Aspect of acting

Aspect of acting The Technical Aspect of Acting Acting was developed in ancient Greek Theatre. The Greeks were the ones who introduced theatre and bought out an individuals talent known as acting. However in those days the technology had not advanced and there werent any films, the only source of entertainment the people had was through theatre. Theatre acting and acting in films differ vastly from each other. According to actress Kim Stanley â€Å" No matter what you do in film, it is, after all, bits and pieces for the director, and thats marvelous for the director but it doesnt allow the actor to learn to mold a part. In films, its the director who is the artist. An actor has much more chance to create on stage.† (Giannetti, 2008) Film acting is a basic tool of the director to make his film successful. Indeed it requires talent and learning for the individual in the field of acting. He needs to understand the role and connect himself emotionally to the character and then enact it for the audience in a way that it may see m real. A film actor gets several chances for displaying the emotions in front of the camera and a director may take several takes till the time the right emotions are bought out to his satisfaction. Unfortunately this is not the case for stage actors; they do not get several chances to bring out the reality in their acting, they only go on stage once and thats it, it is then in their hands to grab the audiences attention and do their best. Film has different categories of actors; extras, nonprofessional performers, trained professionals and the stars. Extras are the actors who are merely used to fill the camera frame, they are the unnecessary people needed to surround the main actors or just to be a part of the set. For instance if a film shows a market scene; to make it real the director puts in several people in the frame just to show the crowd in a market place. Nonprofessional actors are those that are not really good in acting; they dont master the art but; their physical appearance and presence on screen suits the characters personality on the basis of outlook. Trained professionals is that particular category in which majority of the actors are. They are those actors who have the ability to fit into any character and play any role according to the directors will. The last kind of an actor is the star. The stars are the actors who are successful in the film industry and their talent is admired and appreciated by the audience and the critiques. They often grab the audiences attention through their acting as well as their physical appearance. In the history of cinema the first kind of motion pictures that came out were silent films that did not have many dialogues. In those times acting was much more challenging then it is today. The emotional display of character was done through the facial expressions and the movement of the actor. The actor had to work hard to make the audience cry or laugh merely through his actions and expressions. Slowly and gradually as the technology advanced, there was advancement in cinema as well. There was more dialogue added to the film and now it was a challenge to the actor to develop a style of acting which would help him convey his message through dialogue delivery alongside, with the expressions and body language. Now the actor did not only have to make sure that his facial expressions were good but; he had â€Å"to know what words to stress and how to stress them, how to phrase properly for different types of lines, when to pause and for how long, and how quickly or slowly a line or sp eech ought to be delivered.† (Giannetti, 2008) The talent bought out in an actor is basically the art every director has. The actor works the way his director wants him to. If the director is successful in explaining what he wants and the way he wants it, and the actor is a master in his profession, the film ends up being a hit. The director also brings out the acting in a scene through the kinds of camera shots he takes. If he wants his audience to closely relate to the actor he would take a medium or a close up shot of the actor. The audience feels the intensity in the emotion the actor displays. For instance if the director is capturing an emotional scene and wants his audience to feel the sorrow the character is going through, he would want to take a close up shot; where he might zoom in from a medium shot moving his camera towards the actors eyes and showing the drop of tear that falls from his eye. The way the camera zooms towards the actor that is the time when the dire ctor grabs the audiences attention and they feel the intensity of emotion that the director is trying to bring out and many a times the actor is so good and the directors shot is so perfect that the whole scene seems real and makes the audience cry as well. There are several different techniques that make a film successful and all of them are very closely related to each other. Acting is closely related to the technique of mise en sense and editing. Mise en scene is everything shown within the screen frame; such as, the entire background, the set, the objects and the actors in a particular scene. It is the technique where the director places everything in the screen frame of his shot. Mise en sense would be incomplete without acting and acting would be incomplete without the technique of mise en sense. The technique of acting can be brought out with a perfect frame the director would set up. If the frame is empty or in other words there isnt any frame then the actor alone would not be able to do well on his own. Acting and editing are also very closely connected. A director takes several shots of an actor and then in the end its the editing that puts it altogether. The connection of shots appropriately is all in the hands of the editor. If edited correctly the acting seems perfect, an editor may edit a single shot in several different ways and chooses one p articular shot that brings out the best acting that the actor has shown. Director Akira Kurosawas Rashomon was one of the foreign films which proved brilliance in the acting technique. The first impression that the viewer forms in this film is confusion because there are different stories going on at the same time or rather one story with the same characters being told by different people with different angles. The major star cast of the film includes; Toshiro Mifune (the bandit), Masayuki Mori (the husband) and Machiko Kyo (the wife).C:UsersAfifaDesktopR1.bmp The film revolves around a crime committed by Mifune; he raped the wife and murdered the husband. The main plot of the film is how this story is interpreted and told to the jury from different point of views and how each character gives a different outlook to the entire situation. The actors have done quite an amazing job with their acting, according to a review â€Å"Direction is excellent. Shot completely outdoors, the camerawork is flawless. Toshiro Mifune gives a sterling performance as the ver min-ridden bandit. Machiko Kyo supplies a role of dramatic intensity as the wife. Masayuki Mori lends an impassive, glowering presence to the part of the husband.