The Colonies By 1763: A New Society? Essay -- essays research papers

The Colonies by 1763 A New SocietyBetween the settlement at Jamestown in 1607 and the treaty of Paris in 1763, the most important change that occurred in the colonies was the emergence of a society quite different from that in England. Changes in religion, economics, politics and tender structure illustrate this Americanization of the transplanted Europeans.By 1763, although some colonies still maintained established churches, other colonies had accomplished a virtual revolution for religious toleration and time interval of church and state. The Anglican Church was the only established denomination in England. In contrast, the colonies supported a great variety of churches. The largest were the Congregationalist, Anglican, and German churches, but some smaller denominations could be found through the colonies. In addition to this, a high percentage of Americans didnt belong to any church. These differences could be attributed to the fact that many of the Europeans who immigrated to America didnt fit in to or agree with the churches in their homelands.In a similar economic revolution, the colonies outgrew their mercantile relationship with the mother land and developed an expanding capitalist system of their own. In England, the common view was that the colonies only purpose was to compliment and support the homeland. This resulted in a series of laws and protocols called th...

Habitat Destruction and Biodiversity Loss Essay -- Loss of Biodiversit

If we pollute the air, water and soil that keep us alive and well, and destroy the biodiversity that allows natural systems to function, no amount of money will keep open us.-- David SuzukiImagine this bulldozers growl and grind through a local field, while the whine of chainsaws echoes from a nearby grove of trees. The trees crash to the ground, only to be redact up for firewood or sent to a sawmill, and the remaining ground is cleared of stumps and plowed. The tall grasses and brush in the field are demolished, leaving behind repulse soil. Any birds or other small creatures that lived in the freshly cut trees have long since flown or run away in terror as their homes fell. The moles, mice, and other animals that lived in the field were either killed or forced to abandon the area in search of a new home. Soon to come on this land a subdivision consisting of huge, two- or three-story houses with pristine front lawns and the occasional small, decorative tree placed by the main door .The scene painted in a higher place is becoming more and more common today people want more space, more houses, more roads, more big buildings, more cities all oer the world. However, what the population does not consider is that construction destroys natural habitat, or the place or environment where a plant or animal naturally or normally lives and grows (Merriam-Websters Collegiate Dictionary). While universe may think nothing of this habitat destruction, it is actually the number one cause of extinction ecumenic (Dudley 17) and influences many other species, including humans, that are not endangered or threatened. Habitat loss causes loss of biodiversity, which adversely affects the health and economy of human life. We as humans need to take more ... ...vernment. 08Nov. 2008.Biodiversity. Merriam-Websters Collegiate Dictionary. 11th ed. Springfield, MA Merriam-Webster, Inc., 2007.Dudley, William, ed. Biodiversity. San Diego, CA Greenhaven Press, Inc., 2003.Habitat. Merriam- Websters Collegiate Dictionary. 11th ed. Springfield, MA Merriam-Webster, Inc., 2007.Heimlich, Joe E., and Mitchell Smith. Environmental Impact Statements. FactSheet. Ohio State University. 09 Nov. 2008.Novacek, Michael J., ed. The Biodiversity Crisis. hot York The New Press, 2001.Primack, Richard B. Essentials of Conservation Biology. Sunderland, MA Sinauer Associates, Inc., 1993.David Suzuki Quotehttp//www.brainyquote.com/quotes/keywords/biodiversity.htmlxFwgQLK5MbhLMRjG.99

Creative Writing: American Soldier in Iraq Essay -- Creative Writing Es

RUN I heard a fellow soldier screaming as I looked around. RUN I started to take collide with but I was too late. I am an American soldier and I only when got my tholepin bl admit off by a grenade. As I lay here crying, yelling out in pain, I think about why I am even here. The president conceit that Saddam Hussein MIGHT apply had weapons of mass destruction (WMD), so he sent me here to die. After we searched and found that Hussein did not have any WMDs, what did President Bush decide to do? Send more troops (SIRS).Many people, including a number of Christian leaders, have questioned whether the war in Iraq is justified (www.AmericanValues.org). They question if it is morally permissible to have used force to remove a tyrannical and aggressive regime from power instead of just disarming it (www.AmericanValues.org). A difficult moral calculus by liberal hawks led to the decision that the opportunity to free the Iraqi people from decades of oppression was worth the risk (Huang 1) . Many people would agree that freeing the Iraqi people was a good thing, but they are free now, yet we are however thereI see that the sun is started to fall over the horizon and all I can do is what because it is impossible for me to move my leg. As I have nothing else to do I start to wonder. I wonder about how my family is doing, about how much pain there is in the world, and about the exist of the war. This war has cost the U.S. over four hundred and ninety billion dollars (www.costofwar.com). ?This same amount of money could have provided 39,240,332 people with health care or 142,451,458 homes with renewable electricity? (www.costofwar.com). As I look up into the darkening sky I hear help coming. The soldier helping me soon told me that my leg would have to be a... ...sh, because they no longer have a government, but whenever the U.S. tries to rebuild their government, the Iraqis always refuse. If we would leave immediately then that would let the Iraqis rebuild their own g overnment the way they want it. Many people believe that the U.S. should create a fund for Iraq in order to help them get back on track. They could use the money to rebuild or reconstruct their country, their government, and anything else that the U.S. helped to destroy (Bennis 6).I slowly wake up, and it must have been hours later. I looked down and my leg was gone. I could feel a searing pain rush through my body. My leg was bandaged up around the cut, but I could still imagine how it looked. Blood was drippage from the bandages. I could not take it anymore. Right there I shut my eyes, and never again were they opened. My family was traumatized at my death.

The Bacchae Essay -- essays research papers

In The Bacchae, Euripedes portrays the character of Pentheus as an ignorant, stubborn, and arrogant detectr. These character flaws accompanied with his foolish decisions set the stage for his tragic downf both. Pentheus strident disregard to all warnings and incidents, which prove that Dionysus is truly a god, lead him to his own death. In the end, his mistakes are unforgiving and his punishment is just. Throughout the play, the audience cannot help still feel merciless towards Pentheus. In his opening scene, Pentheus does not heed the warnings bestowed upon him by Teiresias and Cadmus. Before Pentheus even meets Dionysus, Teiresias offers him wise adviceSo, Pentheus listen to me. Do not mistake the rule of force for true power. Men are not shaped by force. Nor should you boast of wisdom, when everyone but you can see how sick your thoughts are. Instead, welcome this God to Thebes. hit it up him with wine, garland your head and join the Bacchic revels(19).Cadmus carefully tries to persuade his grandson by adding, For even if you are right and this God is not a God, why secernate it? Why not call him one? You have everything to gain from such a lie(20). Pentheus shows no respect for the elderly or their wisdom by replying, Go ferment to your Bacchic revels. I want none of your senile folly rubbing off on me(21). This response alone reveals a great deal nearly his disposition. He will not let any old fools tell him what to do. However, it is ironic that Pentheus rejection of the advice of these old fools proves to be his first step towards his fatal end. The next scene brings Pentheus and Dionysus face to face. Pentheus starts the discourse thinking he has the upper hand because he has more power over the situation. Untie his hands. Now I have him in my net, no amount of immediate tricks can help him slip away (25). However, it is clear to the audience that Dionysus is in control. He is provoking Pentheus by responding with quick, saucy remarks. Those wh o look for filth, can find at the upside of noon (28). Pentheus becomes frustrated. He needs to feel in control so he begins to hurl threats at Dionysus, Ill throw you in my dungeon. Throughout this scene, Dionysus drops numerous hints that he is indeed the son of Zeus, He (Dionysus) is here now. He sees what is being done to me (29). He for... ...gh. He has given Pentheus numerous warnings and opportunities to obey and worship him. Pentheus, due to his exceeding incompetence, has overlooked all of them. Because of his refusal to conform, he deserves punishment and it is a destine the audience has come to welcome. Dionysus now takes control over Pentheus and his all his actions. He humiliates Pentheus by practiseing him in womens dress and parading him throughout Thebes. Dionysus then leads him up to Mount Cithaeron where he is caught spying on the Bacchae by his crazed mother, Agave. She proceeds to tear him to shreds with her bare hands. This is the end for Pentheus, and ulti mately, due to his everlasting ignorance, a just death.Although the punishment may seem rather harsh, the audience is appeased by Pentheus death. Pentheus is incapable of making any sensible decisions. His arrogance and controlling disposition is apparent in every action and choice he makes. Pentheus rejects so many hints and opportunities to realize Dionysus real identity. In his refusal to pick up the signals, he accepts his fate death by the hands of his own mother. It is almost as if his death, through his refusal to act sensibly, is a form of suicide.

The Effects of Colonization on the Native Americans Essay examples --

The Effects of Colonization on the Native Americans Native Americans had inherited the land now called America and eventually their lives were destroyed due to European Colonization. When the Europeans arrived and settled, they changed the Native American way of life for the worst. These changes were caused by a number of factors including disease, loss of land, attempts to export religion, and laws, which violated Native American culture. Native Americans never came in contact with diseases that developed in the Old World because they were separated from Asia, Africa, and Europe when ocean levels rose following the end of the last Ice Age. Diseases like smallpox, measles, pneumonia, influenza, and malaria were unknown region to the Native Americans until the Europeans brought these diseases over time to them. This triggered the largest population decline in all recorded history. Fifty percent of the Native American population had died of disease inwardly twenty years. Soon after, Native Americans began to question their religion and doubted the ability of shamen to heal. This was the first step towards the destruction of Native cultures. The Native Americans had never experienced anything like these baneful diseases before and they came to believe that Europeans had the power to kill or give life. Many Native groups, because they were nomadic, didnt see land as belonging to one person. The idea that soulfulness could come in, claim a piece of land and ban them f...

