Answer the quastions Assignment Example | Topics and Well Written Essays - 500 words

Answer the quastions - Assignment Example The reason for the lack of this universal answer is because situations, organizations, and people vary and change with time. In this view, everything in management is unique in its own way. Principles are not universal and one learns about management by experiencing challenges in the process. Therefore, the right thing to do entirely depends on the complex varieties of critical internal and environmental contingencies. Environmental uncertainty and change, size of the company, and work technology are identified as the environmental factors that impact on the effectiveness of various forms of organizations. According to the contingency perspective, all stable environments will suggest mechanistic structures that tend to emphasize on formalization, centralization, specialization, and standardization to achieve efficiency and consistency. Predictability and certainty allow for the use of rules, policies, and procedures to offer guidance while making decisions for routine duties and problems. For unstable environments, they use organic structures that emphasize on decentralization for them to achieve adaptability and flexibility. Unpredictability and uncertainty need general methods of solving non-routine tasks and problems. Management practices and perspectives change in response to social, political, end economic forces in the larger society. During such difficult times, managers look for ideas that can help them cope with environmental turbulence and keep their organizations vital. Management tool surveys have revealed an increase in the variety of management ideas and techniques used by managers. Challenges facing organizations such as the rocky stock market and a tough economy , environmental and organizational crises, lingering anxieties over terrorism and war, and the public suspicion resulting from corporate scandals, have left the executives looking for new management tools. They are looking for

The Fog of War Documentary Research Paper Example | Topics and Well Written Essays - 2250 words

The Fog of War Documentary - Research Paper Example As the discussion stresses  McNamara served as the president of World Bank between 1968 and 1981.The Public policy system analysis which later developed into the recent discipline referred to as policy analysis was instituted by McNamara. After the Second World War, he contributed into reestablishment of the Ford Motor Company while serving as its president before becoming Defense Secretary. He became the company’s director in 1957 and its president in 1960.He was then requested by President John F. Kennedy to abandon his position in the company and serve as the Defense Secretary of the United States. He also served as a member of the board of directors in various corporations as well as non-profit making organizations. He has written documents on several issues and topics like world hunger, nuclear arms, relationships between east and west, the environment, population and development.This essay declares that  the film provides an analysis of McNamara’s controversia l issues in the course of Vietnam War, his contributions during World War II, his upbringing and educational background at Berkeley and Harvard and finally, his service as the president of World Bank for a period of thirteen years. The subtitle of the film is â€Å"Eleven Lessons from the Life of Robert S. McNamara†.  At the age of 85, Morris interviewed McNamara; the film was produced based upon that interview. In addition, the film contains television and new reports of 1960’s and cabinet photos during the reign of President Kennedy.... ysis of McNamara’s controversial issues in the course of Vietnam War, his contributions during World War II, his upbringing and educational background at Berkeley and Harvard and finally, his service as the president of World Bank for a period of thirteen years. The subtitle of the film is â€Å"Eleven Lessons from the Life of Robert S. McNamara†. During his study, he did statistical analysis with the aim of improving bombing strategies during World War II. At the age of 85, Morris interviewed McNamara; the film was produced based upon that interview. In addition, the film contains television and new reports of 1960’s and cabinet photos during the reign of President Kennedy. Information was recorded during Vietnam War, Cuban Missile Crisis, bombings of World War II, and air attacks against Vietnam to help in understanding what was going on during those periods. Some of the major contributions of McNamara are seen in the Vietnam War which caused deaths of over fif ty eight thousand Americans and 3.4 million Vietnam Citizens. Vietnam War was a conflict between the Northern part of the country under the support of communist countries against the southern part that was supported by the United States and other countries that were against the communist policy. The reasons for the United States’ engaging in the war was to prevent communism from further spreading while Vietnam government wanted to unify the country under a communist government (Morris 38). During World War II, McNamara acted as the commander under General Arch-hawk. He was among the group that came up with the decisions and bombed 67 cities in Japan during which large numbers of civilians were killed. For instance, in the city of Tokyo alone, more than one hundred thousand civilians died after the bombing

Trends Impact project Research Paper Example | Topics and Well Written Essays - 2250 words

