have only drawn the most obvious one. The 1st line of best fit can be drawn from the origin through the top ends of the error bars, whereas the 2nd can be drawn through the bottom ends of the error bars.However, due to the error bars being so smal l, it will be very difficult to show these 3 lines together. The accuracy and sensitivity of the apparatus leaves a minor error in the results giving a range of different values for that particular result. Ie. At a height of 5cm, the mean result was 31. 33cm. However this can actually be smaller or bigger than this value considering the errors in apparatus. The position of the plumbline to mark the the edge of the table will have an estimated i 2mm, having to join 2 meter rulers together will have an estimated i 1mm and judging the landing position of the ball will also have a i2mm effect on the results. In total the range of values for the results will be i 5mm.Therefor the range of values for 31. 33cm would be 30. 83cm 31. 83cm. Percentage error I will take the maximum result of the range and calculate the percentage error based on the uncertainty values. % error of range, x, 93. 33cm i 0. 5cm 0. 5cm i 93. 33cm x 100% = 0. 53% The values are vastly small and so are not worth cons idering. Improvements If this investigation were to be repeated, there are a few things I would like to change. Firstly, I would ensure to take more care that the above factors were fully compramised and minimised.Furthermore, I would take a much larger range of results to provide a more reliable end result, taking fairness of the experiment into account much more seriously. Finally, I would use a much more accurate range of apparatus to get the most accuracy in my results. For example, a specialised light gate can be set up at the end of the ramp to dictate the exact speed at which the ball leaves the ramp. This could then be considered with the mass to calculate the kinetic energy and gravitational potential energy and hence the total energy loss. Bibliography Salters Horners Advanced Physics Various web pages for research.

Huella Online Essay Example for Free

Huella Online EssayIntroductionHuella Online Travel was an Internet get portal Founded in 1999 in Kuala Lumpua, Malaysia targeting Greater China and Asian Pacific. It grow into 10 different markets across Asia, including Hong Kong. Huella online travel sells travel related products and services to customers, on behalf of suppliers, such as airlines, car rentals and hotels. Problem StatementHong Kong consumers have number one interest in buying airline tickets online although internet penetration is quite high. Research ObjectivesHuellas Hong Kong site was launched in 2000. Revenue growth in Hong Kong had been slight than expected. Huella market share in Hong Kong to be only 4% compared 9% in Singapore. In this regard, we seek to To get a depth insight into Hong Kong online travel market To find rationale behind low usage of online booking of airline tickets in Hong Kong especially people belonging to the age group of 18-35 wisdom of Huella brand and its Hong Kong websiteRes earch DesignThe research result be conducted with the help of survey through the feedback of questionnaires from a sample of 300 people (including both male and female) belonging to the age group of 18 to 35 and will be conducted online. The sample will focus students, business executives and leisure travellers. The respondents used to fill the questionnaire will be based on Random Sampling. DATA ANALYSISThe answers of the questions in the questionnaires will be analyzed on the basis of scale which may shift from question to question and is constructed at the time of preparation of the questionnaires. The results will be shown in price of percentages and the graphical representation of peoples preferences in terms of percentages and ratios. BUDGETThe overall cost may range from $ 2,000 to $ 3,000 approximately. SCHEDULEThe Research may take Three months, according to the schedule as follow sensation month for the questionnaires to be filled by respondents. One Month for the Dat a Analysis.One Moth for the preparation of Report.

Coming to Terms Essay Example for Free

Coming to Terms EssayHer argument was based fully on fast fodder restaurants adopting ideas from beauteous dine restaurants . Falk inserts an inordinate amount of her own feelings on the topic and doesnt analyze the subject as well as she should have. She focuses mainly on the fast food business while lacking in her analysis of fine dining. She also should have make the paper more(prenominal) about what caused the changes in the restaurant business instead of the changes themselves. In the essay Falk has many examples of foods and restaurants that have changed and became noticed for their modern style, such as Panera Bread and Chipotle. She appeals to a large sense of hearing by adding examples many muckle can relate too. On the other hand, her article is extremely biased in multiple ways. She makes too many generalizations that whitethorn not particularly be true in some cases. For example she states, the fact that people today hate to make choices, preferring to have the best of some(prenominal) worlds (Falk,33). This may not be exactly true for everyone. She uses the previous quote to support her argument in saying that since people argon so hesitant quick casual would be a good alternative.Another instance is when she states, There are significantly more calories at table service restaurants (Falk, 35). The prior quote shows her bias towards dine-in restaurants because she only uses negative examples of fine dining. Furthermore, her essay is very restricted. She aims her essay towards adults and college students with her use of language and examples of certain restaurants But a lot of her piece makes you think otherwise. The core of her essay is stating that quick casual is the new alternative to fine and fast food dining.Though she never takes into consideration the ideas of being a vegetarian or that college students have dining halls or even the fact that not all people eat out. She had good arguments but they did not affect the people the y were meant to affect. One of her main argumentative statements is at the very end of her essay when she says, The country is focused on problems with obesity and poor eating habits .. until major changes are made, food prepared at home will almost always be healthier than food eaten away from home (Falk,36) .These type of statements should have been more prominent in the essay, she only brings up this type of conflict in the last paragraph and nowhere else. By tying in the eating at home or the obesity aspect more, she would have had a strong argument. As mention earlier, if she touched on all the aspects possible that would have made her essay more relevant Some of her most outstanding focuses were Trend Mapping and the Trickle Down Theory. Trend mapping helps culinary experts prognosticate which menu items will be popular in the future.The trickle down theory helps quick casual restaurants enhance their menu with more fine dining dishes. These ideas help customers make smart ch oices. I was impressed with her inclusion of these two innovations because they go right along with her topic and fit into the main idea . stock-still though her essay was poorly structured at some points, there were also some good points throughout. I feel that her style was very position back and readable because she used places her target audience have been and can relate to, as examples.Brenda Falk creates this article with the objective of describing the many similarities between the food persistence and that the in between quick casual style is the most convenient. She successfully describes these similarities and elaborates on the new innovative style but never fully creates a legitimate argument. If she discussed more on the topic of eating at home or the factor of money or even brought in some positives of fine dining, that could have created a stronger argument. She has a great sense of organization and style but needs to focus more on her analysis of the topic.