James M. Cains Novel Mildred Pierce: Comparing the Book and Movie Ver

James M. Cains Novel Mildred Pierce Comparing the Book and Movie VersionMildred Pierce is one of the greatest apologues written by James M. Cain. After the success of the novel, the Hollywood film came out, produced by Jerry Wald. The novel and the movie are very different from each other. James M. Cain sent several(prenominal) letters of complaint to producer Jerry Wald, objecting to the changes Wald wanted to steel, especially the dramatic idea of making Veda a washout musically and putting her in a inexpensive nightclub (Bennett Notes). The three main contrarietys in the film were, the murder of Monte, Veda not having a successful career, and the time period only covering 1941 to 1945. The main difference between the film and the novel was the murder that Hollywood added. Right when the film begins, it starts making the attestor think about who the killer is already. The novel doesnt make the reader guess in any aspect. Jerry Wald makes the viewer think that Mildred is the killer at first, especially because she tries to commit suicide in the beginning of the film. Then it makes the viewer think that Bert is the killer for a while. Finally, the real killer is revealed at the end of the movie, which turns out to be Veda. The best thing about the movie was that it kept you opine until the end. Throughout the film we are never certain that Mildred is not Montes murderer. Even when she is cleared, she is not exculpated (LaValley 12). Mildred tries to cover up for Veda again, by copulation the cops that she killed Monte. The cops tell her that she cant get her daughter off the hook this time. Finally, Veda ends up paying the consenquences for her action and goes to jail. Another big difference between the novel and ... ...vel was how the characters would survive the Depression, and how they would make money. As the Depression deepened in 1932, jobs were few and far between. More than 10 million Americans were out of work (Strock 12). The films spell was totally different, which mainly focused on who killed Monte. Works Cited Bennett, Bsabas A. Joan Crawford Online-FilmsMildred Pierce. 26 May. 2002. 30 May.2002http//www.joancrawfordonline.com/films/m/mildred/mildredpierce.html. Joan Crawford Filmography. October, 2001. May 25, 2002.http//www.lynnpdesign.com/classicmovies/crawford/mildred.html. LaValley, Albert. Mildred Pierce. Madison, Wisconson The University of Wisconson Press, 1980. Skenazy, Paul. James M. Cain. New York, NY The Continuum Publishing Company, 1989. Strock, Clancy. We Had Everything But Money. Greendale, WI Roy Reiman

James M. Cains Novel Mildred Pierce: Comparing the Book and Movie Ver

James M. Cains Novel Mildred Pierce Comparing the Book and Movie VersionMildred Pierce is one of the greatest sassys written by James M. Cain. After the success of the novel, the Hollywood film came out, produced by Jerry Wald. The novel and the movie are very different from each other. James M. Cain sent some(prenominal) letters of complaint to producer Jerry Wald, objecting to the changes Wald wanted to receive, especially the dramatic idea of making Veda a washout musically and putting her in a tasteless nightclub (Bennett Notes). The three main residuums in the film were, the murder of Monte, Veda not having a successful career, and the time period only covering 1941 to 1945. The main difference between the film and the novel was the murder that Hollywood added. Right when the film begins, it starts making the watchman think about who the killer is already. The novel doesnt make the reader guess in any aspect. Jerry Wald makes the viewer think that Mildred is the k iller at first, especially because she tries to commit suicide in the beginning of the film. Then it makes the viewer think that Bert is the killer for a while. Finally, the real killer is revealed at the end of the movie, which turns out to be Veda. The best thing about the movie was that it kept you guessing until the end. Throughout the film we are never certain that Mildred is not Montes murderer. Even when she is cleared, she is not exculpated (LaValley 12). Mildred tries to cover up for Veda again, by copulation the cops that she killed Monte. The cops tell her that she cant get her daughter off the hook this time. Finally, Veda ends up paying the consenquences for her action and goes to jail. Another big difference between the novel and ... ...vel was how the characters would survive the Depression, and how they would make money. As the Depression deepened in 1932, jobs were few and far between. More than 10 million Americans were out of work (Strock 12). The f ilms spot was totally different, which mainly focused on who killed Monte. Works Cited Bennett, Bsabas A. Joan Crawford Online-FilmsMildred Pierce. 26 May. 2002. 30 May.2002http//www.joancrawfordonline.com/films/m/mildred/mildredpierce.html. Joan Crawford Filmography. October, 2001. May 25, 2002.http//www.lynnpdesign.com/classicmovies/crawford/mildred.html. LaValley, Albert. Mildred Pierce. Madison, Wisconson The University of Wisconson Press, 1980. Skenazy, Paul. James M. Cain. New York, NY The Continuum Publishing Company, 1989. Strock, Clancy. We Had Everything But Money. Greendale, WI Roy Reiman

Jewish Culture in Nursing

1. The Judaic culture has m each concepts of taboo. One of the biggest items found was the importance of remembering the past. Past is a very in-chief(postnominal) aspect in the Jewish community, even the breaking of a glass at the end of a wedding, symbolizes the destruction of a temple during an invasion from the Roman Army. (Giger and Davidhizar, 2008, p. 598) During childbirth, a husband whitethorn be in the room with his wife but may not participate other than coaching. He is not allowed to view or see the vaginal ara or touch his wife.After the delivery, he may lean over to his wife, careful not to touch, and say Mazal tov or good luck, congratulations. (Giger and Davidhizar, 2008, p. 596) After delivery it is important to be careful around the baby. Jewish people believe that is the nipple is pulled to fast from the child, falling on the head, or failing to place a tough on the head of the infant are all causes of fallen fontanel. The symptoms of this include crying, fever , vomiting, and diarrhea but modern practice shows us that the causes of these symptoms are from dehydration.The evil eye, or mal ojo, is a feared illness that is caused from someone admiring a child and that person has a frustrated wish to hold the child, but for a reason unknown, the person is futile to fulfill the wish. Hours later the child has fever, vomiting, diarrhea, loss of appetite. Also, it suggests the childs eyes will roll in the back of the head, and will become listless. This is probably the force of dehydration, but this is one perceived cause of a chronic illness. (Andrews and Boyle, 2008, p. 132) 2.If a follower of Judaism becomes ill, it is a common trend for the entire family to pull together and earn care of the person. When the dying process starts a nurse should know that there is a strong need for a confessional. (Giger and Davidhizar, 2008, p. 606) If a person of Jewish credit passes away, the body must not be touched by a person of opposite sex. If this happens the body will be considered contaminated. All articles of clothing and any personal items that have come into contact with blood must be left with the body and not be touched.Blood is sacred and must be inhumed along with the body. The body is removed to a sacred temple where the body is washed from head to toe in warm water, being careful not to turn the face towards the ground. The body will be dressed in white burial shrouds, tachrichim, and will be buried in a guileless pine wood box. This is done so no one can distinguish wealth. (Klug, 2013, p. 1) This is all a part in a traditional religious rite of the Jewish faith. 2B. This writer doesnt believe in the above mentioned taboos.Reading this information has sparked an interest in the cultural beliefs held by Judaism. Current beliefs are influenced by piety and basic humanity procedures for the dying and deceased. Religion has influenced death as a passing of one person to heaven or hell. Humanity procedures that are followed are the cleansing of a body, the placement in a casket, visitation and burial, and grieving by family and friends. 2C. Influence in practice is based off of the religions of the patients request or family beliefs.As a hospice nurse, personal beliefs do not affect work habits. There are many different patient rights that are noted and followed. Giger, J. N. , & Davidhizar, R. E. (2008). Transcultural breast feeding Assessment and intervention (5th ed. ). St. Louis, MO Mosby. Andrews, M. M. , & Boyle, J. S. (2008). Transcultural concepts in nursing care (5thed. ). Philadelphia Lippincott, Williams & Wilkins. Klug, L. A. (2013). Jewish Life. Jewish Funeral Customs Saying Goodbye to a Loved One. Retrieved Feb. 5, 2013, from http//www. jewishfederations. org/funeral-customs. aspx? sign=1

Torrent Syndrome

The documentary that I listen to was close Tourettes syndrome ,Neurological problem to take control the automobile trunk which cause snapping coughing disease split of expression, I form Tourette exclusively turrets doesnt lease me they live problem in childhood in social life. Its about how to live with this syndrome they are talking with 3 commonwealth. This disease not shows it self very good One of them ordinate that even after he told his teacher he had Tourette syndrome she told I forgot cause I dont see it in you .One of the child during the show told that if he would demonstrate is best to suppress the tick it would spoil lots of mental energy from him. The more you suppress it u need to do it more. Eye blinking and some noises are some things you might see from them they have ticks, cause some of them had susspsion they might have this problem. One of the men who has it told that at first they even go to the allergist but they told its not allergies. Tourette is s o misunderstood, after it is diagnosed it is not obvious and there isnt that much drugs for it .In the point of view when the culture of school say that we accept these kind of differences it would be more valuable and other children nominate handle it more easily. Make the diagnoses early the kids are aggression that kind of behavior can be for them for 5 years of progress. About 50 % has ocd have anxiety disorders and some has disability learning some of the medications handle some of these problems. Some patients in the childhood has problem with suppressing their ticks in the school and when they came home he will go to his room lock the door and let the ticks goes out single gene mutation. in that respect is no real medication that works and all of them had stead effects and the other problem that they have is they dont exactly know that it was the drugs effects or normal response of body to Tourette. Tourette sometimes get more Sevier. There are lots of alternative therapie s like acupuncture they might have effects. Stress make the ticks even worse but if they can focus on something like game they can gradually make it stop and try not to think about it. Common misunderstanding about Tourette each of the people have syndrome has different severity which shows it differently.The best thing its the children with this problem talk about it and share what situation they are going through some children try to suppress it and not talk about it but communication is a good thing. IN THAT AUDIO a person believes that children in early age is more acceptance than getting older and in adolescence they actually want everyone to be the same as themselves. There were some callers to talk about terrors syndrome, traffic with other people was hard part for some of them it was quite interesting for me that an adult called and told hes glad that he has something unique and he can deal with it.It really makes me want to think about my own life, its really great perspe ctive that a person could have about his/ her disease. Some of them said that beside all the stroke it made me who I am and I dont want to remove it from my life. It can express itself in so many ways. If you know you deal with turrets, the patient has to get lower in anxiety level and it was pretty interesting for me when one of the specialist told that try to teach your children to talk about their problems honestly and they can tell to the their classmates friend that I have this problem which cause me make this sounds that I would rather not do that.One of the person that have this problem believes that its good to have social contacting its not good to stay at home lonely and try to use home schooling and I really agree with what he said. In My opinion the only thing that they need to deal with is talking with their society about their problems cause everyone in this world has a problem but it might be in variety aspects. Its god to know that doing what you like and hobbies ca n cause the ticks fall away. Diagnose this problem is hard as well.