† (Rashomon Review) The actors of the film are certainly talented actors. As said earlier that the film has one basic story which is told from different point of views through different characters. Whenever a character tells the story, it includes the main actors of the film; the bandit, the husband and the wife. However the role each one plays in the different stories told by the witnesses and the victims changes the personality of the character completely. Each individual tells a story in the way he or she wishes. We see the story through the way the director wants us to. It certainly is a very challenging task to bring out the actors talent, where the character changes time and again. There is one story in the film where the director wants his audience to feel sympathetic towards the wife. Kurosawa very smartly has been successful in changing the audience view. There is a scene in one of the stories where the wife is being attacked by the bandit and she denies to him and tries to save her life. In that scene we see Machiko Kyo extremely hurt and asking for help and pleads the bandit to release her husband and let go off them. In that scene the director successfully portrays that the wife is weak and in pain and makes the audience feel very sympathetic towards her. The same story when told by another eye witness proves the wife to be very smart and cunning. In that scene the wife is flirting around with the bandit and asking him to mar ry her and kill her husband. In that scene the viewers dont really like the wifes character and get a bad impression about her character. She proves to be a woman who is selfish; doesnt care whether her husband lives or dies as long as she survives and is in safe hands. C:UsersAfifaDesktopR2.bmp Two different stories being told in the same film by two different people but the story has the same characters with different characteristics. Each time the story has been told the characteristics of the actor changes, in one scene he is shown weak and in the other scene very sharp and cunning. Kurosawa has been successful in bringing out the acting skills of his actors in this film, in the scenes where he wants us to feel sympathetic, he has taken long shots, in which we see the wife being mistreated by the bandit and the husband tied up in the other corner. The frame covers all three characters in the story. However in places where he portrays the wife to be very cunning, he takes medium to medium close up shots and captures the sharpness in the facial expressions of the wife, and shows her flirting with the bandit and motivating him to kill her husband. In that scene the focus is on the bandit and the wife and lesser on the husband. Its the camera shots that the director takes an d the way he shoots the scene which brings out the acting skills of the actors in a perfect manner. There are several scenes in the film that are magnificent in their structure and in the setting as well, which as a result brings out the simplest scene acted in the most simplest manner to look extraordinary. The director wants the bandit to look as wild as possible, even when he is seducing the wife is one of the scenes and expressing his liking for her, there is a constant vicious look on his face. He is perfect in presenting the role of a wild bandit roaming around in the woods; just the sight of the bandit would scare its viewersC:UsersAfifaDesktopR3.bmp. Mifunes performance as the bandit was greatly admired by the film critiques; he was successful in bringing out the intense vulgarity in his acting that ideally represented evil. Mifunes acting style has been applauded by critiques from Japan itself and even the American Cinema (Smith). The American critiques drew a conclusion that his acting was so wild and closely related to an animal from the wild. Kurosawa was looking for the animal in that character and he even told Mifune to connect himself to the lion and show the ferociousness of a lion. No doubts the actor was a perfect choice and representation of the bandit. For the acting to have a stronger impact on the audience and make them feel the character the director takes his medium close ups quite often so that the anger and frustration is bought out through the actors eyes and facial expression. Kurosawas Rashomon is a foreign film liked by many critiques all over the world; for its acting techniques and camera techniques were over powering. Many reviews and critique state that the film was one of its kind and the actors had done a marvelous job since it was very challenging to show different characteristics at one time in the same film. References: Giannetti, L. (2008). Understanding Movies. New Jersey : Pearson Prentice Hall. Japanese Film Greats . (n.d.). Retrieved decemebr 11, 2009, from http://asian-films.suite101.com/article.cfm/japanese_film_greats_akira_kurosawas_rashomon kleph.com Rashomon . (n.d.). Retrieved december 11, 2009, from http://www.kleph.com/blog.php?b=1e=1175pg=Rashomon Rashomon Review. (n.d.). Retrieved december 11, 2009, from http://www.variety.com/review/VE1117794327.html?categoryid=31cs=1 Smith, G. M. (n.d.). Greg Smith, Greg M Smith: Critical Reception of Rashomon in the West. Retrieved decemeber 11, 2009, from http://www2.gsu.edu/~jougms/Rashomon.htm#Schemata

Organization’s Cost and Profitability and Performance Indicators Essay

The emergence of the internet and other information technology has been hailed by the business world as one of the drivers of growth and profitability. It revolutionized the relationships between businesses and their customers; between and among businesses; and between customers, too. Implementing e-business, however, is not easily implemented. Apart from the monetary costs, there are also integration and transition issues that an organization needs to face. Quan (2008) argues that in spite of the heavy investment in e-business activities and platforms, there is no conclusive proof that demonstrates significant returns from e-business. When profitability is measured, leaders demonstrated success. In terms of cost measurement, however, they did not. I agree with Quan that too many executives and IT practitioners have joined the bandwagon of e-business because of success stories of some internet businesses. It is easier to join the bandwagon and duplicate what other organizations have done than to take a look at one’s own situation and peculiarities to really determine, which approach would work. If this were followed, the impact of e-business would have been more salient. In my own experience, the integration of information technology and e-business framework has mixed results. It helped the way that the business connects with its customers and clients. In terms of customer relationship management and the way that the business manages its inventory and its communication needs. The investment on e-business is significant. The business has to employ additional individuals so as to manage the elements of e-business and spend on additional equipment and gadgets that could make the system work. The returns on this investment, however, cannot be felt right away. There are several areas of business operations rendered more efficiently such as reporting, accessing information, savings on materials such as paper that are no longer used extensively. In the short run, e-business platforms and elements tend to be more on the cost side of the business. For managers, this is a rather alarming situation. Profitability is of course the ultimate goal of any business. Yet, e-business tends to be unprofitable in the short run. Quan agrees with such an observation. To maximize the impact of e-business profitability, the timeline of the implementation should be clear and there should be clear guidelines as to the implementation of the project. In our case, we managed the expectations of stakeholders by informing them of the process that the organization will go through while e-business platform is being integrated into the system. Managers and organizations, in general, should be able to manage expectations as to the situation of e-business integration. Yet, management should not be afraid to take risks because of the benefits that e-business could bring to the organization as a whole. Several months might not be enough to see the results of e-business integration. Yet, if the organization will really follow through on its investment, the results will be seen in due time. The challenge, however, is planning and mapping out these results. With deft management and effective communication within and without the organization, e-business will succeed and become integrated into the operations of the business in the long run.