Michel Foucault In Discipline And Punish Sociology Essay

Michel Foucault In Discipline And punish Sociology EssayMichel Foucault in Discipline and punish and The History of Sexuality, demonstrates that the tools of disciplinarity (which emerged in the confluence of critical, historic upheavals immediately preceding the newfangled age, much(prenominal) as geometric demographic refinement, reconfiguring global financial and mer provoketile frame-upes, the redefinition of territorial boundaries through global explosion and the ensuring establishments of empires, the ad hoc onset of the Industrial Revolution, and so forth), upon universe brought into proximity to about the only things that presently we atomic number 18 able to bring to it, such as a proclivity towards petty moralizing, our social prejudices, our racial intolerances, the petty agendas of the bourgeoisie empirical lifestyle enclaves, etc., operate what they have been designed to do, namely the re-proliferation, expansion, multiplication, amplification, ware of manip ulated strategies for administering populations, under the guise of it redounding to the so-called public interest, which on the whole underwrite unconscionable amounts of paralysis, social dissatisfaction and numerous suffering.At the heart of Michel Foucaults epistemic discussions on the shake-up of acquaintance in the humankind comprehensions is his argument during the 1970s that such reshaping established contemporary arrangements of causality and domination. Power, he defines, is the multiplicity of force relations immanent in the sphere in which they operate and which constitute their own organization.1His comprehensive historical analysis on the advent of disciplinary apparatus in Discipline and Punish and discourses on compartmentalization of come alive and sexual activity, and bio- top executive in The History of Sexuality postulate an apparent political positioning of world place in the sphere of modernity, hence, paving flair for a dynamic interpretation of his own understanding of it and the encompassing entity of cognition.This academic paper aims to expound on the place of power and noesis in Foucaults historical studies on prison and other modern forms of disciplinary institutions, and scientific discourses about sexual practice and its deployments. The paper is divided into two parts and will proceed accordingly. The first part comprises the reiteration of Foucaults claims on tools of disciplinary institutions as polymorphous, hence the interwoven appearance of new forms knowledge and power during the eighteenth and nineteenth centuries. By having constructed the reciprocality in the entrainment of knowledge and power in the context of the penal system, Foucault tries to demarcate the bounds of these two entities, moreover as well as ensures that each converge on the trammel of modern disciplinarity (such as geometric demographic expansions). In other words, Foucault does non concern himself with distinguishing the identity of knowledge against power, or vice versa, but having and understanding knowledge and power in a mutual reinforcing relation so that each is sustaining the authority of the other.2This paper also argues that what drove the tools of disciplinarity as new forms of knowledge and power to operate the way they do, as in seemingly paralyzing humanity on its actions, is because, in the first place, they were programmed to act as the antithesis to the utopia vowed by the En returnenment hence are hostile to begin with, yet have been stabilized by mans hopeless postulate to resist them, as implied in the works of Foucault.The second part is a critical analysis on two viz. (1) pedagogization of childrens sex, and (2) socialization of procreative behavior of what Foucault labels as four great strategic unities that formed circumstantial mechanisms of knowledge and power centering on sex at the start of the eighteenth nose candy thence the proliferation of the production of sexuality starte d to surface and became a historical construct. Their ontological and epistemological position allowed them to function in autonomy by which they imposed an explicit but restricted methodology in the generation and dictums of new knowledge saturated with sexuality through which these deployments asserted their own perilous power.3IThe underlying theme of the reorganization of knowledge in Foucaults works was broadened and highlighted by the first appearance of the contemporary prison system in Discipline and Punish. By having the eighteenth and nineteenth centuries explicitly set in the realm of discipline, observation, and chains of restriction, Foucault made it thinkable in his book to produce new knowledge even as they created new forms of social control.4The new penal system has its fateto be redefined by knowledge.5Davidson argues that Foucaults modern prison also serves as a reference point for his scrupulous analytics of power6hence, the horrific revelation and comparison of the spectacle of the early eighteenth century punishment over the subtlety of the new penal structure exemplifying the scope and the measure of steadiness of power throughout its trans governing bodys under different circumstances.This is unrivaled of the most crucial points that Foucault purports. As mentioned above, the prevailing prison system became his reference point in the analytics of knowledge and power, and it is not hard to deconstruct why. As it were, it can be seen that Foucault was indulging himself in the line that separates the violent yet sporadic carrying out of detrimental force that targeted the body (e.g. public tortures and eventual public executions) and the untruth of a mass of juridical absurdities7by the modern-day form of disciplineIt was a question not of treating the body, en masse, wholesale, as if it were an indissociable unity, but of working it retail, one by one of exercising upon it a subtle coercion, of obtaining holds upon it at the level of mechanism itself movements, gestures, attitudes, rapidity an infinitesimal power over the active body.8The imposition of discipline reconstructs power in the manufacture of new behavior newfound techniques, newborn gesticulation, new actions and ultimately, new breeds of people. Now, power is not merely power per se in its traditional sense, but it is a power that involves obedience on influence and exploitation. This is what Foucault meant in his discourse on docile bodies. Indeed, the human body was entering a machinery of power that explores it, breaks it deck and rearranges it.9It is a power that is autonomous, ad hominem and utilitarian. Allen argues that those who discipline, apart from having a hold over the mobilization of others bodies, become compelled in always ricocheting back on specialist knowledge, whence knowledge and power come into a mutual crisscross to finally augment each other. Everything comes in tandem there can be no criminology without prisons or med icine without clinic for knowledge is only possible in its compromise with the reciprocating patterns in the consummation of power.10Borrowing the words of Robinson and Davies, disciplinary apparatuses, indeed, cater to a dogmatic captive audience.11Thus, Foucault says, discipline produces subjected and practiced bodies, docile bodies.12The above mentioned means of subjection, along with the cartridge clip cards, bundy clocks, expected movements, documented schedules, etc., operated subtly through the shake-up of space and time by which peoples perform hence, the formulation of an indirect flow of action, cellular segmentation, and organic control, given by the partitioning and distribution of activities. They served to economize the time of life and to exercise power over men through mediation of time, leaning on a subjection that has never reached its limit.13The above interventions paved way for the unfreeze-around between power and perceptibility. There was a swing in politi cal strategies from the presentation of power as spectacle to its employment in perceiving the target thoroughly, i.e., to see and hear him, to monitor and prise him, even at a distance. Surveillance, or panopticism, which proved to be far more complex than the sheer exhibition of force, became the autonomous impetus that massively drives action. By being everywhere, surveillance forces the target to always stand on vigilance as he is constantly located it allows the disciplinary power to be absolutely indiscreet and to be exercised without division an automatic functioning of power.14Rouse provided a physical description of surveillance. According to him, surveillance was not only manifest as affixed to the walls or structures of institutions, whose primary aim, again, was to enrich the capacity to perceive, but