Video Game Ethical Issues

Kuan-Yu Lin Brenda Varda HMN-101-01 10/28/2012 Ethical Issue Essay Final Draft Video plump fors have al instructions been an important affair of the entertain workforcet industry since its appearance in 1970s. They have been contend worldwide and effect legion(predicate) people. While the children ar already playing the games, the number of women gamers, as well as the age level of gamers in general is increasing.As technology advances, depiction games with more diversity and real-life experience are slowly creeping into split of our life and gaining its momentum in the society. Due to its quick development, many good issues associated with boob tube games have been brought to our attention. Therefore, we should understand how picture games are ethically influencing people at bottom its realm. The four major ethical issues which will be discussed are issues of violence, education, stereotyping and addiction. Video games are enjoying fast-growing popularity, becoming a maj or comp 1nt of young peoples societal lives and leisure activities.First of all, a major concern which has been discussed continuously regarding picture games is violence. Violence in video games is considered as the visual presentation of characters fighting, gun shooting, physical taint or death to characters. Recently, more and more video games involving violent behavior are taking over the game selection on the shelves. Comparing to games make in the 70s, 80s, recent games feature tougher, more aggressive heroines and more games are made specifically for adults.Research consistently declares that most top-selling video games ask violence. In order to prevent the potential harm to children, youth and society of this negative influence, lots of research has focused on the consequence of violent video games. Video game research indicates that playing violent video games increases aggression, hostility, and aggressive thoughts. (Anderson, Buckley, & Gentile, 2007 Anderson & Bush man, 2001 Anderson, Carnagey, Flanagan, Benjamin, Eubanks & Valentine, 2004Anderson & Dill, 2000).In their research, they conclude that engaging games which have content related to violence may perhaps increase a persons aggressive thoughts, feelings, and behavior in real life. Some other studies focusing on college student playing video games also point out that students playing violent games are also engaging in more aggressive behavior. It has been claimed by many critics of the media industry that the calamity at Columbine High School in Littleton, Colorado on April 20, 1999 was caused by the influence of violent video games.It was shown on BBC news that both students shooters, Eric Harris and Dylan Klebold, had played and enjoy violent video games. Relatives of people killed in the Columbine massacre are seeking damages from computer game makers, claiming their products helped bring about the killings. Although video games put forward help players relieving stress, they can also affect gamers in a harmful way. It is both the players and the game makers responsibility to be aware of the negative effects of video playing period. Games with harmful content might be leading negative effects they still have values considered being beneficial in real aspect.Games are popular in the community of youth and have many qualities that make them wonderful teaching tools. Through the educational perspective, both adults and children let on many things by playing video games. Games with positive content show positive effects. For example, playing a dancing video game can help children set down weight (Konamis Dance Dance Revolution, 2007 OHannon, 2007 Epstein, Beecher, Graf & Roemmich, 2007). As mentioned before, videogames could be an excellent tool for learning. In particular, players are learning in an active way with practice and feedback.Because they are fun, children are highly motivated with video gaming, when people are motivated, they usually perform advance, thus lead in to a better result. Also, games usually have clear objectives with adaptable difficulty levels. Games with increasing difficulty across levels allow player to apply past learning. Lastly, games allow children to apply to what they learn in different problems and contexts. Some believe that video games help improve life skill such as logic and problem solving. They also can improve hand-eye coordination and leadership skills, which can be useful for military training purposes.Having realized the efficiency and the joyful quality of learning experience in gaming, educators are able to take advantage of the positive learning characteristics of games by using the well-designed software in order to teach children more effectively. While the issues associated with violence in video games have caused huge concern among children, gender, and racial stereotypes in video games are also causing problems which require more attention. There is an unbalanced dimension betwe en masculine and female game players and developers. According to a recent study the average gamer age was in the mid to late 20s with 60% men playing and 40% women. 2 The whole gaming industry is overwhelmed by the male population. Most of the games on the market are targeted to only male players. Dietzs, one of the earliest studies to examine stereotypical portrayals in video games, analyzed the depiction of women in a sample of 33 most popular Nintendo and Sega Genesis video games. The study categorized the female characters in those games into four possible stereotypes based on their appearances and behaviors. Females as sex objects or prizes, females as victims, females in feminine roles, and females as heroes or action characters. Not surprisingly, Dietz (1998) found that 41% of the games were devoid of female characters. Only 15% (5 out of 33) pictured women as heroes or action characters, plot 21% (7 out of 33) portrayed women as victims or as so called damsel in distress. At the same time, in 28% of these games, women were portrayed as sex objects based upon physical appearance or sexually-oriented actions. Following the discussion of female character as indicator of sexuality, most of the female characters in video games have clothing that exposed more skin than the male characters. The research also found out that the female characters appearing in gaming most likely wear low-cut clothing. About half of the female characters have bare arms and legs with big busted figure. * In essence, these female characters in video games were portrayed in a stereotypical way in which they were exaggerated by sexy attire. That leads to the exclusion of female players in video game industry.Although the number of game designed for female gamers is increasing slowly, it is crucial for both consumers and game makers to make the video games more engaging for both sexes either by changing the content of the game or by expanding the choice of games. They should be des igned in a way that they are attractive for both male and female players. Finally, the last ethical issue I want to talk about is the addiction of engaging video games. Some people spent broad amount of time playing video games and caused them to lose valuable time participating in activities which are more beneficial for them.However, video games could be considered as one of social activities because friends, siblings, and other relatives can play with it. Bibliography (not yet in proper MLA format, I will work on in for the final paper) http//evvy09. hubpages. com/hub/Video-Games-Have-Changed-the-World http//www. ethicapublishing. com/ethical/3CH12. pdf https//www. msu. edu/pengwei/Mou%26Peng_gender%20and%20racial%20stereotype. pdf http//news. bbc. co. uk/2/hi/science/nature/1295920. stm