Personal space Essay

Most social situations North Americans require a comfort zone of six to eight square feet per person, and any violation of that buffer can trigger a reaction (Bowen). â€Å"People use avoidance responses,† says Robert Sommer, a psychologist at the University of California-Davis and author of the book Personal Space (qtd. in Bowen). But where does the standard of personal space come from? According to Sommer, â€Å"a comfort distance for conversation varies from culture to culture.† Because Mediterranean and Asian countries are more densely populated, their personal space zones are much closer to the body than those of North Americans and Northern Europeans (qtd. in Bowen). The westerns are certainly planning on keeping this standard in the future. In fact, the world’s population is increasing at an incredible rate. Even the country offers its citizens plenty of spaces everywhere; they have to learn to make compromises on their personal space not only to accept the inevitable reality but also for the benefit of this compromise. First of all, urban Americans should make compromises on personal space when they are using public transportations. The New York City subway system is a really great representative example of personal space; the total number of urban citizens is more than 18 million, thus making the subway system extremely crowded every day. But even during the rush hours, the passengers are still careful about their distance with the others. If one person has a minor physical contact with someone and doesn’t express the apology, the other person will raise their voice instantly and say â€Å"excuse me† and certainly feels offended. This is totally unnecessary, especially during the rush hours, because some people might be late for work or school already, and someone might be thinking about today’s schedule. The rest of them are doing things that indeed catch their attention. Under such circumstances, it’s highly possible for passengers to have minor physical contact with others out of negligence they don’t notice. On the other hand, there is Shanghai, the second largest city in China with more than 20 million residents and most of them use the subway for daily transportation. It’s even more crowded compared to the New York City subway. So close to each other with their shoulders and backs passengers may nudge 2 or 3 persons at the same time, and they have been totally adapted to this situation without any discomfort. The Tokyo subway  system passengers have even less personal space during the rush hours. The metro staff will push the passengers back so that more people will have the opportunity to get in the train in the morning. What are the passengers’ reactions? They don’t feel offended at all. They are actually grateful because all of them can get to work on time, and their personal sacrifice is helping many people. Their joint efforts make the subway system much more efficient and indeed prevent lots of unpleasant arguments. â€Å"When they’re moving, they tend to keep a distance of three or four steps so as not to violate each other’s personal space.† said Larry Gould, director of operations analysis at New York City Transit (qtd. in Gardy). But the sheer density of the population is giving the Chinese a very different sense of personal space (Toy, 2). â€Å"Personal spaces overlap,† said Stuart Strother, an economist who has lived in China and who wrote a travel guide, â€Å"Living Abroad in China†. â€Å"It’s not that you don’t have any personal space, but I may have to share your space,† he said. Perhaps as a consequence, Strother said, pointing at and touching people, even total strangers, is not considered rude (Toy). There’s also another interesting phenomenon. You will never see two strangers sitting together in the New York City subway if there’s empty space somewhere else. The definition for â€Å"empty† means nobody is sitting next to you, and there’s at least one seat separating you from your surroundings. Most of the time, even during the rush hours, passengers prefer to stand rather than take the single seat between two passengers. Based on Robert Sommer’s theory, â€Å"The violation of personal space increases tension levels enormously (qtd. in Bowen)†. In other words, urban Americans prefer to sacrifice many things in order to sustain their high standard of personal space. But with the expansion of population, Americans eventually have to make compromises on personal space. So why not prepare to adjust the situation ahead of time? There’re also many benefits if they’re willing to do so. The most direct benefit is to increase the capacity of the train; more passengers can get in the train if most of them are willing to have less personal space. On top of that, more empty seats will be occupied if they sit close to each other. The amounts of seats are designed for a reason; it’s common to see 3 people occupy 4 or more seats. They sit apart simply because they want to have more personal space. Nothing bad will happen if  Americans make compromises on personal space. Urban Americans don’t need to create those invisible walls to protect themselves. They probably waste a great opportunity to make new friends sitting away from each other in the subway. Society will be filled with harmony and peace if people are not so suspicious and stop creating those invisible walls subconsciously. Lots of Americans are having a hard time adjusting to Chinese culture during their visit in Chinese cities. Some locals may come to them in order to take photos with the foreigners. Other locals are probably looking at the foreigners out of curiosity. Those actions are really common in China but the Americans are quite sensitive to those actions and sometimes feel offended. Their invisible walls are necessary to isolate