also in the creation or extension of rituals, particularly examinations such as psychiatrical tests, job interviews, meetings, and even military exercise wherein the com mander only stands aside to witness the passing of a marching troop instead of actually being its forefront figure.15Foucaults argument of panopticism and how it is improbable for people to not be observed shows its extent in The History of Sexuality. He argues that with the assimilation of the discourse of the sins of the flesh in the Catholic confession after the Council of Trent (Counter-Reformation), and even just traditional confession per se, the Church created a hold on its faithful by subjugating them to perfect obedience. regular through the screens of confessional boxes, one is compelled to allow himself to be audible, hence perceived, by an authority. Foucault arguesWe have since become a singularly confessing society. The confession has spread its effects far and wide. It plays a part inthe most ordinary affairs of everyday life, and in the most solemn rites one goes about telling, with the greatest precision, whatever is most hard-fought to tell. nonpareil confesses in public and in private, to ones parents, ones educators, ones doctor, to those one loves one admits to oneself, in pleasure and in pain, things it would be impossible to tell to anyone else, the things people write books about. One confesses-or is forced to confessman has become a confessing animal.16Such manifestations of panopticism and process of keeping records chains behavior exactly by the manner in which it creates more and more access for things and phenomena to be known. Yet, digging more deeply, it must be argued that such new forms of knowledge also assume new sets of constraints, which in turn allow peoples movement to be perceived. Rouse asserts that such more specific knowledge makes room for also a more omnipresent constraint on peoples actions cycling towards the vast probabilities for more intrusive inquiry and disclosure.17These knowledge and power techniques have two-fold insinuations. First, they operated to control, or, to a higher extent, neutralize, societa l factors that are deemed perilous and threat to what has already been established. Second, having controlled such unusual and abnormal elements, they provide an avenue for the enhancement of productivity and utilization of their subjects. By doing so, the use of these knowledge and power that was initially applicable only to quarantined institutions, such as prisons and mental wards in other words, exclusive and extreme entities was slowly emancipated and incorporated into an assortment of new contexts hence allowing the expansion of their application. Foucault named this as the swarming of disciplinary mechanisms and arguesWhile, on the one hand, the disciplinary establishments increase, their mechanisms have a certain tendency to become de-institutionalized, to emerge from the closed fortresses in which they once functioned and to send in a free state the massive, compact disciplines are broken down into flexible methods of control.18He adds thatOn the whole, therefore, one ca n speak of the formation of a disciplinary society in this movement that stretches from the enclosed disciplines, a sort of social quarantine, to an indefinitely oecumenicalizable mechanism of panopticism. Not because the disciplinary modality of power has replaced all others but because it has infiltrated the others, sometimes undermining them, but serving as an intermediary between themand above all making it possible to bring the effects of power to the most minute and distant elements.19These present-day techniques ought not to be understood as a place-over upon prior structure/s. Instead, these practices ought to be realized as constituting solely different objects for knowledge to be tickled. Amongst these new sets are strategic statistics and inputs, such as geometric demographic expansion, and the redefinition of territorial boundaries according to the continuing progressive development in International Relations structures that incessantly tackles development, as in reco nfiguration of global financial and mercantile apparatuses, or age-group and pedagogical attainments distribution patterns, like income distribution in households, and a history of familial diseases like cancer and diabetes and indications of the state of life like cholesterol and sugar count. Consequently, such practices generate redefined, if not new enough, types of human subjects in consanguinity with another phase of production of new knowledge, objects, and power modalities.These political practices constitute a very methodical comprehension of the individual, of course through the assistance of the elements that compose panopticism. Foucault, in Discipline and Punish, argues that such knowledge engraves a barrier that maintains the targets individuality in his very own individuality. Hence, there is a permanency of knowledge, a knowledge by which the progress of the individuality of the target is always under scrutiny and evaluation.20The more important thing, though, is th at this knowledge of individuality, individuating comprehension call it what you may plays a crucial role in the economization and politicization of the population. In The History of Sexuality, Foucault argues that peoples have also been singled-out, i.e., instead of dealing with people or subjects, the government has now shifted its attention and focused on dealing with a population with all its encompassing features that, just like the individual, had also been subjected to surveillance mortality rates, healthiness, history of diseases, immunity to them, etc. All this individualizing of the people as a population always involve a reflux into the politic and economic in the population, i.e., population as grate force, population and efficiency in resource allocation, etc.21Foucault associates the above knowledge on individuality with the regulation of the individualized people, or population, with the concept of normalization, which purports mutuality with the knowledge and com prehension of populations by determining distributions. Lorentzen argues that norms occupy the whole of society, yet impose the greatest influence on institutions like church, school, and household22in short, the ones that hold specific populations, such as students and families. Hacking, in his book The Taming of Chance, defined normal distribution as something that tries to promote constancy in numbers as implied in the stick to of Europeans on their populations.23Along with certain populations, the individual also aids in the production of knowledge by being listed under a category hence, he is epistemologically located without degrading into the standard. For Foucault, normalization is individualization because, although it imposes homogeneity, it also individualizes by making it possible to measure gaps, to determine levels, to fix specialties and to render the differences useful by adjustment them one to another.24In conclusion, it can be said that the influx of newly constr ucted knowledge and power operate today the way they do because they were meant to counter the lead and promise of the Enlightenment. Enlightenment was the advance of thought25that aims, in this case, to cultivate the prison and/or penal system as humanly as demanded by the modern society, and to emancipate mankind from sexual repression. But Foucault has presented it with a sense of hostility, if not real contradiction. As formerly vastly discoursed in this paper, the civilized prison and liberated sexuality further entangles humanity, and Foucaults presentation of these entities addresses the materializing need to resist them as contemporary modes of knowledge and power. Yet, to go with this, he also insinuates that such resistance has no material framework to come into existence, hence creating that in-between where there is a shocking paralysis engulfing man, and suffering and dissatisfaction looming amongst them.IISome of the increase in child horror is due to the publicity itself.26 Ian HackingThe History of Sexuality portrays the interrelation between knowledge and power through a historical account of the origin of the context of sexuality. It is not a given, but rather a historical construct of discourse. Its mode of deployments created new power relations parents on their offspring, psychiatrists and doctors on patients, men on women, young person and old, etc. and exercise further control on also extended areas hence, were able to legitimize the knowledge it purports.27Foucault discusses four great lines of attack which the politics of sex advanced for two centuries,28yet are still prevalent in the society today. Two of which