Digital Cinema

Scott McQuire Millennial fantasies As each superstar interested in call for culture knows, the last decade has witnessed an explosion of pronouncements concerning the future of pic. manhoody argon fuelled by naked techno logical determinism, resulting in apocalyptic scenarios in which motion picture either undergoes digital rebirth to emerge much than powerful than ever in the in the buffly millennium, or is marginalised by a revolve of new media which inevitably include well-nigh kind of broadband digital pipe capable of delivering full cover charge movie theater character pictures on demand to kinfolk consumers.The fragmentiseicular that the double move ond possibility of digital renaissance or death by bytes has coincided with celebrations of the centenary of plastic impression has doubtless accentuated swear to reflect more broadly on the history of moving picture as a social and cultural institution. It has in any case intersected with a signifi providet chemise of film history, in which the profoundity of memorial as the primary category for uniting accounts of the technological, the economic and the aesthetic in film theory, has become subject to new questions.Writing in 1986 Thomas Elsaesser joined the revisionist project concerning other(a) cinema to cinemas potential demise A new interest in its beginnings is on the dotified by the very fact that we might be witnessing the end movies on the big screen could before long be the exception instead than the rule. 1 Of course, Elsaessers speculation, which was grandly driven by the deregulation of television broadcasting in Europe in conjunction with the emergence of new technologies much(prenominal) as video, argumentation and satellite in the 1980s, has been contradicted by the decade long cinema boom in the multiplexed 1990s. It has also been challenged from another direction, as the giant screen experience of long data format cinema has been rather unexpectedly tran sformed from a bit player into a prospective force. However, in the same article, Elsaesser raised another field which has continued to resonate in subsequent debates Scott McQuire, Impact Aesthetics Back to the Future in digital Cinema? , Convergence The Journal of Research into sore Media Technologies, vol. 6, no. 2, 2000, pp. 41-61. Scott McQuire. All rights reserved.Deposited to the University of Melbourne ePrints Repository with permission of Sage Publications . 2 Few histories fully amountress the question of why fib became the movement force of cinema and whether this may itself be subject to change. Today the success, of SF as a genre, or of directors like St so far Spielberg whose narratives argon simply anthology partings from basic movie p scores, suggest that narrative has to some(prenominal) extent been an excuse for the pyrotechnics of ILM. 3 Concern for the demise, if not of cinema per se, then of narrative in cinema, is widespread in the present.In the lat e(a) exceptional digital engine room issue of Screen, Sean Cubitt noted a common intuition among re knockouts, critics and scholars that something has changed in the nature of cinema something to do with the decay of familiar narrative and death penalty values in favour of the qualities of the blockbuster. 4 Lev Manovich has aligned the predominance of blockbusters with digital cinema by defining the latter almost inbuiltly in call of increased optical particular(a) printings A visible sign of this transmit is the new employment which computer generated special effectuate put one over come to play in the Hollywood industry in the last fewer years.Many upstart blockbusters nonplus been driven by special effects eating on their popularity. 5 In his analysis of Hollywoods often nervous depiction of cyberspace in films such as The Lawn Mower Man (1992), Paul Young indicates that cyberphobic films overstress the power of the visual in their reliance on digital technolog y to produce spectacle at the expense of narrative, and adds this is a consequence that Scott Bukatman has argued is latent in all special effects. A more extreme ( unanimous nevertheless common) view is expressed by film master Jean Douchet Today cinema has stipulation up the purpose and the ventureing behind individual knife thrusts and narrative, in favour of images rootless, textureless images designed to violently impress by ceaselessly inflating their spectacular qualities. 7 Spectacle, it seems, is winning the war against narrative all along the line.Even a brief statistical analysis reveals that special effects driven films fork out enjoyed capacious recent success, garnering an average of over 60% of the global revenue taken by the top 10 films from 1995-1998, compared to an average of 30% over the preceding four years. 8 Given that the proportion of box office revenue taken by the top 10 films has held steady or increased slimly in the context of a rapidly expa nding total market, this indicates that a handful of special-effects films are generating huge revenues each year. opus such figures dont offer a total picture of the film industry, let alone reveal which films which will exert lasting cultural influence, they do offer a snapshot of present-day(a) cultural bask refracted through studio marketing budgets. Coupled to the recent popularity of paracinematic forms, such as large format and special venue films, the renewed tenseness on spectacle over narrative suggests another possible end-game for 3 inema not the frequently prophesied emptying of theatres make redundant by the explosion of home-based viewing (television, video, the internet), but a transformation from within which produces a cinema no longer resembling its (narrative) self, but something quite other. Complementing these debates over possible cinematic futures is the fact that any play to spectacular film rides can also be conceived as a return whether renaissance o r regression is less clear to an in front range of film-making famously dubbed the cinema of attractiveness by Tom Gunning.Gunning long ago signalled this sense of return when he commented Clearly in some sense recent spectacle cinema has re-affirmed its roots in stimulus and carnival rides, in what might be called the Spielberg-Lucas-Coppola cinema of effects. 9 For Paul Arthur, developments in the 1990s stress the point The advent of Imax 3-D and its future prospects, in tandem with the broader strains of a New Sensationalism, provide an occasion to draw some friendships with the early history of cinema and the re current dialectic asphyxiateed by the primacy of the visual and, for lack of a better term, the sensory. 0 In what follows here, I want to further consider the loops and twists of these debates, not so often with the grand ambition of resolving them, but firstly of adding some assorted voices to the discussion particularly the voices of those involved in film turnout. 11 My pattern is not to elevate empiricism over theory, but to promote dialogue between different domains of film culture which meet all too rarely, and, in the process, to question the rather narrow terms in which digital cinema has frequently entered recent theoretical debates.Secondly, I want to consider the relation between narrative and spectacle as it is manifested in these debates. My concern is that thither seems to be a danger of confusing a number of different trajectories such as cinemas on-going efforts to demarcate its experience from that of domestic entertainment technologies, and the turn to blockbuster exploitation strategies and conflating them under the heading of digital cinema.While digital technology sure as slam intersects with, and significantly overlaps these developments, it is by no means co-extensive with them. Spectacular locomotes cinema in the digital domain Putting aside the inevitable hype about the metamorphosis of Hollywood into Cybe rwood, like many another(prenominal) others I am convinced that digital technology constitutes a profound revolution in cinema, primarily because of its capacity to shave across all 4 sectors of the industry simultaneously, affecting film production, narrative conventions and hearing experience.In this respect, the only adequate point of reference for the erudition and extent of current changes are the transformations which took place with the opening of synchronised belong in the 1920s. However, speckle the fundamental level at which change is occurring is widely blemishd, it has been discussed primarily in terms of the impact of CGI (computer-generated imaging) on the film image. A more production-oriented approach would most likely begin elsewhere with what Philip Brophy has argued is among the most overlooked aspects of film theory and critical review (both modern and postmodernist strands) gruelling. 2 A brief flick through recent articles on digital cinema confirms this neglect Manovich locates digital cinema solely in a historical lineage of moving pictures no(prenominal) of the articles in the recent Screen dossier mention sound, and even Eric Fadens Assimilating New Technologies proterozoic Cinema, Sound and Computer Imaging only uses the introduction of synchronised sound as an historical analogy for discussing the coeval effect of CGI on the film image13. While not entirely unexpected, this silence is however somewhat urprising, given the fact that digital sound technology was adopted by the film industry removed earlier and more comprehensively than was CGI. And, at to the lowest degree until the early 1990s with films like Terminator 2 (1991) and Jurassic Park (1993), the effect on audience experience was arguably far greater than was digital imaging. Dominic Case Group Services and Technology Manager at leading Australian film processor Atlab argued in 1997 I am more and more convinced that the big story about film technology as far as audiences are implicated in the past few years has been sound.Because, although you can do fancy digital things, the image remains glued to that bit of screen in seem of your eyes, and its not really any bigger But the sound has gone from one woolly sound coming from the back of the screen with roughly no frequency range or dynamic range whatsoever to something that fills the theatre in every direction with infinitely more dynamic range and frequency range. To me, thats an explosion in experience compared to what you are seeing on the screen.However, the visual bias of most film theory is so distributive that this transformation often passes unremarked. Part of the problem is that we lack the necessary conceptual armature at that place are no linkages which pull terms such as 5 aural or listener into the sort of semantic chain joining spectacle and spectator to the adjective spectacular. Film sound-mixer Ian McLoughlin notes Generally speaking, most slew are visually trained from birth. Very few people are trained to have a aural language and, as a result thither isnt much discussion about the philosophy of the sound get behind. .. There has been very, very little research done into the psycho-acoustic effects of sound and the way sound full treatment sociologically on the audience. 14 Compounding this absence is the fact that the digital revolution in sound is, in many respects, the practical realisation of changes initiated with the introduction of Dolby Stereo in 1975. (On the other hand, the fact that CGI entered a special effects terrain already substantially altered by techniques of motion control, robotics and animatronics didnt prevent critical attention to it. Four- course Dolby stereo led to a new era of sound experimentation beginning with films such as Star Wars (1977) and Close Encounters of the Third cast (1977). As renowned sound mixer Roger hazardous (whose credits include Return of the Jedi, 1983 Shine, 1996 and Romeo + Ju liet, 1996) recalls Prior to that, film sound hadnt changed for probably 30 years. It was mononucleosis Academy Star Wars was one of the first films that I can remember where people started coming out of the theatre talking about the sound underwrite. 5 While narrative sound effects such as dialogue and music were still generally concentrated in the front speakers, the surround sound speakers became the vehicles for a new range of spectacular sound effects. In particular, greater emphasis was given to boosting low frequency response, explicitly mirroring the amplified ambience of rock music. There was also greater attention given to the spatialisation of discrete sound elements within the theatre.As Rich Altman has argued, these developments presented a significant challenge to one of the fundamental precepts of untarnished Hollywood narrative the unity of sound and image and the subservience of sound effects to narrative logic Whereas Thirties film practice fostered unconsciou s visual and psychological spectator identification with characters who appear as a perfect amalgam of image and sound, the Eighties ushered in a new kind of intuitive identification, dependent on the sound systems overt ability, through bone-rattling bass and unexpected surround effects, to cause spectators to vibrate quite literally with the entire narrative space.It is thus no longer the eyes, the ears and the brain that alone initiate identification and maintain contact with a sonic 6 source instead, it is the whole body that establishes a relationship, marching to the beat of a different woofer. Where sound was once hidden behind the image in order to allow more complete identification with the image, now the sound source is flaunted, fostering a separate sonic identification contesting the limited rational draw of the image and its characters. 16 Altmans observation is significant in this context, inasmuch as it suggests that the dethroning of a certain model of narrative c inema had begun prior to the digital threshold, and well before the widespread use of CGI.It also indicates the frontline role that sound took in the film industrys initial response to the incursions of video in the 1980s the new sound of cinema was a primary point of differentiation from domestic image technologies. However, while Dolby certainly caused a new potential for dramatic sound effects, in practice most film makers remained limited by a combination of logistical and economic constraints. In this respect, the transition to digital sound has been critical in creating greater latitude for experimentation within existing budget parameters and production time frames. In terms of sound production, Roger Savage argues The main advantages in digital are the quality control, the speed and the flexibility. This is a theme which is repeated with regard to the computerisation of other areas of film making such as picture editing and CGI. ) Enhanced speed, flexibility and control st em from a reduction in the hire for physical handling and a refinement of precision in place and manipulating individual elements. In sound production, libraries of analogue taping reels each holding ten minutes of sound have given way to far more compact DAT tapes and hard drive storage. The entire production process can now often be realised on a maven digital workstation. There is no need for a separate transfer bay, and, since digital processing involves the manipulation of electronic data, there is no risk of contaminating or destroying original recordings by repeated processing.Once the sounds are catalogued, digital workstations grant random access in a fraction of a second (eliminating tape winding time), and, unlike sprocket-based sound editing, all the tracks which have been laid can be heard immediately in playback. The creative pay-off is an raise ability to add complexity and texture to soundtracks. In terms of sound reproduction, the most marked change resulting from six track digital theatre systems is im turn up stereo legal separation and frequency response which assists better music reproduction in theatres a change which goes hand in glove with the increased prominence that music and soundtracks have assumed in promoting and marketing films in recent years. 7The enhanced role of sound in cinema is even more marked for large format films which, because of their high level of visual detail, demand a correspondingly high level of audio detail. Ian McLoughlin (who, amongst many other things, shares sound mixing credits with Savage for the large-format films Africas Elephant Kingdom, 1998 and The Story of a Sydney, 1999) comments If you look at the two extremes of image technology, if you look at television, and then you look at something like Imax, the most kindle difference is the density of the sound track that is required with the size of the picture. When youre doing a TV mix, you try to be simple, bold. You cant get much in or othe rwise it just becomes a mess.With 35mm feature films youre putting in 10, 20 times more density and depth into the sound track as compared to television, and when you go to Imax, you need even more. McLoughlin also makes a significant point concerning the use (or abuse) of digital sound When digital first came out and people found that they could make a enormously loud sound tracks, everyone wanted enormously large sound tracks. Unfortunately some people who present films refractory that the alignment techniques that companies like Dolby and THX have worked out arent to their liking and they think audiences like a lot of sub-base and so they sometimes wind that up. Suddenly youve got audiences with chest cavities organism punched due to the amount of bottom end. Dolby and screen producers and screen distributors in America have actually been doing a lot of research into what they are calling the nuisance factor of loud sound tracks. Because audiences are getting turned off by o verly jarring, overly sharp, soundtracks. This comment is worth keeping in see for two reasons. Firstly, it underlines the fact that the image is by no means the only vehicle for producing cinematic affect in this sense, impact aesthetics offers a more apt description of the trajectory of contemporary cinema than spectacle. Secondly, it warns against making hasty generalisations when assessing the long-term implications of CGI.While digital imaging undoubtedly represents a significant icon shift in cinema, it is also feasible that the 1990s will eventually be seen more as a teething period of gee whizz experimentation with the new digital toolbox, which was gradually turned towards other (even more narrative) ends. (The way we now look at early sound films is instructive while contemporary audiences were fascinated by the mere 8 fact that pictures could talk, in retrospect we tend to give more weight to the way sound imposed new restrictions on television camera movement, locatio n shooting and acting style). Painting with light In contrast to the relative dearth of attention given to changes in areas such as sound and picture editing, digital manipulation of the film image has received massive publicity.While this is partly the result of deliberate studio promotion, it also reflects the profound changes in cinematic experience that computers have set in train. When we can see Sam Neil running from a herd of dinosaurs in other words, when we see cinematic images offering realistic depictions of things we know dont exist it is evident that the whole notion of photo-realism which has long been a central plank of cinematic credibility is changing. But how should this change be understood? Is it simply that live action footage can now be supplemented with CG elements which replace earlier illusionistic techniques such as optical printing, but leave cinemas unique identity as an art of recording intact? Or is a new paradigm emerging in which cinema becomes more like painting or animation?Lev Manovich has recently taken the latter position to an extreme, literary argument that, Digital cinema is a particular case of animation which uses live-action footage as one of its many elements, and concluding In retrospect, we can see that twentieth coke cinemas regime of visual realism, the result of automatically recording visual reality, was only an exception, an isolated accident in the history of visual imitation . 17 While I suspect that Manovich significantly underestimates the peculiar attractions of automatic recording (which produced what Walter Benjamin termed the photographs irreducible spark of contingency, what Barthes ontologised as the hotographic punctum), it is clear the referential bond linking camera image to physical object has come under potentially terminal pressure in the digital era. However, any consideration of realism in cinema is immediately complicated by the primacy of fictional narrative as the dominant form of fil m production and consumption. Moreover, cinema swiftly moved from adherence to the ideal of direct correspondence between image and object which lay at the heart of classical championships to photographic referentiality. cheating with the order of events, or the times, locations and settings in which they occur, is second nature to film-makers. By the time cinema came of age in the picture palace of the 1920s, a new logic of collage, shot matching and continuity had coalesced into the paradigm of 9 classical narrative, and cinematic credibility belonged more to the movement of the text rather than the photographic moment a shift Jean-Louis Commolli has neatly described in terms of a journey from purely optical to psychological realism. 18 Within this paradigm all imaginable tactics were permissible in order to imbue pro-filmic action with the stamp of cinematic authority theatrical techniques such as performance, make-up, costumes, tinder and set design were augmented by specif ically cinematic techniques such as stop motion photography and rear projection, as well as model-making and matte painting which entered the screen world via the optical printer.Given this long history of simulation, the digital threshold is perhaps best located in terms of its effect on what Stephen Prince has dubbed perceptual realism, rather than in relation to an abstract category of realism in general. Prince argues A perceptually realistic image is one which structurally corresponds to the viewers audio-visual experience of three-dimensional space Such images display a nested hierarchy of cues which organise the display of light, colour, texture, movement and sound in ways that correspond to the viewers own understanding of these phenomena in daily life. Perceptual realism, therefore, designates a relationship between the image on film and the spectator, and it can encompass both unreal images and those which are referentially realistic. Because of this, unreal images may be referentially fictional but perceptually realistic. 19I have emphasised Princes generalization of fidelity to audio-visual experience because it underlines the extent to which the aim of most computer artists working in contemporary cinema is not simply to create high block images, but to make these images look as if they might have been filmed. This includes adding various defects, such as film grain, lens flare, motion blur and edge halation. CG effects guru Scott Billups argues that film makers had to educate computer programmers to achieve this end For years we were saying Guys, you look out on the horizon and things get grayer and less crisp as they get farther away. But those were the types of naturally occurring event organises that never got written into computer programs.Theyd say Why do you want to muffle the resolution? Why do you want to blur it? . 