them but indeed increase the tension levels. Americans’ perceptions and standards of personal space are definitely hard to change, but if they do, it always comes with a greater good. The United States is currently the No.1 country in the world, which receives millions of immigrants every year. By receiving those immigrants, United States not only receives the knowledge but also accepts their different cultural standards. Urban Americans can neither apply all the American standards to new immigrants nor expect them to adopt the entire standards by themselves. Personal space is only the tip of the iceberg, but it’s fairly important to live in the big cultural melting pot of New York. Subway passengers are highly diversified, and there’re probably people from 50 different countries taking the same train at the same time. According to Shuhan Wang, the executive director for Chinese language initiatives at the Asia Society, there’s an old Chinese saying â€Å"you treat other people’s elderly as if they’re your own, and you treat other people’s children as if they’re your own∙∙∙ So in a way, everybody in society is extended family† (qtd. in Toy). This is a good concept that urban Americans should take a look at to make compromises. By lowering the standard of personal space, it will be easier for foreign immigrants to be part of the society, and lower standards are always easier to be adopted gradually. The standards of personal space can also be interpreted through sociological perspective. According to Robert Pepper, a sociology professor at New York Institute of Technology, conflict theory can be used to explain the standards of personal space because people are competing for scarce resources; every single passenger would like to  have some extra space in the subway especially during the rush hour. He used the term â€Å"ethnocentrism† to suggest that Americans to make compromises on personal space. He believes Americans should not place their own cultural group above the rest. The standards of personal space are definitely different based on the culture, and the Americans should respect all customs and religions. â€Å"Chinese society emphasizes a collective mentality over an individualistic one.† said Stuart Strother (qtd. in Toy). But the American culture is exactly the opposite, thus making it even harder for urban Americans to accept. Having the idea of individualism, Americans are rewarded for behaving independently, making their own plans, and working toward achieving their personal goals. Under such circumstance, individuals are hired and promoted largely based on individual achievement and qualifications (â€Å"Culture†). And the Americans expand this idea of individualism into all areas; they want to be unique, to be easily distinguished from the crowd, and a high standard of personal space is definitely necessary. Chinese people are different, they emphasize the idea of the group, and everyone in the group shares things equally, so no one is necessarily better than the rest. People will stay together to achieve the group goal. No one wants to be unique because if you are unique that means you are isolated. The overall impact from high population density and idea of big groups are helping the Chinese adjust the lower standard of personal space in the long run. If Americans could learn some of the concepts, it will be much easier for them to make personal sacrifices in exchange for the greater good of the society. But some people may argue that lack of personal space can indicate people’s lack of manners and this is not right. In Lee, Patrick P’s article â€Å"Rush Hour,† he introduced his own life experience in Hong Kong which at the time was still a British colony. Hong Kong adopted the language, social order, peoples’ perceptions of things and especially manners. They are taught with the British gentlemen’s style, but on the other hand, there’s no need to say â€Å"excuse me† in the subway, or any doorway. The locals aren’t being rude when they invade your personal space. They simply need to go everywhere, nowhere, fast. In tiny and overcrowded Hong Kong, the concept of â€Å"personal space† is a luxury which one can’t afford and probably doesn’t exist (Lee, 2). This kind of situation will eventually happen in big US cities. If they’re making the compromise now, it  can be beneficial in the long run. The United States doesn’t have mandatory birth control which will inevitably make the population expansion even faster, and as a result the personal space will shrink. So to be prepared ahead of time is always a good thing. The younger generation will have different mind sets in the future in order to adjust the situation. Driven by individualism, urban Americans are treating their personal space as one of their birth rights. It’s complicated even verbally to ask them to make compromises on their personal space. But the whole world population just passed 7 billion 1 month ago; this inevitable reality should give urban Americans a wakeup call. If they choose to live in the big cities, they’re going to have to face the overcrowded society. They’re going to feel disappointed because their old standards cannot apply anymore. So, make the changes of mind from now and it will eventually give them greater benefits. They can have a good mood to start the new day with the crowded subway, if they’re willing to make minor sacrifice on personal space. They’re still very gentle persons even they sit next to someone because the society accept the different mind and adapt to the situation of fast expanded population and less personal space. Foreigners won’t feel the indivisible walls anymore because urban Americans don’t need them anymore. The whole society could be filled with harmony and urban Americans could be living more like a big family.