shall be discussed shortly, viz. the pedagogization of childrens sex and socialization of procreative behavior.Pedagogization of childrens sex. The intersection of knowledge and power in and on the bodies of children allows the gathering of data on what is medically appropriate for them, in congruence with what is also necessary for their educators and parents to maintain that medically appropriate environment, influence, and other factors in which they are deemed to operate upon.A journal in 2008 by Kerry Robinson and Cristyn Davies regarding the relationship of sexuality with the childhood of Australian children ought to shed light on this first deployment under the scope of this paper. According to Robinson and Davies, the means by which Australian kids ought to acquire knowledge on sexual related phenomenon have been transform into something controversial by the great contentions whether the pedagogy on sexuality ought to occur at home, under the supervision of parents, or at school by the childrens educators. Finally, for miscellaneous reasons, the school was selected to address sexuality to children, yet Robinson and Davies argues that by the continuous denial of the education curricula on sexuality as an important part of childrens identities, childhood and sexuality become compartmentali zed as purely social constructions by which there is a naturalization of heterosexuality as the norm of sexuality and hence strengthen heteronormativity amongst children.29By having children perceived as docile bodies, schooling became a disciplining state apparatus, whence the knowledge-power nexus operates through the imposition of knowledge-regulating documents, such as Health course of study and Health and Personal Development/Health/Physical Education (PH/H/PE), which constitute the heteronormativity of children as subjects.30The practices involved in these documents gradually become assimilated in the general physical state of children, and whatever knowledge regarding sexuality was allowed to penetrate into the childrens minds was always highly regulated by social norms and religious taboos that depersonalised the processes for both the children and the teachers.31Earlier in 2007, Philo analyzed a radio broadcast that involved Foucault referencing to childrens games like ten ts around gardens or those that are played on top or under their parents beds. He argues that, indeed, what these games imply is an attention to the reverberating theme of wider trans-disciplinary field of social inquiries into children, especially with sexuality, although he was apprehensive about some of Foucaults claims.32Both of the assertions of the above mentioned intellectual studies attain to the underlying assumptions made by Foucault. On the one hand, Philos article is a proof of half of the assertion of the deployment of sexuality currently at hand that children have the natural inclination to participate in sexual activities whilst, on the other, Robinson and Davies study constitute the significant other half that institutions, such as, in this case, school and families, are the intermediary entities that limit the dangerous sexual potential immanent in children.33Given the above assumptions, it is easy to go back to the premise of Foucaults disciplinary apparatus and relate this pedagogization as one of its most influential tools. Putting into context Hackings argument which was cited at the opening of this chapter, it can be said that such pedagogization does not much have of an impact to its intended target in children as much as it does for the people revolving around the target. With the prestigious promise of pedagogical, as swell as medical, knowledge about sexuality on children, it has functioned as a regulatory tool in reshaping, and perhaps instilling imaginations that never surfaced until then, the minds of people in the hierarchy of societies that looks onto the childrens. By knowing the constraints of teachers, doctors, and parents on maintaining the childs framework towards his sexuality, it has become easier for other people to imagine otherwise hence, child abuse became and continues to become increasingly prevalent. In short, though the pedagogization of childrens sex allows children to be oriented in a pre-defined structure, i t has had become more of a tool for disciplinarity on the outside audience therefore, another state of limbo, of paralysis, perpetuates around the surface of human action.Socialization of procreative behavior. As it was scrupulously discussed at the earlier parts of this paper, population is one of the central themes of The History of Sexuality. intimacy and power also converges on couples, allowing their growth on their circulation through the procreative capacity of the married pair.What could be the perfect example of this deployment other than the components of the current debate on the Reproductive Health Bill? Yet its discussion remains to be written on another academic paper. The issues on fertility, regulating replica through contraception and abortion, and enhancing human propagation through modern reproductive technologies circumscribe the married pair to function accordingly in this deployment of sexuality.Indeed, often that this deployment of sexuality is understood in the context of the medical field and economic. How, for example, has impotence evolved from being technically uselessness and meaninglessness before to something that can be remedied by the science of medicine today? Having no children before yields into an immediate notion of non-productivity, but today one may think otherwise. Yet, one of the many implications of this deployment that is not inescapably given that as much attention as compared to medicine is sex differences, the very indicator of procreativity. Cook, in her work The Personality and Procreative Behavior of footrace Judges, attempted to look into sex as an emerging concept in the sphere of political participation, approaches, and socialization of men and women trial judges. For example, women trial judges determination on what political arena they would immerse themselves into is affected by socio-cultural factors like obligations at home or with children. Men judges, on the other hand, have a higher rate of parti cipation in the political sphere, not only because of less pressure in terms of the constraints of household and domestic obligations, but also of less structured functions (i.e., as compared to womens political role being translated from their home-making role, men judges have definite and straight-to-the-point objectives in the realm of politics)

Popular Music in Film | Research

Popular harmony in Film ResearchIntroductionThis study aims to front into personify commonplace harmony in de argumentationation, its work erupt and place in spite of appearance new-fangled select making, with express interest in determining whether or non it sight fairly be compared and judged a yen side much traditional original scoring techniques as an artistically viable means by which to cast up depth and further weight to the image, or if it is simply a cheap and easy means by which to score a film. In Ronald Rodmans essay The call of haunt medicine as leitmotif in 1990s film, he states that in spite of appearance the hands of a skilled director and music editor, the use of pre-existing general music burn be use to convey narrative events and characters in a stylus similar to classical Hollywood scoring. However, the 2 exist at opposite ends of a modernist/post modernist continuum. With the Hollywood score cosmos valued for its original and film specifi c uniqueness and the found score beingness valued for its ability to redefine and recycle its self when used well, it offers a live again intent, that allows the music to transcend its original form, and find new moral excellence within the context of the image. (Rodman, from the compiled essay collection Changing Tunes The Use of Pre-existing Music in Film (2005 135)This study does not refer to a specific question requiring a final answer, instead aims to search whether or not the idea of recycled music truly can transcend its self in skilled hands, and if the use of hot music in film has become used more than widely and in a more sophisticated expressive style following its emergence in many films of the 1990s. I in like manner intend on face into the work produced when artists more established within the realms of everyday music, savour their hand writing original music for film, and if this combination of film specific, more traditional scored music and the variant approaches that popular music and those more schooled in its reflection can bring to the table with regards to an original score, is truly the definitive way to pass water