20 10 By the 1990s many software product programs had addressed this issue. As Peter Webb (one of the developers of fl ame up) notes Flame has a lot of tools that introduce the flaws that one is trained to see. Even though we dont maintain them, there is lens flare and motion blur, and the depth of field things, and, if you dont see them, you begin to get suspicious about a shot. 21 In other words, because of the extent to which audiences have internalised the cameras qualities as the hallmark of credibility, contemporary cinema no longer aims to mime reality, but camera-reality.Recognising this shift underlines the heightened ambivalence of realism in the digital domain. The film makers ability to take the image apart at ever more minute levels is counterpointed by the spectators desire to comprehend the resulting image as realistic or, at least, equivalent to other cine-images. In some respects, this can be compared to the dialectic underlying the development of montage earlier this century, as a more abstract relation to individual shots became the basis for their reconstitution as an organic t ext. But instead of the fragmentation and re-assemblage of the image track over time, which founded the development of lassical narrative cinema and its core grammatical structures such as shot/reverse shot editing, digital technology introduces a new type of montage montage within the frame whose prototype is the real time mutation of morphing. However, while perceptual realism was achieved relatively painlessly in digital sound, the digital image proved far more laborious. Even limited attempts to marry live action with CGI, such as TRON (1982) and The Last Starfighter (1984) proved unable to sustain the first wave of enthusiasm for the computer. As one analyst observed The problem was that digital technology was both comparatively slow and prohibitively expensive. In fact, workstations capable of performing at film resolution were driven by Cray super-computers. 2 It is these practical exigencies, coupled to the aesthetic disjunction separating software programmers from film mak ers I noted above, rather than a deeply felt desire to manufacture a specifically electronic aesthetic, which seems to underlie the look of early CGI. 23 Exponential increases in computing speed, coupled to decreases in computing cost, not only launched the desktop PC revolution in the mid-1980s, but made CGI in film an entirely different matter. The second wave of CGI was signalled when Terminator 2 Judgement Day (1991) made morphing a household word. 24 two 11 years later the runaway box-office success of Jurassic Park (1993) changed the question from whether computers could be effectively used in film making to how soon this would happen. The subsequent rash of CGI-driven blockbusters, topped by the billion dollar plus gross of Camerons Titanic (1997), has confirmed the trajectory.Cameron is one of many influential players who argue that cinema is currently undergoing a fundamental transformation Were on the threshold of a moment in cinematic history that is unparalleled. Anythi ng you imagine can be done. If you can draw it, if you can describe it, we can do it. Its just a matter of cost. 25 While this claim is true at one level many tricky tasks such as depicting skin, hair and water, or integrating CGI elements into live action images shot with a hand-held camera, have now been accomplished successfully it is worth remembering that realism is a notoriously slippery goal, whether achieved via crayon, camera or computer.Dennis Murens comments on his path-breaking effects for Jurassic Park (which in fact had only 5 to 6 minutes of CGI and relied heavily on models and miniatures, as did more recent state of the art blockbusters such as The Fifth Element, 1997 and Dark City, 1998) bear repeating Maybe well look back in 10 years and notice that we left things out that we didnt know needed to be there until we developed the next version of this technology. Muren adds In the Star Wars films you saw lots of X-wings fighters blow up, but these were always little models shot with high-speed cameras. Youve never seen a real X-wing blow up, but by using CGI, you might just suddenly see what looks like a full-sized X-wing explode. It would be all fake of course, but youd see the structure inside tearing apart, the physics of this piece blowing off that piece. Then you might look back at Star Wars and say, That looks terrible. 26Clearly, George Lucas shared this sentiment, acknowledging in 1997 that Im still bugged by things I couldnt do or couldnt get right, and now I can fix them. 27 The massive returns generated by the digitally enhanced Star Wars trilogy raises the prospect of a future in which blockbuster movies are not re-made with new casts, but perpetually updated with new generations of special effects. Stop the sun, I want to get off Putting aside the still looming question of digital projection, the bottom line in the contemporary use of digital technology in cinema is undoubtedly control 12 particularly the increased control that fi lm makers have over all the different components of image and sound tracks.Depending on a films budget, the story no longer has to work around scenes which might be hard to set up physically or reproduce photo-optically they are all grist to the legions of screen jockeys working in digital post-production houses. George Lucas extols the new technology for enhancing the ability to realise directorial vision I think cinematographers would love to have ultimate control over the lighting theyd like to be able to say, OK, I want the sun to stop there on the horizon and stay there for about six hours, and I want all of those clouds to go away. Everybody wants that kind of control over the image and the storytelling process. Digital technology is just the ultimate version of that. 28A direct result of digital imaging and compositing techniques has been an explosion of films which, instead of fudging the impossible, revel in the capacity to depict it with bewitching realism Tom Cruises face can be ripped apart in real time (Interview with the Vampire, 1994), the Whitehouse can be incinerated by a fireball from above (Independence Day, 1996), New York can be drowned by a tidal wave, or smashed by a giant lizard(Deep Impact, Godzilla, 1998). But, despite Lucas enthusiasm, many are dubious about where the new primacy of special effects leaves narrative in cinema. The argument put forward by those such as Sean Cubitt and Scott Bukatman is that contemporary special effects tend to displace narrative insofar as they introduce a disjunctive temporality evocative of the sublime.Focusing on Doug Trumbulls work, Bukatman emphasises the pondering relationship completed between spectator and screen in key effects scenes (a relationship frequently mirrored by on-screen characters displaying their awe at what they and we are seeing. )29 Cubitt suggests that similar fetishistic moments occur in songs such as Diamonds are a Girls Best Friend, where narrative progress gives way to visual fascination. His ensample is drawn from a strikingly similar terrain to that which inspired Laura Mulveys well-known thesis on the tension between voyeurism and scopophilia in classical narrative cinema Mainstream film neatly combined spectacle and narrative. (Note, however, in the musical song-and-dance numbers break the flow of the diegesis).The presence of woman is an indispensable element of spectacle in normal narrative film, yet her visual presence tends to work against the development of a story line, to freeze the flow of action in moments of erotic contemplation. 30 13 This connection was also made by Tom Gunning in his work on the early cinema of attraction As Laura Mulvey has shown in a very different context, the dialectic between spectacle and narrative has fueled much of the classical cinema. 31 In this respect, a key point to draw from both Mulvey and Gunning is to recognize that they dont conceive the relationship between spectacle and narrative in terms of opposition but dialectical tension. 32 This is something that other writers have sometimes forgotten.Presenting the issue in terms of an opposition (spectacle versus narrative) in fact recycles positions which have been consistently articulated (and regularly reversed) throughout the century. In the 1920s, avant-garde film makers railed against narrative because it was associated primarily with literary and theatrical scenarios at the expense of cinematic qualities (Gunning begins his Cinema of Attraction essay with just such a quote from Fernand Leger). Similar concerns emerged with debates in France over auteur theory in the 1950s, where the literary qualities of script were opposed to the properly cinematic qualities of mise-en-scene.In the 1970s, the refusal of narrative which characterised much Screen theory of the period, took on radical governmental connotations. Perhaps as a reaction to the extremity of pronouncements by those such as Peter Gidal, there has been a widesprea d restoration of narrative qualities as a filmic good object in the present. However, rather than attempting to resolve this split in favour of one side or the other, the more salient need is to examine their irreducible intertwining what sort of stories are beingness told, and what sort of spectacles are being deployed in their telling? While it is easy to lament the quality of story-telling in contemporary blockbusters, few critics seriously maintain that such films are without narrative.A more productive framework is to analyse why explicitly mythological films such as the Star Wars cycle have been able to grip popular imagination at this particular historical conjuncture, marrying the bare bones of fairy-tale narrative structures to the ingraining of a specific type of special effects driven viewing experience. (To some extent, ths is Bukatmans approach in his analysis of special effects). In this context, it is also worth remembering that, despite the quite profound transform ations set in train by the use of digital technology in film making, there has thus far been little discernible effect on narrative in terms of structure or genre. The flirtation with non-linear and interactive films was a shooting star which came and went with the CD-ROM, while most contemporary blockbusters conform smoothly to established cine-genres (sci-fi, horror, disaster and action- 14 dventure predominating), with a significant number being direct re-makes of one-time(a) films done better in the digital domain. One of the more interesting observations about possible trends in the industry is put forward by jam Cameron, who has argued that digital technology has the potential to free film makers from the constraints of the A and B picture hierarchy In the 40s you either had a movie star or you had a B-movie. Now you can create an A-level movie with some kind of visual spectacle, where you cast good actors, but you dont need an Arnold or a Sly or a Bruce or a Kevin to make i t a viable film. 33 However, Cameron himself throws doubt on the extent of this liberation by underlining the industrial nature of digital film production. 4 In practice, any film with the budget to produce a large number of cutting edge special effects shots is inevitably sold around star participation, as well as spectacle (as were films such as The Robe, 1953 and Ben Hur, 1926). This point about the intertwining of narrative and spectacle is re-inforced if we look at developments in large-format film, an area frequently wizardd out for its over-dependence on screen spectacle to compensate for notoriously boring educational narrative formats. Large-format (LF) cinema is currently in the throes of a significant transformation The number of screens worldwide has exploded in the last four years (between 1995 and January 1999, the global LF circuit grew from 165 to 263 theatres. By January 2001, another hundred and one theatres are due to open, taking the total to 364, an increase of 120% in 6 years).More significantly, the majority of new screens are being run by commercial operators rather than institutions such as science museums. These new exhibition opportunities, coupled to the box-office returns generated by films such as Everest (the 15th highest grossing film in the USA in 1998, despite appearing on only 32 screens) has created significant momentum in the sector for the production of LF films capable of attracting broader audiences. For some producers, this means attempting to transfer the narrative devices of dramatic feature films onto the giant screen, while others argue that the peculiarities of the medium means that LF needs to stick with its proven documentary subjects.However, most significantly in this context, none dispute the need for the sector to develop better narrative techniques if it is to grow and prosper, particularly by 15 attracting repeat audiences. In many respects, the LF sector is currently in a similar position to cinema in the 1900s, with people going to see the apparatus rather than a specific film, and the experience being advertised largely on this basis. While it would be simplistic to see current attempts to improve the narrative credentials of LF films as a faithful repetition of the path that 35mm cinema took earlier this century, since most production is likely to remain documentary-oriented, it would be equally as foolish to ignore the cultural and commercial imperatives which still converge around telling a good story. 5 Distraction and the politics of spectacle Despite the current rash of digitally-inspired predictions, narrative in film is unlikely to succumb to technological obsolescence. But nor will spectacle be vanquished by a miraculous resurgence of quality stories. A corollary of a dialectical initiation of the interrelationship between narrative and spectacle is that neither should be seen simply as good or bad objects in themselves. For Mulvey, spectacle (exemplified by close-ups w hich turn womans face and body into a fetish), as well as the more voyeuristic strategy of narrative, were both attuned to the anxious imagination of patriarchal culture in classical cinema.Both were techniques for negotiating the threat of castration raised by the image of woman, an image classical cinema simultaneously desired and sought to circumscribe or punish. Nevertheless, even within this heavily constrained context, spectacle could also assume a radical get going by interrupting the smooth functioning of narrative, disturbing the rules of identification and the systematic institution of the look within the text. (This is the gist of her comparison between the films of von Sternberg, which privilege a fetish image of Dietrich over narrative progress, and those of Hitchcock which more closely align the viewer with the male protagonist). Can spectacle still exert a progressive function in contemporary cinema?While most critics answer this question negatively without even pos ing it, Paul Young is unusual in granting a measure of radical effect to the renewed primacy of spectacle. Young draws on Miriam Hansens account of the productive ambiguity of early cinema, in which the lack of standardised modes of exhibition, coupled to reliance on individual attractions, gave audiences a relative freedom to interpret what they saw, and established cinema as (potentially) an alternative public sphere. He takes this as support for his argument that contemporary spectacle cinema constitutes an emergent challenge to Hollywoods institutional identity. 36 16 Youngs analysis contrasts markedly with Gunnings earlier description of the cinema of effects as tamed attractions. 7 Nevertheless both share some common ground Youngs reference to the productive ambiguity of early cinema, like Gunnings rather oblique and undeveloped reference to the primal power of attraction, draws nourishment from Siegfried Kracauers early writings on the concept of mismanagement. In the 1920s, Kracauer set up bewitchery as a counterpoint to contemplation as a privileged mode of audience reception, seeing it as embodying a challenge to bourgeois taste for literary-theatrical narrative forms, and also as the most compelling mode of presentation to the cinema audience of their own disjointed and fragmented conditions of existence. 38 While distraction persisted as a category used by Walter Benjamin in his Artwork essay of the mid1930s, by the 1940s Kracauer seemed to have revised his position.As Elsaesser has pointed out, this re-appraisal was at least partly a re-assessment of the productive ambiguity which had characterised social spaces such as cinema by the 1940s distraction and spectacle had been consolidated into socially dominant forms epitomised by Hollywood on the one hand and fascism on the other. 39 If Kracauers faith that the 1920s audience could symptomatically encounter its own reality via the footling glamour of movie stars rather than the putative substanc e of the eras high culture was already shaken by the 1940s, what would he make of the post-pop art, postmodern 1990s? The extent to which surface elements of popular culture have been esthetically legitimated without any significant transformation of corresponding political and economic values suggests the enormous difficulties facing those trying to utilise spectacle as a progressive element in contemporary culture. However, it is equally important to acknowledge that this problem cannot be obstinate simply by appealing to narrative as an antidote. While the terms remain so monolithic, the debate will not progress beyond generalities. In this respect, Kracauers work still offers some important lessons to consider in the present. Here, by way of conclusion, I want to sketch out a few possible lines of inquiry. On the one hand, his concept of the mass ornament indicates that any turn, or return, to spectacle in cinema needs to be situated in a wider social context. 0 Spectacle is no t simply a matter of screen image, but constitutes a social relation indexed by the screen (something Guy Debord underlined in the 1960s). Developments in contemporary cinema need to be related to a number of other trajectories, including cinemas on-going endeavours to distinguish its experience 17 from that of home entertainment, as well as the proliferation of spectacle in social arenas as diverse as sport (the Olympic games), politics (the dominance of the cult of personality in all political systems) and war (the proto-typical media-event). On the other hand, the specific forms of spectacle mobilised in contemporary cinema need to be examined for the extent to which they might reveal (in Kracauers terms) the underlying meaning of existing conditions.Kracauers analysis of cinema in the 1920s situated the popularity of a certain structure of viewing experience in relation to the rise of a new class (the white collar worker). In contemporary terms, I would argue that the relevant t ransformation is the process of globalization. While this is a complex, heterogeneous and uneven phenomenon, a relevant aspect to consider here is Hollywoods increasing reliance on oversea markets, both for revenue, and, more importantly, for growth. 41 In this context, the growing imperative for films to translate easily to all corners and cultures of the world is answered by building films around spectacular action setpieces. Equally as ignificantly, the predominant themes of recent special effects cinema the destruction of the city and the mutation or dismemberment of the human body are symptomatic of the underlying tensions of globalisation, tensions exemplified by widespread ambivalence towards the socio-political effects of speed and the new spatio-temporal matrices such as cyberspace. 42 The most important cinematic manifestations of these anxious fascinations are not realised at the level of narrative content (although they occasionally make themselves felt there), but appe ar symptomatically in the structure of contemporary viewing experience. The repetition of awe and astonishment repeatedly evoked by impossible images as the currency of todays cutting edge cinema undoubtedly functions to prepare us for the uncertain pleasures of living in a world we suspect we will soon no longer recognise it is not simply realism but reality which is mutating in the era of digital economy and the Human Genome Project.If this turn to spectacle is, in some respects, comparable to the role played by early cinema in negotiating the new social spaces which emerged in the industrial city remade by factories and department stores, electrification and dynamic vehicles, it also underscores the fact that the death of camera realism in the late twentieth century is a complex psycho-social process, not least because photo-realism was always less an aesthetic function than a deeply embedded social and political relation. 43 18 Finally, I would argue that it is important not to subsume all these filmic headings under the single rubric of digital. There is a need to acknowledge, firstly, that digital technology is used far more widely in the film industry than for the production of blockbusters and special effects (for example, it is the new industry standard in areas such as sound production and picture editing).Moreover, as Elsaesser has argued recently, technology is not the driving force In each case, digitisation is somewhere, but it is not what regulates the system, whose logic is commercial, entrepreneurial and capitalist-industrialist44 What the digital threshold has enabled is the realignment of cinema in union with new demands, such as blockbuster marketing blitzes constructed around a few spectacular image sequences of the kind that propelled Independence Day to an US$800m gross. It has rejuvenated cinemas capacity to set aesthetic agendas, and, at the same time, restored its status as a key player in contemporary political economy. In this cont ext, one aspect of the digital threshold deserves further attention. In the 1990s, product merchandising has become an increasingly important part of financing the globalised film industry.While some would date this from Star Wars, Jurassic Park offers a more relevant point of reference for the first time, audiences could see on screen, as an integral part of the filmic diegesis, the same commodities they could purchase in the cinema foyer. As Lucie Fjeldstad (then head of IBMs multimedia division) remarked at the time (1993) Digital content is a return-on-assets goldmine, because once you create Terminator 3, the character, it can be used in movies, in theme-park rides, videogames, books, educational products. 45 Digital convergence is enacted not simply in the journey from large screen to small screen the same parameters used in designing CG characters for a film can easily be transmitted to off-shore factories manufacturing plastic toys.