On Wordsworth and Emerson¡¯S Conceptions of Nature

Abstract: By comparing and analyzing their two poems, I will try to define Wordsworth and Emerson ¡Ã‚ ¯s respective conception of nature. The reason why they formed such conceptions of nature is, to the former, lies in his passiveness; and to the latter, in German philosophy and bold individualism. Key Words: conception of nature £Ã‚ »NATURE £Ã‚ »philosophical conception of nature £Ã‚ »common conception of nature £Ã‚ »passiveness £Ã‚ »individualism Outline I. Introduction II. Wordsworth ¡Ã‚ ¯s conception of nature III. Emerson ¡Ã‚ ¯s double conceptions of nature IV. Conclusion  ¢Ãƒ ±. Introduction In the 19th century, romanticism prevailed as the literary mainstream throughout the European continent. William Wordsworth (1770-1850) was one of the pioneers in the†¦show more content†¦In the eighteenth century poems were supposed to serve the upper class, and the theme usually had something to do with the upper-class life. In contrast, romanticism gave much attention to the nature. As a great poet of nature, he was the first to find words for the most elementary sensations of man face to face with natural phenomena. These sensations are universal and old, but once expressed in his poetry, become charmingly beautiful and new. His deep love for nature runs through such short lyrics as  ¡Ã‚ °I Wandered Lonely as a Cloud ¡Ã‚ ±: I wandered lonely as a cloud That floats on high o ¡Ã‚ ¯er vales and hills, When all at once I saw a crowd, A host, of golden daffodils; Beside the lake, beneath the thess, Fluttering and dancing in the breeze. Continuous as the stars that shine And twinkle on the milky way, They stretched in never-ending line Along the margin of a bay: Ten thousand saw I at a glance, Tossing their heads in sprightly dance. In the first two stanzas the narrator, one version of the poet, tells us that one day when wandering through a landscape, he was struck by the sight of a field of daffodils. The first line  ¡Ã‚ °I wondered lonely as a cloud ¡Ã‚ ± immediately establishes the speaker ¡Ã‚ ¯s loneliness. And in sharp contrast with the poet ¡Ã‚ ¯s loneliness, the daffodils are happy and bristling with life: they are  ¡Ã‚ °dancing ¡Ã‚ ±, and  ¡Ã‚ °tossing ¡Ã‚ ± their heads. In addition, the daffodils are in large numbers. Their vast number is emphasized in the second stanzaShow MoreRelatedThe Development of Individualism and Romanticism2451 Words   |  10 PagesArtist became preoccupied with articulating the personal experiences they become, in turn, a representative one. The artists takes on a quasi-religious status not only as a prophet and moral leader, but also as a divinely inspired vehicle through which nature and the common man find their voices. The idea of man’s natural goodness and the stress on emotion also contributed to the development of Romantic individualism; they believed that what is special in a man is to be valued over what is representative

Park Sociology - 1244 Words

â€Å"What Brings Children to the Park† is a study conducted by Loukaitou-Sideris and Sideris. The study looks at how park visitation patterns differ between boys and girls of different races and ethnicities. The study also included an observation of children at 50 inner-city and 50 suburban parks as well as a survey of children and their parents in 12 middle schools (Loukaitou-Sideris and Sideris, 2010). Loukaitou-Sideris and Sideris’ study uses causal language to describe their findings, this makes the study unreliable as it is a correlational study and correlation is not causation. The sample used in this study was misrepresentative of the population, leading to another factor causing bias in the study. The ideal study would include a†¦show more content†¦Loukaitou-Sideris and Sideris also excluded the same two parks as mentioned above from the boys model as the tournaments were boys only tournaments and would have no effect on the girls model.Three inner-ci ty parks and one valley park were also excluded as outliers, however, Loukaitou-Sideris and Sideris did not give a reason as to why these parks were excluded. One may be curious as to why the researchers did not give a reason as to why these parks were excluded as they were previously. Because the children at the 50 inner city parks and 50 suburban parks were simply observed not questioned, there is potential for many confounding variables. For example, because the children were observed and not surveyed, they may have been counted more than once, leading to false information. There was no way the researchers could have known the child’s race/ethnicity or their exact age; this could be an issue with older children in the 15-18 age bracket as without talking to someone it is difficult to tell how they are as some people look much older or younger than they actuallyShow MoreRelatedPark Sociology1218 Words   |  5 Pageschildren to the park† is a study conducted by Loukaitou-Sideris and Sideris â€Å"aimed to understand how park visitation patterns differ between boys and girls, among children of different races and ethnicities, and between inner-city and suburban children. The study surveyed children and their parents in 12 middle schools and analyzed the results. The study also included an observation of children at 50 inner-city and 50 suburban parks and used multiple regression models containing park and neighborhoodRead MoreVideo Analysis on the Long Walk Home749 Words   |  3 PagesSociology Midterm - Video Analysis 1. 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Mental Health Issues Of Mental Illness Essay - 1756 Words

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Conflicting perspectives free essay sample