an interesting, exciting and truly brilliant piece of work that does what all honourable slews should achieve, too not only enhance the image, but to stand strong on its possess as piece of work in its own right. By exploring the research of others with original research and thoughts of my own, I intend to come to a personal conclusion regarding the matter.This investigation is going to be based almost the initial idea that popular music has a valuable and useful place within modern film making, however, due to it practically being used in a lazy and not fully thought finished with(predicate) manner, it has become any(prenominal) what looked overmaster upon with in the strong point, being seen simply as a means for cheap laughs, a pleasant way to pad out the background music of a scene and as a way to kick in more marketability to a film . In neat of this generally accepted opinion of popular musics place in film, and its viewing in such a negative light, I wish to look into how and why this view exists, despite countless(prenominal) examples of it being used to great effect within a film and how in recent years, the trend for recruiting the skills of popular musicians to construct original material specifically for film is not only the next step in popular musics place in film, but its creative apex.This investigation, through the course of its three main chapters, intends to look closely at popular musics place within modern cinema, how it has arrived there, where it can go from here, and if it can be seen as important and useful as classical means of film scoring.I intend on looking into the following points through out the course of this investigationChapter 1 Popular music and Modern CinemaHow the genesis of two popular music and cinema are inherently linked to unmatch able other and a cross-pollination between the mediums has always been inevitableHow popular music as score differs from traditional make headway in what it does within a film.The potential (both positive and negative) that pre-existing material brings to a film, from its ability to comment add extra levels to a film through its lyrical content and its already established place in the ordinary subconscious through to the historical and social abilities it has in helping define eras and public attitudes when necessary. I shall look at the use of The Doors metrical composition The End in Apocalypse Now (Francis Ford Coppola, 1984) in order to explore thisThe all-powerful act upon effect that the correct piece of popular music and the correct oculars can have on one another, combining in such a way that they forward both cry and scene to a completely new level of significance, operating on many more levels than they would have done separately. I Shall look at Roy Orbisons In Dreams within the impressions Blue Velvet (David Lynch 1982)Chapter 2 Popular music as LeitmotifLook into how popular music has adopted the traditional film scoring technique, leitmotif.Explore the manner in which popular musics use explicitly and connotatively through leitmotif differs from the classic score, how it is not relied upon the actual repeat of specific themes that connect characters and narrative, but rather the repetition of styles of music or their social context.Investigate two films that use popular music as leitmotif, Shaun of The defunct (Edgar Wright,2004) and Pulp Fiction (Quentin Tarantino, 1992) and how their employment of the technique differs to one another.Chapter 3 The Popular Musician as ComposerInvestigate, through existing examples within movies, of popular musicians being any being used to write film specific music for cinema or actually constructing an original score tailor made for a film, and if these approaches give notice (of) different res ults and opportunities to scores constructed by more traditional composition methods.ConclusionDiscuss an over view of my investigation, come to a personal evaluation of whether popular musics place within cinemas audio landscape is viable as artistically expressive and appropriate as a method of scoring.Chapter 1 Popular Music and Modern CinemaPopular music, since the late 1970s has come to hold a graphemeicularly interesting and powerful position amongst the many visual media forms that exist, and though a large majority of these forms that have mutated and cross pollinated as a result of the rise of various technologies and the prominence of popular music as a form of heathen expression, are mainly used as tools of marketing (music videos, television spots and advertisements), it possess a unique functioning purpose within the medium of film, only in dramatic film and television are popular tenors used in order to help tell a preserve narrative story a role that has traditi onally been played by commissioned musical score (Wright, Popular music and Film, 20038)Its hardly surprising that popular music has come to be used as such within film, though at their most radical levels they operate as two start out different forms of expression, the trajectories both have moved on through the early twentieth century show striking similarities to one another, to quote Ian Inglis in his opening to Popular Film and Music (2003)The genesis of both came about as a direct result of late nineteenth century techno synthetical developments, both predominantly rely on a new type of mass audience sharing a common interest, both started with humble beginnings as novelties to fill out and become some of the largest industries in the world with colossal annual turnovers, both have been approached and consumed from perspectives that have allowed them to evolve from simple tools of popular and mass culture into examples of more high and elite culture. (Inglis, 20031)It is no longer required in modern film making to contain a score written specifically with the images and narrative in mind, a movies musical landscape is promptly just as likely to be entirely filled with pre-existing margin calls (be they popular or more esoteric) as it is to feature a more traditional score, often a combination of the two bequeath be employed by a director.In order to greater appreciate the role that using pre-existing popular music in a film can have on, not only the narrative implications, but the way an audience give respond to the movie going experience, one must lay out the inherent differences and opportunities that popular music can bring when compared to a traditional classical score.Music written and scored with a film in mind is specifically catered to the inescapably of the images on screen, often a film will be scored late in a films production schedule, there for it is necessary to bend and perish to the constraints of the image, the composer is alm ost a slave to the film at hand, taking full responsibility for fleshing out e real nuance and emotion that a scene requires. They must adapt and fit most what is (normally by the cartridge holder a composer is brought on board) a fairly concrete structure of how the narrative events take place.On the other hand, when a director chooses to use pre-existing material in a film, the scenes have usually been designed in such a way as to bend around the song. Pre-existing material can not be manipulated in the same manner of a piece tailored to fit a narrative, however, through the use of shooting and editing a sequence with music in mind, it allows a certain unity and rhythm to emerge from the combination of the two.Looking at whether or not one of these approaches to film scoring is more artistically viable is a more complex question that at first it would appear.The most fundamental observation that can be made about music in any audio? Visual medium is that it enjoys a rather direc t passageway to our subconscious. Humans are by nature more visually orientated, we digest visual information more consciously and more critically than we do aural information (Wright 200310)Since its musics uncanny ability to override the logical front of our brains and plug directly into our emotional back allies, it tends to offer the driving force in notice us how to feel about events within a film. It can be used with great effect to inform us how we should feel about characters or places, it can instantly set magazine periods or imaginations, precisely because in most reasons it is completely removed from the specific logic of a films story line (Wright 200310).However, it is this powerful, yet exceedingly subtle ability to steer an audiences emotions within a film that makes the score so depended on a plethora of various factors, be they cultural, historical or otherwise. What a person is going to feel when exposed to different sounds is extremely subjective, how one person responds may not correlate with how another would when