Trends Impact project - Research Paper Example UK office of Fair Trading and the Israel Antitrust Authority are also took interest on investigation because they also belief the same. Facebook was also planning to buy Waze at a price of $ 1biilion which would have made them more popular than Google. Waze was founded in 2007; it makes mobile applications which helps finding routes and direction. It got 47 million users in among 193 countries. The CEO of Waze said before the acquisition that Waze is the only real competitor of Google in mobile market. (Musil 1) Trend 2: Major News Source 1: â€Å"Now, Google Maps will notify drivers about more traffic jams as well. Google announced Tuesday  that its mobile maps will now include real-time updates about accidents, construction and other potential sources of traffic snarls. The information will come from the 50 million users of Waze, the social-mapping app that Google bought in June for $1.1 billion. Google Maps already had some real-time traffic data from third-party providers and by pinpointing Android users' GPS signals to estimate congestion on highways. But now that data will be bolstered by reports from actual drivers on the roads. Israeli startup Waze has built a vast network of motorists who crowd source such data as commuter routes and road closures to help each other outsmart traffic jams in more than a dozen countries. Frequent users can even earn badges and real-world prizes. Waze won an award for Best Overall Mobile App award at the 2013 Mobile World Congress. Apple and Face book were reportedly interested in buying the company  before Google snapped it up. Starting Tuesday, Waze users' reports on road conditions will appear on the Google Maps app for Android and iOS in the United States as well as Argentina, Brazil, Chile, Colombia, Ecuador, France, Germany, Mexico, Panama, Peru, Switzerland and the UK. Users of Waze apps will now benefit from Google services  as well. The Android and iOS versions of Waze have been updated with Google Search to help users find local businesses and landmarks. And Waze's crowd sourced Map Editor now includes Google Street View and satellite imagery.† (http://edition.cnn.com/2013/08/20/tech/mobile/google-waze-mobile-maps/) Major News Source 2: â€Å"Google’s motto is â€Å"don’t be evil.† But its recent acquisition of Waze, reportedly for $1 billion in cash, shows that just because you’re not evil, it doesn’t mean you can’t be aggressive in pushing the boundaries of the law,  Steven M. Davidoff writes  in a Deal Professor Column in The New York Times. The question now is whether the United States government will push back and force Google to give back its new toy. Waze is yet another one of those blockbuster deals for a technology company with little or no revenue that makes you jealous. Five-year-old Waze has just 110 employees, so Google appears to be paying almost $10 million per employee. As for profits, Waze’s chief executive , Noam Bardin, has said, â€Å"This is Silicon Valley. We don’t talk about those things here.† Right. Google is paying top dollar for Waze because it is at the intersection of two hot fields: map search and social media. Users download Waze’s app to their phone and then supply information about locations, routes and traffic, making the maps more intelligent. And Waze has the usual phenomenal growth in users, with 50 million worldwide. This is a field where there is believed to be oodles of money to be made in related advertising.†

The Fog of War Documentary Research Paper Example | Topics and Well Written Essays - 2250 words

The Fog of War Documentary - Research Paper Example As the discussion stresses  McNamara served as the president of World Bank between 1968 and 1981.The Public policy system analysis which later developed into the recent discipline referred to as policy analysis was instituted by McNamara. After the Second World War, he contributed into reestablishment of the Ford Motor Company while serving as its president before becoming Defense Secretary. He became the company’s director in 1957 and its president in 1960.He was then requested by President John F. Kennedy to abandon his position in the company and serve as the Defense Secretary of the United States. He also served as a member of the board of directors in various corporations as well as non-profit making organizations. He has written documents on several issues and topics like world hunger, nuclear arms, relationships between east and west, the environment, population and development.This essay declares that  the film provides an analysis of McNamara’s controversia l issues in the course of Vietnam War, his contributions during World War II, his upbringing and educational background at Berkeley and Harvard and finally, his service as the president of World Bank for a period of thirteen years. The subtitle of the film is â€Å"Eleven Lessons from the Life of Robert S. McNamara†.  