Before initial reading: The comments to the right are my thoughts and questions on phrases I have placed in the essay and how appropriate they would be. Analyse the ways conflicting perspectives generate diverse and provocative insights. All texts composed convey an agenda which is based on the composer’s context. William Shakespeare’s Julius Caesar, Jason Reitman’s satirical film Thank You For Smoking (2005) and George Orwell’s Animal Farm (1945) all use conflicting perspectives to convey their agenda by generating diverse and provocative insights. Conflicting perspectives are generated through the use and potential abuse of power, manipulation and the contrast between public and private personas and thus the responder is positioned to accept the perspective the composer has deemed to be valid. The use and abuse of power, the use of manipulation to gain power and the contrast between public and private personas are explored through the portrayal of conflicting perspectives. It can be seen that the responder is positioned to †¦.. the point you’re trying to make is that the use of conflicting perspectives allows for some ambiguity in the portrayal of these themes but you might then say that ‘ultimately we are positioned to accept that†¦Ã¢â‚¬â„¢ and then you could specify exactly what. Shakespeare’s play Julius Caesar demonstrates conflicting perspectives on the nature of power. Shakespeare utilised this play as a commentary on the political situation of the time regarding the monarch of Elizabeth I. Elizabeth had gradually increased her power at the expense of the aristocracy and House of Commons, giving rise to political disputes. Likewise, Caesar has been granted dictatorial powers in the Roman Republic but he is not presented to have misused his power. Instead, Caesar’s hubris is more prevalent this which is seen to be the catalyst for the potential misuse of power. Brutus is aware of this and his idealism for a Roman Republic leads him to join the conspirators, shown in his soliloquy in Act Two Scene One. Brutus uses extended metaphors of a ladder and serpents in order to question Caesar’s ambition in conjunction with power. Brutus states  that ‘young ambition’s ladder [cause him to] look into the clouds, [leading him to] scorn the base degrees by which he did ascend’. Brutus also considers Caesar ‘a serpent’s egg, which would grow mischievous, and kill him in the shell’. The imagery of killing before birth reveals that Brutus is willing to remove Caesar before any tyrannical tendencies take place, suggesting that the assassination was unjust. Brutus would later attempt to justify the assassination that ‘because [Caesar] was ambitious, I slew him’. The conditional language and use of logos in demonstrating a clear cause and effect convinces the audience at Caesar’s funeral oration that the assassination was just, based on the declarative mood in their reaction that ‘Caesar was a tyrant’. However an alternative perspective is displayed through Antony. Even with Caesar’s dictatorial powers he has not seen any way in which he has abused his position, forming the basis of his defence of Caesar in his funeral oration. He uses conditional language by questioning ‘if Caesar was ambitious’ and he uses logos in presenting Caesar’s lack of ambition. Antony draws on examples such as ‘he thrice refused [the crown]’ and when coupled with the rhetorical question ‘did this in Caesar seem ambitious?’ he questions the view of the responders by providing a logical response to Brutus’ ill-based accusations. Antony is able to demonstrate Caesar’s lack of ambition and hence Caesar’s just use of power for the good of Rome. As a result Shakespeare presents two conflicting perspectives on power which generates diverse and provocative insights into his context. George Orwell’s Animal Farm also evokes similar ideas but its context as an allegory for the Stalinist rule of Soviet Russia must also be considered. George Orwell explores the notion of the corrupting nature of power in his allegorical novel (or political satire) ‘Animal Farm’. The allegory is a criticism of Soviet Communism tracks the rise of Napoleon, representing Stalin after the overthrow of Mr Jones, representing the last Tsar of Russia, Nicholas II. and how his power is seen to slowly corrupt prompting in its abuse. At the beginning of the allegory/fable the animals are seen to be harbouring discontent against their autocratic ruler of Mr Jones through their plotting to overthrow humans out of their farm. Major states with a declarative mood that they should ‘remove Man from the scene, and the root cause of hunger and overwork is abolished forever’. This connotes that Mr  Jones has abused his powers in allowing the poor conditions for his working animals. After the animals have revolted against Mr Jones the original commandments of Animalism are created, calling for the equal distribution of power as ‘all animals are equal’. However Napoleon’s use of intimidation through brute force upsets the equality and with the exile of Snowball Napoleon is left in a position of absolute power. Napoleon’s guard dogs are used as a motif to symbolise his power as even after his initial deployment of his dogs against Snowball ‘the dogs growled so threateningly that they accepted his explanation without any further questions’. Napoleon’s power is also seen to corrupt him and he is ironically presented as to be simply a replacement for Mr Jones. Through reverting the name of the farm back to ‘Manor Farm’ Orwell perceives that the situation the animals are in do not differ from the reality of life under Mr Jones. Napoleon’s ‘transformation’ into a man is seen to represent this as the animals ‘look from pig to man, from man to pig, and from pig to man again, but already it was impossible to determine which was which’. The repetition and inversion of the order of ‘pig’ and ‘man’ highlight the confusion the animals have over their present reality. This illustrates the corruption of power in Napoleon and with this Orwell is suggesting that life under Stalin was no different than from Russia’s previous autocratic ruler of Tsar Nicholas II. Consequently Orwell’s use of conflicting perspectives over the issue of power in an allegory is able to provide a commentary of Orwell’s perspective of the nature of Stalinist Russia. Good – you clearly analyse and show the changed perspective of Napoleon but revise and consider how to clearly identify the conflicting perspectives. Julius Caesar demonstrates how a conflict between public and private personas can result in conflicting perspectives of characters. Act One Scene One introduces the idea of conflicting perspectives within personas with the Senators Flavius and Murellius and their perception of the commoners. The Senators clearly see the commoners as inferior with their descriptions as of them as ‘vulgar’ and ‘the basest metal’. This juxtaposes the positive diction used by them to describe the commoners as ‘good countrymen’ when they are in the public sphere, suggesting that the patronising tone used had the sole purpose of gaining support from the commoners. However Antony is  the character that conceals the deepest division between public and private personas, demonstrating his Machiavellian nature. His public persona is presented toas supportive of the assassination by being supportive of the conspirators as he states that ‘it would become me better than to close in terms