exposed to the same thing.All popular music contains visual elements all film relies, in varying degrees, on musical elements (Inglies 20033)A director can take great advantage of that fact that pre-existing popular music will often have already existed within the consciousness of the public for long plentiful that a response will have been built up in their mind, especially with regards to songs containing specific, concrete lyrics. An example of the successful combination of a songs lyrics and a sequence edited perfectly to its rhythm would be the opening montage of the Zack Snyder directed Watchmen (2009), the sequence, which shows the unfolding of an alternate historical clock timeline of the 1960s, moves along at a unending, hushed and meditative crawl, all the while Bob Dylans The times they are a-changing echoes out, the lyrics seeming to directly reference the events taking place and the mid tempo, simple yet paltry and effective guitar/harmonica parts perfectly compliment the liquid body substance and set the tone there is a heavy sense of sadness, a great part of the story centres around the fact that a new generation of costumed heroes are in a flash faced with a society that no longer has time for them, that fears them even and in this sequence we look back into the halcyon golden days of the older generation of costumed heroes, when it was more innocent, but we view the often depressing events that lead to the current state of affairs within the narrative.In other instances, the right song placed with the right images can elevate both beyond their limits as separate mediums, fleshing out one another in new and exciting directions.For example in David Lynchs masterpiece Blue Velvet(1986), a a couple of(prenominal) keys scenes, use pre-existing material to truly haunting and terrifying effect. Most famously perhaps is the scene where Jeffery Beaumont (Kyle Maclachlan) is serenaded by the suave, menacing, porcelain white, rake thin figure of Ben (Dean Stockwell). Ben lip-synchs along to Roy Orbisons classic In Dreams. The song, a ballad that tells a story of lost love, had already become a well known hit by the time Lynch made Blue Velvet. Recorded in 1963 (twenty three years prior to Blue Velvets exempt) it peaked at number seven on the billboard charts. Within the dark, unsettling noir universe that Lynch had created for the film, the song took on something of a far more disturbing meaning. The ironic juxtaposition of Orbisons ethereal voice, haunting melody and the fantasy like music accompanying it, along side the creeping dread and ominous shadow of impending violence smothering the sequence help elevate the mood and capture it brilliantly. Blue Velvet itself felt a lot like a dream, or a nightmare, and the songs lyrics seed with a compelling and strange lucidity within the films mood. The whole film was about looking below the surface of something se emingly perfect and finding that it was rotten to the core, here, in this context, a remarkable ravishing piece of music is suddenly something more, theres something darker at its heart. A truly inspiring choice of popular music for a scene, and a prime example of the increase of a scenes mood the correct piece of pre-existing music can have. The innocent, whimsical connotations and feelings signald by In Dreams sits in a perfect, jarringly ill at ease(predicate) unity along side the hellish, violent world at Blue Velvets heart. The impact of the sequence is unmistakable, one can not imagine the scene playacting out with any other song and similarly after viewing the sequence, one can not hear the song without imaging Ben swaying and singing or Frank Booth (Dennis Hooper) decorous lost in sadness, then insane with rage upon hearing the song hes obsessed with. From a commercial aspect the song was incredibly useful in revitalising Roy Orbisons then lagging career, though he wa s at first shocked upon viewing the way his music had been used, the song and film bolstered interest back into the vocalisers work.Although, on the other side of the coin, it is precisely because the cognitive content in music is so implicit, because it influences us somewhat subliminally, that we find its failings so noteworthy The stakes are high when it works, it moves us, but when it fails, we cringe at the attempt (Wright 200312).Because popular music tends to exist within the moment, it changes and mutates at the same rate as fashion or hairstyles, the risk of using a popular song from a certain time can immediately give a film a shelf life. Obviously, over time, all films begin to look dated compared to their modern equivalents, however, popular music evolves at such a lightning pace that the incorrectly piece (or some times, the right piece for that moment in time) can often make a film seem laughable or extremely out dated within a short space of time (See many, many, m any films from the 80s)It therefore, appears that producers and directors run significant risk when making a conscious finis to use popular music as score. Which does seem to beg the question, that if music written for the film can be tailored to fit a films needs precisely and pre-existing material tends to loose its relevance within years, why do people calm down use popular music?From a misanthropic point of view it could be suggested that its more often than not with financial reasons in mind, its common knowledge that only one in ten productions will return a substantial profit, however its the huge profit of that one that makes up for all the others, so the added bonus of having an easily marketable sound overcome is always going to be a draw in terms of money.However, pre-existing music has its own artistic merits within film as a choice of soundtrack. Since most popular songs chosen for film (such as In Dreams mentioned ahead) have already existed within the public cons ciousness for considerable time enough for people to build and attach their own set of feelings and emotions to a song, the use of popular music brings with it a ready prepared set of emotional triggers that a film or scene can build on top of, this always for a scene to carry more emotional clout than if an unheard and unknown score made for the film was used in its place.The right song in the right place can be an extremely powerful device (Wright 200313)Though it is indeed true that the use of popular music can run the risk of making a film seem out dated fairly quickly, the act that pre-existing popular music does capture and retain the mood of the time period it was created in can be an extremely useful tool when the subject matter of a film is specific to a certain era, it can instantly and effortlessly conjure up the mood of a certain point in history in a way that a composed score would struggle to achieve. Familiar examples of music from the in demand(p) era summon up not only the musical memory of the time, but come complete with the attitudes and ideas that were linked to that period (Wright 200313).For example, the 1960s for many cultural and historical reasons stills resonates powerfully within the public consciousness. Francis Ford Coppolas Apocalypse Now (1979) partly achieved a faithfully accurate depiction of the ear through the elaborate use of songs strongly linked to that decade, but more than that, the songs chosen often reflect the bizarre situations Captain Willard (Martin Sheen) finds himself in and the deepening sense of dread that consumes him as he heads further down the river and into the stories nightmarish underbelly. This effect is starkly illustrated in the films famous beginnings, as Willard stares blankly at a ceiling fan in his room, the Doors song The End plays non-diegetically along with the sound of helicopter blades. Not only does the song help to evoke feeling and images of the 60s, but it also comments upon an uncomfo rtable and unsettling touch sensation that haunts the film, as Matthew Caley describes it in his essay Heavy RotationThe opening sequence invokes the notion of a terrible re-occurrence the end becoming the beginning, signifying the heaviest of burdens (Pop Fiction, Caley 200538)Some events, in this case the Vietnam war, can never be overcome on a personal level.Another important difference between the use of popular music as score and traditionally composed pieces is that, for the most part, traditional scores are used non-diegetically, as seemingly separate entitles, floating above the action, where as very often, popular music is used diegetically within the frame. This could be in part that we are almost conditioned to think of songs as more than simply visual accompaniment, we hear a song and nine times out of ten well imagine a performance going along with it, we see the band, the singer and the