Food Presentation

As we all know, food is essential to our daily lives because it gives us the energy and nutrients that we need especially when we prepared it right. So our professor gave us a task to prepare a meal (good for six persons) that follows the guidelines of the Food Pyramid. During our brainstorming, many ideas came up to our minds. But we came up to a point that we should have criteria in choosing the right meal. It should be healthy, satisfying, and of course it impart not cost us too much.After exchanging ideas, we finally decided that we provide be having Crab and corn whiskey soup as the appetizer, Chicken Curry for the main dish, Saging Con Yelo for the dessert, iced tea (Apple flavor) for the drinks and Apple for the side dish. After the discussion, the free radical leader assigned the task and congeal the time and place for the next meeting. I was assigned to prepare the list of ingredients that will be used for the readying. When my group mates and I meet again, everybody w as aflame especially me because we will be grease ones palmsing the ingredients that we need for the food presentation.Its already been a long time since I last go to a market and I really dont know how to choose from whats fresh or not and to buy or not to buy so I asked my group mates to teach me the basics in buying fresh vegetables, meats and fruits. Luckily, Florevil knows approximatelything about cooking so we didnt had a grueling time dealing with it. Since me and some of my group mates dont know how to cook, we are assigned to prepare the ingredients and make sure everything is ready. While Florevil is cooking the meal, I watched every step of it so I can cook it at our house when my mom is not around.As the meal is almost done, some of my group mates prepared the dessert and the side dish, some prepared the table and set it in a presentable way and some called the guests who will taste the meal that we prepared. I couldnt resist myself to eat when I smelled the Chicken Curry but I have to because we should serve the guests first. By the way, it is my positron emission tomography dish After the guests tasted our meal, they gave us comments. The food is well presented and the main dish and the dessert are delicious.But the appetizer is too salty and didnt go well with the main dish and dessert. Good thing we had apples as our back up to the salty appetizer we cooked. The presentation ended. We cleaned our mess and had a last group meeting to discuss the positive and negative comments of the guests. We accepted the criticisms given by the guests whole heartedly for us to learn from it and to improve more the next time we will have an activity like this. We can also apply the knowledge that we have learned from this activity and use it for the future.