At the age of 85, Morris interviewed McNamara; the film was produced based upon that interview. In addition, the film contains television and new reports of 1960’s and cabinet photos during the reign of President Kennedy.... ysis of McNamara’s controversial issues in the course of Vietnam War, his contributions during World War II, his upbringing and educational background at Berkeley and Harvard and finally, his service as the president of World Bank for a period of thirteen years. The subtitle of the film is â€Å"Eleven Lessons from the Life of Robert S. McNamara†. During his study, he did statistical analysis with the aim of improving bombing strategies during World War II. At the age of 85, Morris interviewed McNamara; the film was produced based upon that interview. In addition, the film contains television and new reports of 1960’s and cabinet photos during the reign of President Kennedy. Information was recorded during Vietnam War, Cuban Missile Crisis, bombings of World War II, and air attacks against Vietnam to help in understanding what was going on during those periods. Some of the major contributions of McNamara are seen in the Vietnam War which caused deaths of over fif ty eight thousand Americans and 3.4 million Vietnam Citizens. Vietnam War was a conflict between the Northern part of the country under the support of communist countries against the southern part that was supported by the United States and other countries that were against the communist policy. The reasons for the United States’ engaging in the war was to prevent communism from further spreading while Vietnam government wanted to unify the country under a communist government (Morris 38). During World War II, McNamara acted as the commander under General Arch-hawk. He was among the group that came up with the decisions and bombed 67 cities in Japan during which large numbers of civilians were killed. For instance, in the city of Tokyo alone, more than one hundred thousand civilians died after the bombing

Executive summary Essay Example for Free

Executive summary Essay Donald, you provided a thorough discussion of what an executive summary really is. Your method of presentation of examples that are equivalent to an executive summary such as a business report or a one-verse summary from the Bible serves as a superb way for the reader to totally appreciate what you are talking about (Marydee, 2004). You also provide the technical features of an executive summary, such as the general length and the scope of such documents (Penrose et al. , 2004). However, I would also want to comment on the tone of your discussion. In your fourth and sixth paragraphs, I noticed that there were a couple of sentences that project a negative attitude among the readers of executive summaries. You mentioned in the fourth paragraph that â€Å"†¦executive summaries are designed for audiences that lack time or motivation to read the full report (Bovee et al. , 2003). † I suggest that you modify this sentence because this connotation of this phrase is not very pleasant for the reader. In the sixth paragraph, you stated, â€Å"†¦most executives habitually make quick decisions, well written executive summaries are arguably the most important information in the business report. † This phrase of yours provides an impression that executives either are not interested in reading the full report, making these individuals not as energetic as they are perceived, or that executives are very gullible because their major decisions are all based on the executive summary. The problem here with your description is that if there is a substandard executive summary that has been generated by a fresh writer, any decisions that will be made by the executive will be significantly influenced by the work produced by this immature writer. I suggest that you incorporate my comments and suggestions so that you will have an improved version of your discussion.

From Cinematic Space To Mental Space

From Cinematic Space To Mental Space Space is an the unlimited three dimensional expanse in which all objects exist or it is the interval of distance and time between two points, objects or events.  [1]   The concept of the term space evolved with time. Initially this term strictly had a geometrical meaning evoking the idea of an empty space which is Euclidean, isotropic, or infinite, basically a mathematical concept.  [2]   Physical space is often conceived in three linear dimensions, although modern physicist usually consider it with time to be a part of the boundless four dimensional continuum known as Space-time.  [3]   According to the Wikipedia information, the concept of space has been discussed throughout history. Plato has discussed about this concept of space in one of his treatise Timaeus, where he reflects on what the Greek called: Chora/ Khora (that is space). Aristotle has dealt with space in Book IV, Delta, in the definition of topos which means place. In a discourse on place (Qawl fi al makan) by the eleventh century Arab Polymath Ibn al _Heythum (Alhazan) discusses geometrical conceptions of place as space qua extension. Aristotelian tradition had held that space and time were those categories which facilitated the naming and the classing of the evidence of the senses. On the other hand, the thinker, Descartes was taken to be important in shaping the concept of space and the key to its matured form. According to most historians of the Western thoughts, he has brought an end to the Aristotelian tradition. As the Cartesian logic evolved, space was considered to be absolute. It became dominant containing both the subject and the object. Science and mathematics has defined this concept of space in their own way respectively and later even the philosophers. Some scholars has studied and analyzed the relationship of time and space. The metaphysicist Immanuel Kant defined space and time as elements of systematic framework that humans use to structure their experience. In his Critique of Pure Reason, he said that space is a subjective pure a priori form of intuition. Therefore its existence depends on the human faculties.  [4]   The Kantian space has revived and revised the old notion of space. Here space is relative, a tool of knowledge, and a means of classifying phenomenon, separated from the empirical sphere. It has a transcendental and ungraspable structure.  [5]   According to Henri Lefebvre, the mathematicians, quite contrary to philosophy, has identified space as Non-Euclidean spaces, curved spaces, x-dimensional spaces( even spaces with an infinity of dimensions), spaces of configuration, abstract spaces , spaces defined by deformations or transformation, by the topology and so on.  [6]   Though the mathematicians has defined and constructed the term spaces, classifying in various ways and measured them, what philosophy did as Leonardo da Vinci had said, is that it helped in the formation of the mental thing that is the mental space. According to Isaac Newton space exists independently and permanently even without the presence of any object in it and therefore it is absolute. On the other hand naturalist philosophers thought that space was a collection of relations between objects given by their distance and direction from one another. The 18th century philosopher and theologian George Berkely attempted to refute the visibility of spatial depth in his essay Towards a new theory of vision. Initially time and space was viewed as independent dimensions. Einsteins discoveries showed that due to relativity of motion, our space and time can be mathematically combined into one object space-time. One can freely move in space but not time. In the middle of the 19th century, psychology first began to study the way space is perceived. Psychologists analyzed the perception of space and were concerned about how the recognition of an objects physical appearance or its interactions is perceived. The philosophy of space and time are inspirations to and central aspect of early analytic philosophy. There are questions related to whether time and space exist independently of the mind and each other. From the theory of logic, space has transcended to nature, practice and theories of social life which unfolds in space.  [7]   The modern field of enquiry has the notion that space has acquired the view of mental thing or mental space. This concept of mental space has no generalization and even no clear account. We hear of different spaces like literary space, ideological spaces, the space of the dream, psychoanalytic topologies etc. Michel Foucault said that knowledge (savoir) is also the space in which the subject may take up a position and speak of the object with which he deals with in his discourse.  [8]   But he neither explained the spaces nor defined their distinctions. The linguist Naom Chomsky has given the idea that a mental space has certain specific properties with orientations and symmetries but completely ignores the gap between linguistic mental space and social space. Lefebvre believed that the modern thinkers had fetishized the philosophico-epistemological notion of space and that the mental realm envelopes the social and physical ones. The quasi-logical presupposition of an identity between mental space (the space of the philosopher and epistemologists) and the real space creates a gulf between the mental sphere on one side and the physical and social spheres on the other. He said that there cannot be a fixed knowledge of space and without it we transfer to a level of discourse-the level of mental space a large portion of the attributes and properties of what is actually social space. Between the sixteenth and nineteenth century, he said that space was not only read but there existed a code which is architectural, urbanistic and political, with a specific language which is common to all strata of people. He said that anything like leisure, work, play, transportation etc., can be spoken of in the spatial terms in an artists or writers world. Therefore there is an indefinite multitude of space around us. He questions whether space can be nothing more than the passive locus of social relations. In general he talks about three kinds of spaces: 1. The physical space nature, the cosmos. 2. The mental space with its logical and formal abstractions. 3. The social space. What he is concerned with is the logico-epistemological space, the space of social practice, the space occupied by sensory phenomenon, including products of imagination such as projects and projections, symbols and utopias.  [9]   There are certain specializations of space. When we think of a space, we are immediately concerned with what occupies the space and how it does so along with the energy present within the space. Without energy, the physical space has no reality. This space is always associated with time. space considered in isolation is an empty abstraction.  [10]   According to Fred Hoyles theory, space is a product of energy. Henri says that multiplicity of particular spaces, yet diverse are offered by this universe. Apart from the concept of physical space, mental space and social space, he dealt with the minute elements in space like ideal space related to mental space and real space associated with social space These two spaces are in a way related to each other. He said that philosophy has played an important role in the development of the abstract (metaphysical) representations of space, where the Cartesian notion of space became significant due to its homogeneous, isotropic character which helped it to become absolute and infinite and divine. But space is even beyond this. Plato talks about the cosmic space, where the space of the city is a reflection of the Cosmos. Literature too reveals different spaces to us. But the problem is that the space here is enclosed, described, projected, dreamt off and speculated about. When we talk of a particular space, we distinguish it and not isolate it. Various kinds of space comes together to produce a space. In relation of language, Henri questions whether a language follows or accompanies a social space. Many people have explored space in different ways. In his work, George Bastille has played with the space on inner experience on one hand and the space of physical nature on the other and social space. Through Hegelian viewpoint, space is considered to be a product and residue of historical time. Though Hegel had the idea of a concrete universe. Social space is a social product and when produced serves as a tool for thought and action. As said by many thinkers, it is difficult to distinguish social space as distinct from mental space and even physical space. Every society produces a space of its own. The Asiatic mode of production of space is different from the Western mode. There are multitudes of intersection in space. The way certain spaces are represented by the society, lead to the representations of space. Representational spaces on the other hand deals with spaces associated with its images and symbols. These spaces represent something of their own. It overlay the physical space, making symbolic use of its objects. Even though they are abstract, the representations of space, has a role in social and political practice. They have a role to play in the established relations between objects and people, following certain rules. This is not the case of representational spaces. It is filled with symbolic and imaginary elements. According to Henri Lefebvre, a psychoanalyst or anthropologists are students of representational spaces. Childhood memories, dreams are all part of this representational space. The gap between representations of space and representational spaces is culture. Therefore what can be concluded is that the producers of space are related to the representations of space while the users of a space are related to their representational space. Here I conclude that space with its original and represented identity occupies a part of our physical and mental self and even helps in the identification of these self. Each physical space creates a mental space, a space with certain intimate values. A house can be used for the phenomenological study of the intimate values of space.  [11]  All inhabited space bears the essence of the notion of home. Thoughts and experience is not the only thing that sanctions human values. We will deal more with this later in the thesis. After dealing with the basic idea of space with the help of the views and ideas of Henri Lefebvre, I want to connect this idea of the concept of space in dealing with the cinematic space. Cinematic space is the represented space, selected, manipulated and projected as a finite field of vision.  [12]  As Henri Lefebvre has said that it depends on the producers of space. This space is what we see on the screen. This screen space is marked by a frame which acts like the borders in a painting. It is geometric and represents the space that we see on the screen. In this way it divides the screen space into onscreen and off-screen spaces. The frame acts as a window connecting u to the film space and on the other hand separating the space we inhabit from the film space.  [13]  We the spectators look through the frame. According to Gilles Deleuse, the cinematic frame is a relatively closed system Which includes everything which is present in the image ­- sets characters and props framing  [14]  . The frame acts as a system providing us with all the information regarding the image and all these information acts like a data which are known as the elements in the frame. Therefore the frame is inseparable from two tendencies towards saturation or towards rarefaction.  [15]   This image that the frame provides is not just to be seen, it is a message, and it gives us certain information, which are produced by the elements present in the frame (these elements are also some information}. This is how the space produces its own language. He said that the frame is a spatial composition of parallels and diagonals, helping to form equilibrium. the frame is conceived as a dynamic construction in act, which is closely linked to the scene, the image, the characters and the objects which fill it.  [16]   The frame cannot be separated from its rigid geometrical boundaries. It has certain limitations. Like many Western painters this has been explored by many film makers like Griffith, Eisenstein. Deleuze said that light too is a subject of geometrical optic, when it is divided into two parts forming light and shadow.  [17]   They help in the making of this space. The presence of objects inside the frame creates secondary and tertiary frames like for example the house, doors, windows, mirror and even a fence. Therefore a frame is never fixed. A gradual progression takes place which is physical and affects the viewers psychologically. Each object inside the frame has something to say, something to express and therefore have a meaning. Here geometrical divisions in the frame becomes insignificant. The framing angle is also an important characteristic of the frame. Deleuze said the frame is related to an angle of framing. This is because the closed set is itself an optical system which refers to a point of view on the set of parts. Of course the point of view can be or appear to be bizarre or paradoxical: the cinema shows extraordinary points of view at ground level or from high or low, from low to high, etc. but they seem to be subject to a pragmatic rule which is not just valid for the narrative cinema: to avoid falling into an empty aestheticism they must be explained ,they must be revealed as normal and regular either from the point of view of a more comprehensive set which includes the first, or from the point of view of an initially unseen, not given element of the first set. give an example if It is here that the frame becomes an optical system, logically justified. But this justification does not always work. In the conclusion of his essay, Deleuze says that the frame finally determines an out-of-field, in the outline of a larger set which extends it or in the figure of the whole into which it is incorporated.  [18]   In the book Republic, Plato talks about two modes of representation which are distinct and opposed to each other. These two modes are mimesis (imitation) and diegesis (narration). Theatre is related to imitation which shows us something whereas novel tells us a story. Cinema on the other hand incorporates both these characteristics.  [19]   In its early years, cinema followed the theatrical mode of representation. Here the frame is tableaux form, static and faces the audience. Therefore the cinema much influenced by the theatrical stage. The camera is static. The character enters the stage, performs and walks out. The camera does not follow the movement of the characters. Hence just fixed in the centre. Traditional theatrical space is an architectural product, where beyond the proscenium it does not exist for the viewers. Classical narrative cinema has transformed this space into an illusorily continuous cinematic space. The cinematic film space is a figurative construction, resulting from medium specific techniques such as framing, camera movement and editing.  [20]  This space is linked to the codes of renaissance perspective, where the property of centering addresses to the subject whose position the space determines. Classical Hollywood cinema gave lot of importance to the use of space. This graphic space of the image, that we see on-screen acts as the vehicle for the narrative development.  [21]  These films created an illusion of reality where the screen became just a transparent object and the frame became invisible. A powerful three dimensional space is represented through the use of lens, lighting, camera movement and angles and other techniques. The space became as important as the narrative structure. So, what is the basic function of the frame? The frame shows us the image and creates an illusion of reality. We already know that the Classical Hollywood films were highly inspired by visual art and as art has evolved, cinema has also evolved gradually taking inspiration from it. Film studio developed, taking inspiration from the workroom of artists and painters. There is a lot of similarity between classical Hollywood cinema and classical novels. Their style is influenced by the post Renaissance painting. Along with centering, the main aspect of this style is balancing, frontality and depth. Here, in the composition of the image, the subject or the character is always in the centre, with all the attentions, in focus. With the coming of the Renaissance period, human thoughts became anthropocentric. It is no more centered on the religion, god. The importance of man as an individual identity instead turned out to be the thought of the period. There was a highlight on the facial expressions and the human body became the centre of attraction other than the narrative. Like in the paintings, a balance is always maintained in the visual composition of the film. The characters are evenly distributed in the film space. Both these technique helps in the progress of the narration. The use of frontality is an influence of the Greek and Roman theatre. Through this technique the narrative action is addressed to the viewers. The depth is established through the use of lighting mainly 3 point lighting (the key, fill back lighting and etc.) and costumes. Sometimes the set is painted in different colour to create the various depths. I think the use of sound to produce an illusion of depth came much later. By the establishment of depth, the film s tries to portray a perspective which is more or less linear, influenced by the ancient Greek Perspective, where the vision is organized around the static monocular observer, and in his vision all the parallel lines recede in the vanishing point. In this way, a personalized space is achieved, trying to conceal the flatness of the film space. The emergence of this classical narrative logic gives rise to cinematic subjectivity and the isolation of the spectator.  [22]   Classical Hollywood cinema places the spectator in an ideal position of intelligibility.  [23]   A film uses onscreen and off screen space to produce the diegetic world. Cinematic off screen space is different from the theatrical off stage space. The off screen film space has a pro filmic reference. The early films of Lumiere a Melies, had camera pointed at the action and remained static for the duration of the action. The early films acknowledged the space outside the frame, for example the workers leaving the Lumiere factory 1895, showed the people moving through the frame and off the edge. The most important element of the film frame is mise-en-scene, a theatrical term. Both are depended on each other. It means everything which is put into the scene, or what we find in the film space. The frame along with the set design, camera and character movement, lighting and even sound, everything combined together form the mise-en-scene. And this mise-en-scene helps in the formation of the composition. Mise-en-scene can be defined as the articulation of the cinematic space, and it is only concerned about the space.  [24]   On the film set it creates an illusion of the reality or fantasy. The setting of the film is an important aspect of the mise-e-scene. It includes the shapes, designs and color of the film set. Colour also helps in the development of the narrative. It is used as a symbol. A set can be artificially constructed for an indoor shot or manipulated in the outdoor shot. Apart from the design and colour, props play an important role, in the development of the narrative. In the absence of the actors, they even tell a story and which are not possible in a theatre. They express certain mood, and say what is unsaid by the film narrative. the elements of the setting turns into motifs  [25]   Along with the props and costumes, the make up of the actors also furnishes the setting of the narrative. The props and costumes are also used for the film publicity, and they even help to turn certain characters into cult figures. Lighting is another aspect of the mise-en-scene, other than creating the illusion of reality, artificially producing light for an indoor shoot or day for night shoot, light along with colour and sometimes the prop creates the mood of his film. In the shot composition light and shadow works together. It helps in the development of the film space, sometimes maintaining continuity when camera movement takes place within a space. And at other times, different lighting helps to distinguish various spaces used in the film. I must say here that along with lighting sound also plays the same role. Light, colour and sound combined or individually can create suspense, horror, happiness and even loneliness. Light creates texture.Four major features of film lighting can be isolated are: its quality, direction source and colour. Light quality depending on its intensity creates a sharp or a soft image by diffusion. With the use of hard light the shadow becomes bold creating definite contours. Light along with the lens and camera angle can be used to manipulate the shape of an object to enhance a mood. the proper use of light can embellish and dramatize every object -Josef von Sternberg. As earlier film makers used the frontality of the characters to highlight their presence, to give them a central position, similarly light is used to keep certain character at the centre of attention. This technique is also used in theatre. The direction of light in the film space, creates the presence of an off screen space. This idea also developed from the influence of paintings from the Renaissance period. Every light has a point where it is brightest and a point towards which it wanders to lose itself completely.The journey of rays from that central core to the outposts of blackness is the adventure and drama of light.   [26]   Depending on the narrative, the film space is generally lit up by top lighting, backlighting, side lighting, and frontal lighting and under lighting. Backlighting creates a dreamy; fantasy image similarly under lighting is used to create a horror image. Different sources of light works together in the cinematic space to create the mental space of the spectators. Generally during a shoot three point lighting is used with key light (primary), fill light (secondary, softens the shadow) and backlight which highlights the character and separates it from the background thus creating depth. We have already discussed earlier how this method of lighting is use in Classical Hollywood cinema. Along with the direction, the source of the light on the film space creates an impact. For out door shoot during the day, we get the sun light, the sky light and the reflected light from the objects around. The lighting is natural and therefore the look is also natural. This light can be manipulated to give a bluish tone with the use of 85 filter and the light can be further controlled with the use of neutral density filters to avoid over or under exposure of the film. In the case of indoor shooting, it is obvious that artificial light is to be used even to give the reference of a natural source of light. Light is continuously measured and blended to create the ci nematic space. Here I want to say that though the basic reason for the use of lighting in a cinematic space is similar to theatrical space but the technique is different. This is because lighting in the theatrical space is more loud and dramatic whereas in the film space it is subtle. From all the information that I have acquired and the knowledge that I have gained, I therefore say that light is a language through which we can also tell a story. Its use is dynamic and is very important in the cinematic space. Only through light, we can see the film space. Mise-en-scene helps the character to express feelings and thoughts. The movement of the actors, their action, everything gets enhanced by the presence of the mise-en scene. Even acting in the cinematic space is different from the theatre. Cinematic space creates an illusion, where the screen frame acts as the window but the actors never stairs at the window; they do not stare back at the audience, unless and until it is