stage, lyrics also cry out for attention and want to be hear and analysed. Simply underscoring a scene with a popular song, can in some cases distract the audience from the main narrative drive, and as soon as an audience is lost from the film, it becomes increasingly difficult to get them back involved. So, to counter this, more often than not the source of a piece of popular music will normally be within the frame, be it a car piano tuner or a CD player or (as was the case in Blue Velvet) some one singing. In this way, we no longer find the front of a separate medium looking for attention problematic, the characters can hear what we are hearing, a logical justification for the songs presence has been given. This can also devolve on a wider scale through out a film, when the set up provides a musical or semi-musical means by which to accept the constant presence of diegetic music, for example in High Fidelity (Stephen Frears, 2000), the narrative revolves around Rob Gordon (John Cussack) who runs a small, alternative-music store, and his employees. The overt musical setting always for many chances for popular songs to appear diegetically within the movie, however, once the action is removed from the apparent source of these songs, they act as score instead, but because the viewer has been given enough logical justification for their presence, their use in these situations does not direct attention from the action, or seem contrived and indulgent in their use. With out the earlier conditioning provided by the films location allows use, this may not be the case.Given all these difficulties, music, with its back door access to our consciousness, is a powerful tool it stealthily pilot The audiences mood ad emotional response to a films content (Wright 2003 20)What it is that succeeds when popular music is used as accompaniment in film is subject to many different factors, most extremely subtle. Precisely how it effects a person is of course on an individual level and cant realistically be hammered down to a science in any way, but the suc cessful use of music often engages in a way that is simultaneously original, but resonate with a timeless quality. Popular music is an ever changing form of expression in and of itself, and as too, the landscape and language of cinema grows and changes over time it is fair to say that what in principle can be regard as the rules to determine what does and does not work as musical accompaniment to film, will remain the same.An interesting angle that has also been undertaken by many modern film makers (perhaps not consciously) is the mimicking of techniques used in more traditional film scores when using pre-existing material, the most prevalent of these could possibly be the use of popular song as Leitmotif, which I will now explore in chapter two.Chapter 2 Popular Music as LeitmotifFirstly, the term leitmotif is, according to Groves Dictionary of Music defined as suchA theme, or other coherent idea, clearly defined so as to retain its identity if modified on subsequent appearances, and whose purpose is to represent or make up a person, object, place, idea, state of mind, supernatural force or any other ingredient in a dramatic work, usually operatic but also vocal, choral or instrumentalA term used original to denote a process occurring in the operas of Richard Wagner, it has been adopted by film scholars as a means by which to describe a similar role in the classical film score, a way of producing subtle sensations and associations in the attender (or viewer) (Costantini http//filmsound.org/gustavo/leitmotif-revisted.htm).In essence, the leitmotif is any melody, progression or harmony that occurs more than once during the film, and is normally attached to characters or actions as a means to evoke a memory in the viewer via a subconscious attachment of the repeating music to the images on screen.Leitmotifs also have the power to be both denotative and connotative in they way they present emotions and link to the image. The music denotes characters or/and si tuations through a link with music, then a repetition of the music, it can also create more subtle connotations when foreshadowing or contradicting the images on screen (Rodman, changing tunes 2006124)For example, many of the scores composed by Ennio Morricone for director Sergio Leones spaghetti westerns, prominently feature the use of leitmotif to establish characters.In The Good, The Bad and The Ugly (1966), the use of a recurring two note melody is a frequent motif, played on three separate instruments to represent the three main characters of the film flute for Blondie, ocarina for Angel eyes and human voices for Tuco.Through the denotative use of the notes A and its fourth interval upwards D, a Spanish flavour is achieved within the music, along side the three separate instruments help create a potent connection with the characters and ambience of the images on screen.The link between this leitmotif and the images it scores are so prevalent, that it is practically im practica l to separate the two from one another, they are forever inescapably tethered together through this denotation, however, as leitmotif works connotatively as well, the describing singularitys that the music presents can exist external the images context. Though we will always link that two note motif visually with the characters of The Good, The Bad and The Ugly, we too will always link the emotions, mood and feeling of the film (A romanticised, stylised version the west, heroism, treachery, adventure) with the music , and these connotations can carry on beyond the context of the films images, having been emotional hardwired in to our minds via the back door access connotations within music can supply.It is interesting to note that upon its release as a soundtrack album, Morricones score performed very well, reaching number four on the billboard charts and becoming frequently sampled , re used and referenced by many popular musicians since (including, Gorrilaz, R.E.M and The Pogues ) and thus, could be argued that it has moved from its initial use as a film score, more into the public consensus as popular music, possibly even a cultural touchstone, even if its original interests where not defined that way.As popular music has evolved beyond a simple form of entertainment and entered into the musical landscape of cinema as a method of scoring, its denotative/connotative properties have made it possible to assume the role of leitmotif when used correctly in films, it is this utilising of an established method of scoringand utilising correctly, that gives yet more weight to popular music as artistically viable.When used as leitmotif, popular music tends to be given more denotative power than a traditional score, though also still able to connotate subtle meanings.The difference being that the denotation is more subtle, nuanced and relies more heavily on the viewers familiarity and competence with the music prior to experiencing it in the film.To explore this, I s hall examine two popular modern films that heavily rely on popular music as score, both using it as leitmotif, in different ways however. Shaun of the Dead (Edgar Wright, 2004) and Pulp Fiction (Quentin Tarantino, 1994).Shaun of the Dead is presented as being a romantic comedywith zombies, the film garnered hugely favourable reviews upon its release for its blend of witty Douglas Adams-esque British humour and the classic elements of the zombie genre found in the work of George A Romero. Like director and writer (along with Simon Pegg) Edgar Wrights earlier work on the television series Spaced, Shaun of the Dead uses a compilation score (along with a few tracks written specifically for the film) consisting of popular tunes.The same song does not reappear frequently through the film to reinforce character or situation as leitmotif may be used in a traditional score, instead the films leitmotif is to be drawn from a perceived prior knowledge that the viewer must have with the songs, w hich allows an emphatic, direct meaning (via lyrics, song titles and often a reference to wickedness genre) to achieve denotative references, often used to comic effect to act as leitmotif through the film. The stipulations of leitmotif are also achieved via the songs connotative effect on the viewer via their subtle (sometimes not so subtle) descriptions of a scenes mood, or a character trait or often the films overall theme.For example, the film opens with an excerpt from soupcon Town by the Specials over a black screen, before cutting to a medium close up of Shaun (Simon Pegg) sat, mouth agape, a brain dead expression stapled to his face, in a pub (we there for automatically make the assumption that the music is being heard diegetically by the