Contrasting “Conflict in Things Fall Apart” and “Heart of Darkness” Essay

meat of Darkness by Josef Conrad and Things Fall Apart by Chinua Achebe are two novels that are pen to pass a statement. more or less(prenominal) are meant to stir the emotions of the reader, whether those emotions be anger, hope, frustration, joy, despair, or enlightenment. Both novels take place in the same location and same era period and involve the same groups of people. Both novels depict European imperialism in the Afri drive out Congo in the 1800s. The obvious distinction between the two is that Heart of Darkness tells a tale from the European point of overtake while Things Fall Apart tells peerless from the Native African Tribe point of view.Both authors use extremely well developed characters to manifest and exhibit controversies and bring to light critical aspects of human nature and propensity. Both authors use conflict of various types to ascertain an overall theme. Although the novels use similar settings in the expression of their ideas, the underlying themes Conrad and Achebe choose to focus on are very different. Chiefly, the ultimate conflict in Heart of Darkness is one of Man vs. Himself, while the ultimate conflict in Things Fall Apart is one of Man vs. Man.To begin, some(prenominal) Conrad and Achebe wish to make statements on the negative consequences of Imperialism with their novels, but choose to emphasize completely unrelated and extremely different issues. In Heart of Darkness, the conflict has to do with the destructive consequences of the self-discovery and versed turmoil that goes with segregation from society in an untamed, ruthless, savage place such as the African Congo. Years of life in the jungle drove the shiny Kurtz to near insanitythe wilderness had found him out early, and had taken on him a terrible vengeance for the fantastic invasion. I think it had whispered things to him close to himself which he did not know, things of which he had no conception till he took council with this great solitude (98). For Marl ow, the dark and hollow core inside himself and all creation is also exposed during his conquest into the unfamiliar land, and he too comes very close to being pushed into insanity by his realizations The most you can hope from it is some know conductge of yourself that comes too late a crop ofinextinguishable regrets Since I had peeped over the edge myself, I understand better the meaning of his view he had made that last stride, he had stepped over the edge, while I had been permitted to draw back my hesitating foot (119).Obviously, Conrad chose to focus his novel not on the conflicts that arise between people in societies that try to impose on each other, but rather how a new environment and point of view can lead to self-discovery and internal conflict within oneself. On the other hand, Achebes obvious focus was on the falling apart of a acculturation that can occur with a more powerful cultures abrupt influence. He emphisizes throughout his novel many directly contrasting aspects of European society and the Ibo people, and the conflict this causes both between the two group and among the Ibo people themselves. As the wise Obierka observes, he the white man has put a knife on the things that hold us the Ibo people together and we have fallen apart. The use of the words he and we implies that the conflict exists between individuals between whites and blacks, Europeans and natives, believers and non-believers, loyalists and traitors.More specifically, one can observe the trials of the two novels main characters. Both main characters are tragic heroes and develop such dreadful internal conflict that in the end both are led to destruction, this conflict is rooted very differently for each of them. In Heart of Darkness, inner station manager Kurtz is found by Marlow in a state of essential insanity an intellectual and economic genius turned delusional, raving, fanatical, and savage. As Marlow explains, Kurtzs intelligence was perfectly clear and concentrat ed, it is true, upon himself with horrible intensity, to that extent clear his soul was mad. Being alone in the wilderness, it had looked within itself, and, by heavens I tell you, it had gone mad (113). Kurtzs downfall was one that had developed from within himself. In Things Fall Apart, former tribal leader and respected warrior Okonkwo ends up losing the admiration of his people and eventually hanging himself. The self-loathing hopelessness that led to his suicide came primarily from the discord that had developed between himself and the people of his tribe and the hostility of the whites.

Do new dependency theories overcome the weaknesses of classical dependency theories?