of friendship with thine enemies’. Give a bit more info of context. Who does he say this to? However his antithesis is indicated through his ‘hope that you shall give me reasons why and wherein Caesar was dangerous’. How? This is implied to be a signal of support from Antony towards the conspiratorshow? but it hid his inner motives of his desire offor conflict against the conspirators. His private persona is presented to be heavily opposed to the assassination and he calls for ‘havoc’ and ‘let slip the dogs of war’, with the violent imagery clearly stating his intention and perspective of the assassination. Mention that this is in a soliloquy before the oration and what we learn. His private persona is reflected in his funeral orations where he repeatedly implies his disagreement with the assassination but never explicitly stating his stance. Initially he states that he ‘comes to bury Caesar, not to praise him’, but this is juxtaposed with his questioning tone and use of rhetorical questions that serve the purpose of suggesting the lack of justice in the assassination. Eg? His private persona comes into full view by the conclusion of his oration where through pathos he calls the ‘stones of Rome to rise up and mutiny’. Link to the dogs of war comments.This perspective of encouraging mutiny is therefore in direct contrast with his interactions with the other conspirators. Explain where. As a result conflicting perspectives are shown also within the characters in order to generate diverse and provocative insights. Similarly, Jason Reitman’s satirical film Thank You For Smoking also projects similar ideas regarding public and private personas. The film is a satire onof the perception of cigarettes and tobacco but not to the extent in which it is condoned, due to the fact that no character in the film is seen smoking. Conflicts in private and personal personas are seen through the protagonist of Nick Naylor with his public support of cigarettes and questioning of its associated health issues, juxtaposed with his private persona where he openly admits to smoking-related health issues. This issue is displayed through Naylor’s criteria for winning an argument, that ‘I  proved that you’re wrong. And if you’re wrong, I’m right’extend this quote with film techniques used at this point. His public persona has a distinct lack of integrity as he provides false promises on the nature of his employer, the Academy of Tobacco Studies. This is shown at the beg inning of the film where on a talk show he promises ‘50 million dollars to encourage kids not to smoke’. This is done despite it being completely contradictory to the perspectives of his employer who asks him ’50 million dollars? Are you out of your mind?’ The anger of his boss on promising the sum of money is seen through the closeup of his face as well as his questioning tone. However Naylor’s private persona admits to the health issues associated with smoking. In a meeting with the MOD group (Merchants of Death, constituting people from America’s firearms, alcohol and tobacco industries) in the film they discuss deaths directly attributed to their industry in order to gauge America’s most hated industry. Naylor boasts that ‘my product puts away 475 000 a year’ and he gloats that the level of alcohol related deaths is miniscule in context ‘100 000 in a year? Wowee a tragedy. Excuse me if I don’t exactly see terrorists getting excited kidnapping anyone from the alcohol industry’. The unconcerned facial expression coupled with the mid-close up shots of Naylor displaying no emotion and the comparison of deaths to terrorism demonstrates the complete disregard of human life. You need to comment on the use of satire as a way to highlight the conflict between what is said on screen and the purpose of the film maker. This is exemplified by the fast transition of shots in the conversation indicating the competitiveness of the argument. This scene is a satire ïÆ' ¼on the perceived lack of moral concern demonstrated by tobacco industry through its use of absurdist behaviour, mainly instigated by Naylor. Therefore Naylor’s contradiction between his public and private personas is also another medium used by Reitman in order to convey conflicting perspectives on his satire of the tobacco industry. Manipulation is one central concern in Julius Caesar which generates conflicting perspectives. Cassius is able to manipulate Brutus into firstly believing the idealism of his cause and thus joining the conspirators and enacting Caesar’s death. Brutus is presented to be an idealistic character as he ‘loves the name of honour more than I fear death’. The antithetical  language of ‘honour’ and ‘death’ demonstrates that he has cast himself as the honourable idealist, and when coupled with Brutus’ fear that Rome ‘chooses Caesar as their king’ Cassius is free to manipulate him into joining the conspirators. He uses hyperbole to exaggerate Caesar’s status and he juxtaposes images of him being both a ‘Colossus’ and a ‘sick girl’ in order to prove his weakness to Brutus. Cassius also appeals to his idealistic nature. His monologue contains the epistrophy epistrophe ‘one man’ that reveals Caesar’s true power, that only ‘one man is Rome’. This position is different to the democratic Roman Republic that Brutus represents and admires and he is slowly manipulated to join the conspirators. Manipulation is also seen to demonstrate the power of language, seen through the differing funeral orations of Brutus and Antony. Initially the commoners are irate onabout Caesar’s assassination and the declarative mood presented through ‘we will be satisfied’ highlights their anger but it also serves as a point of juxtaposition. Brutus’ use of logos convinces the crowd that he ‘loved Rome more’ than Caesar through posing rhetorical statements that question the loyalty of the commoners and Caesar’s supposedly true nature. Immediately following his oration the commoners immediately affirm that ‘Caesar was a tyrant’, with this declarative statement juxtaposing heavily with the sentiment displayed in the first line of the scene. However the crowd are manipulated again by Antony to subscribe to his point of view. He adopts a questioning tone throughout his oration in inquiring onabout the validity of Brutus’ statements in order to not directly oppose Brutus but let his audience question their own perspectives. He repeats the phrase ‘Brutus says he was ambitious, and Brutus is an honourable man’ but the repetition of the phrase combined with the logos in his argument in proving Caesar’s lack