required by the film narrative. So through the presence of the actors, the way they move, talk, behave provides the film with an illusory realistic space. When we take a shot, the space in front of the camera is two dimensional when we take the shot, it remains the same but when the film is projected, and we see it on the screen, we see a three dimensional space and this space is enhanced through certain aspects of the mise-en-scene like colour, balance, size and movement. In a static set the movement of certain objects draws the attention. Colour can enhance certain mood. We know that it is used as a symbol. It can refer to different time space or change of space. The balance in placing the figure is also important. It determines the attention of the viewers. Size work in relation to the movement, colour and balance. The size of the objects creates the illusion of depth, where the objects in the foreground are generally larger in size and the objects in the background are small. The closer the object, it is more in focus. The depth creates a volume in the space. A different plane of the shot gets established due to the use of depth wh ich creates the illusion of space. A film suggests volume by the use of movement, shape and shading.  [27]   Mise-en-scene can control not only what we look at also when we look at it.  [28]   It creates a sense of movement in time. Mise-en-scene helps to compose the film shot in space and time. Inside the film space, therefore it is the mise-en-scene which creates the cinematic space using both the onscreen and off-screen space and it is this cinematic space which creates the illusion of a real world or a fantasy world. The film narrative does not work with space alone but space and time. Time is ever changing and space also keeps evolving. Leaving aside, all the scientific reasons for the evolution of space, what I think that a space evolves with time only with the intervention of a man. It evolves in the imagination of the man. The cinematic space is an example of this space. Other than cinema this space can also be created through literature, music, dance, painting and even food. We prefer more of this cinematic space other than where we belong to, because it incorporates our likes and dislikes, keeping in mind that it is our own creation. In dealing with the space and time in a film, it is necessary to study their unity within a shot and between two shots. It is not possible to visualize time on a screen without any action or movement in the space. Movement in reality is continuous but movement on the screen is discontinuous and is achieved very quickly by a series of still photographs.  [29]   In a film the dimensions of space and time cam be manipulated and this has become easier with the digital techniques. Slow or fast motion is used by changing the film speed. This manipulated space is artificial. From the early years of human civilization, paintings, sculptures have evolved as a language. A visual language, which can preserve itself. It creates its own memory. With the coming of industrialization and modernity, photography became more popular. Its basic function or utility is to freeze a moment, capture it and create a memory. Cinema moves a step ahead. It not only captures a specific a moment, but a period of time  [30]   It is som

Mark Twains The Adventures of Huckleberry Finn †Controversial :: Adventures Huckleberry Huck Finn Essays

Huckleberry Finn – Controversial It seems like a never-ending question. When will we ever let it rest? You know the question I'm talking about; should the Adventures of Huckleberry Finn be banned from American Literature courses? It's been argued from so many different standpoints, but it has never been settled. Is Huckleberry Finn really a controversial book? No, I do not agree with the banning of Huckleberry Finn. This book is considered to be a classic. It explores the depths of our past in many different ways. Those who think the book to be controversial probably have never ever read it before. Most likely, they're basing their judgments on the excessively used word, "nigger." For those who have read the book and still feel necessary to ban it are obviously missing the key points of this American classic. If you understand Huckleberry Finn, then you'll realize it's not about slavery or racism. It's about being unprejudiced. In the book, Huck admits that Jim "had an uncommon level head for a nigger." If you were to take out the black and white scenario, you would see that this quote is clearly nothing but acceptance. Huck is accepting Jim, regardless of his ethnic background. If you looked deeper, you would also see, the book is about nothing less than freedom and the quest for freedom. It's about a slave who breaks the law and risks his life to win his freedom and be reunited with his family. He was lucky enough to have a friend who made him his best friend and helped him to escape. Truly this isn't controversial; it's real life. Another controversial aspect of the book would be the use of the word "nigger" and its being in the book over 200 times creates constant scrutiny. I feel the word was not used to be racist and its usage in the book gives great representation of the way life was during the pre-civil war era. People need to grasp the concept that that's how black were treated then. In today's society, we would find quotes such as, "Good gracious! Was anybody hurt?" "No'm. Just a nigger," APPALING! But in fact, it was written in an earlier time setting when quotes like that were okay to say.