characters as well, emanating from a jukebox or something similar).The song immediately makes clear the mood of the film, the very title of the track is Ghost Town, straight away subtly suggesting the coming events of the films narrative, The lyrics (though originally written about the large scale unemployment feared to be brought by the policies of Margret Thatcher) twist and lend perfectly with one of the films core themes, the idea that modern British society is dulling down, decaying, zombifing itself and wasting away in to nothing more than the aforementioned Ghost Town of the songs title.The style of music itself also captures the spirit of the film, connotating on an almost subconscious level to the viewer what to expect in terms of the films mood, the up beat Ska style is certainly light hearted almost comical in its bouncy rhythms, but a sinister vein runs through the song, similarly, the film, though a comedy at heart, has moments of real horror as the zombie crisis escalates towards the end of the film. It is also extremely British in sound, as the film is too, extremely British in its writing and acting.Other examples of songs being used for their inherent referencing/or placement within the horror genre are Zombie Nation by Kernkraft 4000 and The Blue Wrath by I Monster. Both these songs differ wildly in their stylistic traits, but by their nature of both taking reference points from supernatural angles (zombies, monsters) they are linked to the leitmotif structure the film uses. Zombie Nation in particular, though used for only a very short space of time, prescribes to a similar denotative/connotative use as Ghost Town does. Denotatively in its title it directly name checks not only the main antagonistic force of the movie but also the movies entire scene set up and connotativley it also refers to the perceived notion of a zombifed Britain, using the title in a less literal sense, the style of music (a repetitive dance song) also, through heavy irony, helps subtly convey the idea of a brain dead society, (though, thats not to suggest that dance music is inherently brain dead, more that, the repetitive nature of its genre along with the social image of hordes of silent, blank eyed individuals, twitching along in unison trapped in some nightclub runs a neat parallel with the zombie hordes occupying the move)A sequence which has since gained a great get along of attention and become something of a classic comedy moment, takes place towards the end of the film, trapped by the marauding, relentless zombie hordes into the Winchester pub, Shaun and his friends are forced to deal with the now un dead pub landlord, during the course of the melee the jukebox starts to play the Queen hit Dont Stop me Now. The juxtaposition of the songs upbeat, positive, energetic refrain against not only harrow and almost certainly doomed situation the characters find themselves in, but also the beaten down, bloody, bruised and emotionally frayed survivors creates a sublime moment as song and image seamlessly combine, creating comedy from unexpected irony. The songs place here however, does not conform to the regular leitmotif that has been used through the film (song as denotative via lyrics or song title), and initially the lyrics seem ironic in their positive mantra, however, the song can also be seen as a comment on Shauns now fully developed character traits. Up until now hes been something of a loser, unable to pull his life together and it takes the apocalypse to rally his leadership qualities, from this angle, the songs positive message seems more sincere in its use, we

Animal Testing Kills :: Animal Testing

Hundreds of animals argon dying everyday, and it can be avoided. Animal examen in thousands of companies is eradicateing animals every day. In the essay They Knew But Little , the Kentuckians didnt care much about the environment, and today, there are still too many people that dont see that animal psychometric testing is cruel and unnecessary.Toxicity tests are inconclusive. The Lethal Dose 50% test or LD-50 forces increasing amounts of a test product until half of the test group dies. Animals are fed or injected with cosmetic products... As the dose increases internal organs become blocked, rupture, and cause animals organs to non function and they function on the inside. If the animals are not murdered in the test, they are killed afterwards. Toxicity tests determine the effective toxicity for animals but not humans. They determine the toxic direct for mice, dogs, rabbits, cats and chimpanzees, but not for young or old men and women. Some animals die in the test as a result of the volume of material, not the toxicity of the material. Most important, is the number of animals that suffer unnecessarily why pour drain cleaner down the throats of animals, when humans would never do such a thing?Eye irritancy tests are outdated. Companies use the Draize Test to determine the irritancy of household products and cosmetics including laundry soap, toilet cleaner, perfumes and shampoos. The animal being tested on is tied up so that movement is restricted. They are not given any pain killers or anything. Substances are dripped into the eyes of the animal ( usually rabbits in eye tests), and results are recorded over a period of three to twenty days. Some bad reactions result in irritation or blindness. Rabbits eyes have diaphanous corneas, and are more sensitive to inflammation than humans eyes. That is why it doesnt make sense to test something on an eye that will react differently to a humans.Skin tests are also not very cute... They shave the area that will b e tested on the animal, and then rub the product on the shaved skin. If the skin reacts badly to the product, they break their necks, throw them away, change the product then test it on another animal So you ask... What if the skin doesnt react... They kill the animal anyways because they say that if they tested another product on it, and the product reacted, it could just be reacting to the other product that was tested firstly on the skin.

Liberal Democracy Essay -- Government Argumentative Persuasive Essays

Liberal DemocracyLiberal democracy, with a capitalist economy, is the solo form of social organization that will work in this world. Socialism and Communism appear to be sound in theory, but would never get by close to achieving what capitalism does. Liberal democracy and capitalism allow for a beneficial competition where communism does not. This competition, in the magnanimous tradition, on both governmental and economical levels, allows for the best balance of security and freedom to the people under the government. However, this liberal tradition does not take care of every problem, but it does a better job than any alternative. Competition is a necessity in this world. A more competitive market place allows for a more functional government. This market generates the most wealth, making the governments job much easier. When the government is working better, it takes care of the people better. People are most happy when they disembodied spirit secure in their livin g environment and when they feel their liberties are protected. Liberal democracy thereby, creates a successful foundation for liberty and security. A balance surrounded by liberty and security in a country discharge be achieved with political and economic competition in the liberal tradition.When the market is at its cap of competition, the government is at its best performance. A government will work well if it has sufficient funds. The more money a government has the more tasks it can accomplish. It can build parks and restore highways, and many other things that make everyday life more enjoyable. The government depends on the economy for support. The more competitive the market is, the more wealth it acquires. The government will run better with a competitive market. This... ... organization that will do better than a liberal democracy all of these failed. They all failed because they dont work, and wont work. The system of political and economic competition is no t perfect, but it the best theme compared to any other alternative. This system works better than all the others because there is no coercion. The free market thrives on voluntary choices made by the population. agonistical elections are the only way to go. There is no other method that allows the masses of people to voice their opinion every persons suffrage counts. This way the people put in office who they want, instead of putting up with someone that the government appointed. In history lies the real proof that a liberal democracy works. There is no denying the liberal democracy with a capitalist economy allows for a balance between liberty and security.