IntroductionOver the centurys, frugal exploitation theorist afford frame up forward various cases for explaining the under unquestion equal to(p)-ness of countries in the Third domain of a function. However, with sociological surmisal abide bys reflections and despite lasting a large(p) deal of time in the framework of the international sphere, classical dependance has been subdue mattered to a barrage of critical review on theoretical, empirical, methodological, and stylistic grounds. In this essay, it is my aim to analyse the criticism put forwards while at the same time determining whether or not the modification by new habituation theorists have overcome these flaws.Before doing so we must inaugur on the wholey acquaint ourselves with the origins of the habituation theory, first formulated in the late 1950s under the guidance of the Director of the United Nations Economic Commission for Latin America, Raul Prebisch. The second part of this essay testament pr ovide an analytic account of Paul Baran and Andre Gunder wieners classical studies of colony theory, touching at their gen sequencel linear perspectives and adaptation to Marxism.Once this has been achieve, the one-third and final part of this essay aims to draw out the criticism that have been put forward on classical colony studies while looking at new settlement theorist Fernando Henrique Cardoso, Stephan M. Haggard and Thomas B. Gold perspectives. This will allow me to conclude how advanced new dependence studies ar in overcoming the flaws of the classical settlement studies. Origins of dependence Theories Given the m any interpretations given to habituation, how tail star capture the concept of dependency in a concise manner?Dos Santos, defines it as a historical condition that shapes a certain structure of the innovation economy such that it favours some countries to the suffering of another(prenominal)s, and limits the development possibilities of the subordin ate economies. (SO, A, Y. 1990 99) Whereas liberals (mainstream economists) define underdevelopment as a condition in which countries mother themselves in, depedentistas see it as a process in which less unquestionable nations are trapped because of the relation backship between the developed and develop countries in the foundation economy. (SANCHEZ, O.2003)However, it can be agreed that dependency theory is not a socio sparing relation that just occurs, it is developed historically with capitalisms power-relations between the first world and the third world. In order to understand dependency theory, we first need to place the model in historical context by examining its origins. Emerging in the late 1940s against the development theory of modernization which examined development from the point of view of the United States and other Western Countries, The settlement Theory took the go about of viewing development from a Third World perspective.According to Blomsorm and Hettn e, the dependency theory represents the voices from the periphery. (Blomsorm, M, Hettne, B. 1984) addiction theory arose out of central and south America in the 1960s and 1970s, but was part of a big movement that was asking a lot of questions about international relations at the time. One of those questions was why are so many countries not developing? The traditional answer to this question was that these countries are not perusing the right economic policies or the governments are authoritarian or corrupt.However, dependency theorists wanted to find out if that was all at that place was to it, which lead them to argue that countries were not developing around the world collectable to international division of labour, class distinction and global capitalism. The diagram above (Wikimedia commons, 2008) is a clear pillow slip of what dependency theorist meant when they argue that there are a number of different kinds of states in the world which all form a different funtion in the worlds economy. First you have the nub states are the most richest and powerful (e.g Europe and North America).These states dominate in basis of industry and engineering and as a result the semi-periphey and periphery states (e. g Latin America and South Africa), who are characterised by resource extr execution economy, argiculture business and providing cheap labour, serve the economic intrest of the richest countires. addiction theory became touristy as a criticism of modernization theory (also kn induce as development theory) which seemed to be failing out-of-pocket to the continued widespread poverty of large parts of the world.This whitethorn be because modernisation theory nevertheless offers an knowledgeable explanation of Third world development. For example, it assumes that there is something wrong inside Third world countries- such as traditional culture, overpopulation, little investment, or lack of achievement motivation- and this is why Third world countrie s are backrestward and stagnant. (So, A, Y. 1990 92) The theory believes in order for third world countries to reach modernity they need to look up to western countries as mentors and follow western paths of development.However, dependency theorists argue that this is impossible to do so because of colonialism. The colonial bonk has totally restructured Third world countries and has drastically altered their paths of development (So, A, Y. 1990. 96) Looking back at liberal reformer Prebisch and the ECLA strategy of protectionism and industrialization, he believed, in order to put an end to all problems of development, poorer countries should embark on programs of import substitution so that they need not purchase the manufactured products from the richer countries.The poorer countries would unchanging sell their primary products on the world market, but their foreign exchange reserves would not be used to purchase their manufactures from abroad. (Larrain, J, 1989110) However, thi s was not as straight forward as anticipated, because if a poorer nation makes any attempt to resist against the power of the rich nations they may have to face multitude force or economic sanctions.Developed nations actively keep developing nations in a subservient position, often by dint of economic force by instituting sanctions, or by proscribing free employment policies attached to loans granted by the World Bank or International M unitarytary Fund. (WiseGeek, 2003) Despite the failure of Prebisch international trade theory, it is undoubtable that it provided the dependency theory with the support that it needed, and showed some semblance of what dependence means in this type of economic formation. (Moses, D, 2012)In a nutshell, Development and Underdevelopment are two sides of the same coin. Wealthy nations of the world need a circumferential group of poorer states in order to remain wealthy. Using a variety of political economic interventions as tumesce as media, educat ion systems and interventional sporting events wealthy nations control poorer nations, making them dependent. And it is in their best stake to keep the poorer nations poor by using Ha-Joon Chang metaphor kicking the developing ladder away so that they can continue to steal the poors natural wealth and exploit their workers.Latin America was asked to bewilder food, raw materials for the great industrial center, and in return, Latin America would receive industrial goods from these centers. (So, A, Y. 199093) Classical Dependency Theory In this next section we will examine Neo-Marxist theorists Paul Baran (19101964) and Andre Gunder candids (19292005) who developed dependency theory from Marxian abstract.The dependency theory is rooted in a Marxism analysis of the global economy and as a direct challenge to the free market economic policies of the post-War era (Ferraro, V, 2008) In The Communist Manifesto, Marx argued within the capitalist economy the bourgeoisie mercilessly explo ited the proletariat. He recognised that the work carried out by the proletariat created great wealth for the capitalist. The products created in the factory (the material ending of the workers labour) were sold for more than the value of the labour itself i. e. more than the workers wages.Like Karl Marx (18181883), Baran and Frank argued a similar exploitative system of stratification between countries. Usage of Marxist ideology can be seen as strength of the dependency theory as led the way to other neo-Marxist investigations of the linkage and possible reconciliation between Dependency Theory and Marxism. Paul A Baran Baran is the first author within the theory of imperialism who studies the class structures and economic processes of underdevelop countries, but more importantly, he was the first Marxist author who puts in doubt the homogeneous world of world capitalism.(Larrain, J, 198980)Baran believed imperialism had penetrated underdevelop countries, destroying earlier soc ial formations and distorting their subsequent development, creating lasting conditions of dependency. Underdeveloped countries were systematically subordinated to the developed countries in the international division of labour. However, Baran was not the first to make such arguments. Traces of such views of imperialism can be nominate in Marxism.if it were not for the distorting effects of imperialism, the country that is more developed industrially would have shown to the less developed the image of its own future (Foster, J, 2007) Barans Political Economy of Growth argued that Third world countries were characterized by small industrial sectors and large agricultural sectors, which was not immensely profitable on world a scale. He emphasized class relations and their impact on utilization of economic surplus, as advantageously as the distribution of power as primary barriers which prevented development.He espoused that internal conditions were the source of the major problems i n underdeveloped countries, and recommended state intervention to promote nationally controlled industrialization as a precondition for evolution of other industrial sectors. (TheDevelopmentStudent, 2010) Barans uses his take away of India as an example of a country which would have developed such(prenominal) better had it not been for the surplus torn from it by Britain. In his study he traced how British colonialism contributed to the underdevelopment of India through plundering, deindustrialisation, and the uprooting of the local society.(So, A, Y. 1990111)Although, Baran agrees with Marx that one should not idealise Indias pre-Britain past, he maintains that at the same time, I should not be overlooked that India, if left to herself, might have found in the course of time a shorter and surely less tortuous road towards a better and richer society (Larrain, J, 198986) This study can be highlighted as a powerful insight of the classical dependency theories which has directed res earchers to examine the process by which foreign domination had shaped the development of Third World countries.(So, A, Y. 1990129)Overall, the work of Paul Baran can be considered a real important landmark in the refurbishing of the theory of imperialism after the Second World War. He introduced such crucial changes to it that it is possible to argue that his contribution is the hinge which joins or articulate the theory of imperialism with, and attach the beginning of dependency theory. (Larrain, J, 1989115) Andre Gunder Frank Andre Gunder Frank was one of the key figures under the Dependency Theory as well as the first to write in English.In his most influential writings The Development of Underdevelopment (1969) Frank drew inspiration from Paul Baran, focusing upon the dependent character of encircling(prenominal) Latin American economies, and was able to conceptualise Barans notions in terms of a capitalist world system of metropolitan and orbiter areas. Metropolitans are c ountries that are considered as the colonizers or developed countries and the satellites on the other hand are the colonies and considered underdeveloped countries.Satellites supply cheap primary commodities to the rich countries that and so use the raw materials to produce specialized good, and then send them back to the satellites for profit. Frank argues that this metropolished-satellite relationship is only in existence to serve the interests of the metropoles which take emolument of this global, national, and local structure to promote their own development and the enrichment of their ruling classes (Moses, D, 2012.)He argues that the reason why LDCs are getting poorer is because the exploitation it experiences from the DCs such as extracting raw materials from the LDCs while the DCs manufacture, deliver and sell the final product to LDCs with a price hitting the ceiling. In his famous writing entitled as Dependency theory claims that the relation of imperialism and dominati on trapped poor nations at the bottom of the global economy.(Larrain, J, 1989115)Frank purposed four hypotheses, one being the satellites experience their greatest economic development and especially their most classically capitalist industrial development if and when their ties to their metropolis are weakest (So, A, Y. 199098) Therefore, his solution to the problem was that Third world countries de-link themselves from the world market, allowing them the opportunity to develop instead of distributing their own resources to the metropoles.However, as stated previous, due to military force or economic sanctions this may not be possible. By escalating Barans views and adapting them to the analysis of the Latin American situation, Franks idea that capitalism grow from Europe and managed to incorporate the whole world in a single international system, quickly became well known all over the academic world and gave intellectual currency to dependency theory.Critique of classical depende ncy studies and modification by new dependency theorist The dependency perspective seems to have been particularly popular during the 1960s, but based on the classical dependency theories outlined above, it has since lost some of its attraction and has been the subject of a great deal of criticism since the 1970s. Firstly, it can be claimed that dependency theory itself was betrayed by the very formulation of its name. Many critics argue that it is not a theory, but can more accurately be conceived of as an approach to the study of underdevelopment.In fact, new dependency theorists such as Cardoso objected to the term theory to describe it. He believed it is an overarching framework within which one might formulate proper(postnominal) hypotheses/theories, a methodology for the analysis of cover situations of dependency. It did not predict determinate, discrete outcomes. Rather, it sought to provide a new perspective from which to examine the problematique of economic retrograden ess. (Cardoso, F, H. 197715) For many social scientists the methodological faults of the approach were too obvious to ignore.As stated earlier, the dependency theory arose as a critique of the modernisation theory. However, the modernisation school fought back, characterising the dependency perspective as a propaganda dissolve of Marxist revolutionary ideology. Instead of providing a scientific analysis of what has actually happened in third world countries, the concept of dependency has become an all-purpose explanation for everything that is wrong with third world countries (So, A, Y. 1990131) Another methodological criticism was that classical theorist Baran and Frank committed a major error of treating all peripheral areas as if they were the same.Fernando, H, Cardoso is usually singled out as the key figure of the new dependency studies. Unlike the oecumenic analysis of the classical dependency school, Cardosos methodology is historical-structural. (So, A, Y. 1990135) Therefo re, he paid more attention to historically specific situations of dependency than classical theorist Baran and Frank. In this work, Cardoso pointed out that the shift from the Brazilian populist regime to military regime was represented as the pursuing of a new model of associated-dependent development in Brazil.He added that there were many new activities, which has been done by military regime in Brazil. Goertzel (1999) suggests that Cardosos succeeder has come not because he has had a better theory but because he has always kept one question at the center of his thinking What will happen if society selects one course of action over another? To answer this question, he has focused on the sociology of the historical conjuncture rather than on command theory (Goertzel, T.1999182)However, Cardoso work too received much criticism for his esoteric style of writing. One scholar, assessing Cardoso and Falettos Dependency and Development, decries the authors ornately Hegelian style wh ich is held to be partly responsible for the confusing and even contradictory contentedness of dependency theory (Staniland, M. 1985134). However, Cardoso himself admitted that if there have been so many distortions in the consumption of dependency theory, it is because the pilot production was not clear regarding several points (Cardoso, F, H.1977, 17).Dependency theorist overemphasised the factor of external conditions, and neglected the role of internal dynamics such as class conflicts and the state. Petras (1982) indicated that to conceptualise the issues of the Third World in terms of dependency is to lose sight of the most decisive processes class formation and social relations which go change and the particular configurations of social forces which emerge on a world scale. (Petras, J.1982148)New dependency theorist Cardoso overcame this weakness by focusing on the internal structures of dependency. According to Alvin Y. So Cardoso is more interested in analysing the socio- political aspect of dependency, especially class struggles, group conflict, and political movements (So, A, Y. 1990136) Classical dependency theorists have become subject to criticised on policy implication. The dependency perspective emphasizes the harmful effects of colonialism and international division of labor.But in fact, the success of countries such as India, south Korea and Taiwan have proven this idea wrong, especially Barans study on colonialism who once believed India moved backwards, from a relatively advanced industrial nation to a backward agricultural nation with the belief that it would never escape the British rule and develop again. Dependency may not lead to underdevelopment and as such periphery countries move from underdevelopment to becoming serious economic heavyweights it can be used to argue against the theory.Unlike classical dependency theorist (e. g.Landberg) who portray the miracle of East Asian development as manufacturing imperialism New dependency th eorist Thomas B Gold (1986) uses the concept of dynamic dependency in his study of Taiwans development. Taiwans starting point of development was in most ways very similar of that of Latin American countries. Like other colonial governments, the Nipponese implanted a structure of dependent capitalism in Taiwan and skewed the economy to the production of two primary good (rice and sugar). Gold believed that Taiwan was undeniably restructured by Japan, it was not underdeveloped.Soon after World War 2 Taiwan broke free from the Japanese colonial rule and have deliver the goods rapid economic development. (So, A, Y. 1990158) Therefore this rejects classical dependent theorists assumption that this is impossible for a country to develop if it has experienced colonialism. Furthermore, determinism also burdens dependency with what Stephan Haggard has called the structuralist paradox. The model was outlined to help hear the international constraints associated with certain development pa ths in order to overcome them.However, dependency does not allow for the hypothesis that particular state strategies may act to reduce those international constraints. (Haggard, S. 1990 21) In response to this new dependency theorist such as Cardoso view dependency as an open-ended process. Unlike classical predictions of simplex trend of underdevelopment in Third World countries He argues that there can be development and dependency and that there exist more dynamic forms of dependence than those characterising enclave or quasi-colonial situations (So, A, Y.1990137)Even though the new dependency perspective has modified some of the classical dependency perspective, they still share the same concept such as focus research is Third world countries, national level of analysis, and center periphery dependency. According to Larrain Dependency analyses share similar interests in studying the situation of peripheral capitalist countries from the point of view of the teach effects whic h external forces and structures produce on the internal structures of these countries (Larrain, J. 1989 112) ConclusionIn conclusion this essay has demonstrated an overall spirit of dependency theory, by originating back into the 1940s where it all began, following up to its relevance in like a shot world. As well as the strengths of the theory, the essay has discussed the ways in which dependency has been subjected to a barrage of criticism on theoretical, empirical, methodological, and stylistic grounds. Furthermore it has researched and demonstrated how new dependency theorists have modified classical dependency studies in order to overcome their weaknesses.Overall I feel that Cardosos analysis in more sophisticated than the classical dependency studies. His work has added the lack of explanation in the classical work it has improved on many of its criticisms and emphasizes broader explanation on what happen in the third world. I also believe that Cardosos research, along with Golds study of Taiwans, has shaped the direction of empirical studies in the dependency school and started a whole new investigation on dependent development in the third world.