of ambition therefore hint at the invalidity of Brutus’ argument. Further on in his oration Antony also uses metaphor to describe Brutus, that he was ‘Caesar’s angel’. This image is contrasted with the assassination, the ‘most unkindest cut of all’ and this contributes to the sentiment of betrayal with Brutus that assists in manipulating the audience. By the conclusion of the speech the commoners are united with one common purpose, shown in the stage direction in that all the commoners state ‘We’ll mutiny [against Brutus]. Anto ny’s rapid manipulation of the crowd demonstrates the power of language  and how it can be used to shape perspective. The manipulation of the animals in Animal Farm also conveys similar sentiment. Orwell utilises a cyclical structure of the allegory in order to demonstrate the power of manipulation instigated mainly by the antagonist of Napoleon and his spokesperson of Squealer. Orwell’s use of the text as an allegory of Soviet Russia creates a chilling context for the reader due to the fact that manipulation was repeated in Stalin’s rule of Russia, leading to the subjugation of the citizens of the Soviet Union. The pigs of Napoleon and Snowball quickly establish themselves as the superior class in the new ‘classless’ society of Animalism. Their superior intellect immediately allows them to create a simplified maxim for Animalism, which was to be ‘four legs good, two legs bad’. The sheep, representing the uneducated class, immediately begin to circulate this simplified form of Animalism and their attitude is reflected in the sheep ‘bleating this onfor ho urs on end’. The onomatopoeia exemplifies the repetitive nature and submissiveness in accepting this maxim and thus of the commands set by Napoleon throughout the allegory. Motif as well? The commandments of Animalism is used as a vehicle to demonstrate the manipulation of the animals. The commandments are changed repeatedly throughout the allegory to manipulate the common animals and their ‘poor memory’ as well as their naivety contributes to their ultimate acceptance of the new norm. The first notion of this manipulation is done when the pigs move and reside in the farmhouse. The new commandment reads ‘no animal shall sleep in a bed with sheets’, with the ‘sheets’ clause added. The character of Clover demonstrates the naivety of the animals in general as she ‘had not remembered if it mentioned sheets, but as it was there on the wall, it must have done so’. The high modality of ‘it must have done so’ contrasts her failure to rememb er the commandment. Squealer’s immediate entry in justifying the change in the commandment is another example of manipulation as he uses his intellectual superiority and logos in order to influence his listeners. He states that a bed ‘is simply a place to sleep in’ and not a physical construct and his argument juxtaposes the affirmation at the establishment of Animalism that the commandments were ‘unalterable laws’. The death of the character of Boxer also reveals the extent of Napoleon’s manipulation. Boxer is a follower of Napoleon throughthe adoption of the motto ‘Napoleon is always right’ which, when combined with his hardworking nature, should warrant great care and respect from the pigs. However when Boxer falls ill he is taken to the ‘horse slaughterer’ to be killed in exchange for money. This reality, witnessed by the animals, contrasts the explanation of Squealer in that ‘the van had previously been the property of the knacker, and had been bought by the veterinary surgeon’. By the conclusion of the allegory Napoleon’s power has become increased to such an extent that even the commandments of Animalism are shown to reflect the changes in that ‘all animals are equal, but some animals are more equal than others’. The paradoxical nature of this statement juxtaposes the original idealistic thinking based behind the creation of Animalism and demonstrates the extent of the manipulation of the animals. The animals are not aware that they are living in conditions very similar to life under Jones which forms the basis of Orwell’s cyclical structure of the allegory. The bending of the truth by the pigs as well as the willingness of the animals to accept this reality highlights the vast extent and impact of manipulation. Thus manipulation is another medium in which conflicting perspectives can be revealed. Composers of texts use conflicting perspectives in order to generate diverse and provocative insights into their context. These perspectives are shown to favour one side and they can provide an insight into the opinion of the composer on issues affecting their context. This is seen in Julius Caesar, Thank You For Smoking and Animal Farm where the composers, through their portrayal of power, public and private personas and manipulation that form the basis of conflicting perspectives. This is excellent overall. However, there are things you can do to improve. The analysis of AF is almost longer than Caesar. You must mention the end of Caesar in your analysis. There doesn’t seem to be at least one quote from Acts 4 or 5. Find a couple and use them. In the first body paragraph on power, use quotes for Antony from elsewhere in the play, not just the oration. Eg comment on the deification of Caesar at the start and how stage directions are used by Shakespeare to contrast the views of the commoners/Antony/ and Cassius/Brutus and others. Give an example of where we  see Caesar’s hubris ‘northern star’†¦ and contrast that with his humility elsewhere. Shakespeare is always offering contrasting views and creating ambiguity. However, comment also on how we are finally positioned at the end of the play. If discussing Brutus’s hubris, mention the tragic structure. Contrast the way this character is presented at the beginning, middle and then the end when we see the consequences of both his idealism and hubris when he fights with Cassius and dies and then the final comments by Antony. When writing about Antony, consider the way he is presented as loyal, then angry and vengeful about the murder of Caesar, then pitiful, then scheming and manipulative. Take quotes from a range of places throughout the whole play to give the reader a better understanding of the narrative arc of this character. The final paragraph on AF could be edited. It is very long and veers away from the idea of conflicting perspectives in the middle and becomes an analysis of the novel. Throughout the discussion, you could make links between it and Caesar to remind the reader of your point. Email if you have questions.