Bartholomew Fair

The Bartholomew Fair is one of the best plays that have been acted in London and which have lasted in the industry for more than a century due to its captivity and meaning in terms of performance and execution. In this fair trade, sellers at various points in the play are presented in a way that indicates the self-willing for achievement. During that time, the display of items and belongings was never restricted to just hawking. The hawking at various stalls was different in the essence that some used closed doors to present their wares (Harrison, pg90). Some of the sellers are dependent on the customer’s basic requirements and this allows them to sell more wares and interesting prices for each ware. According to the current day fair, the market situation involves the use of words and more than enough terminologies to invite customers into the various stalls. Advertising and aggressive use of posters are the current trends which make it possible to have as many invites as possible to the stalls. The use of specific methods to advertise the wares is practically immeasurable in the current day situation since there are numerous inventions according to times.

Bartholomew Fair is one that looks ever busy but suspicious in terms of how people conduct their businesses around this place. All the players of the sellers are involved in their own businesses and no one seems to be bothered by the acts of the other person except the justice who does want to know another person’s affairs. Overdo goes and seeks out some criminals (Jonson and Alexander, pg89). Justice Overdo does not seem to have an understanding that one is supposed to mind his or her own business but still wants to record some information regarding the crew that just entered into a close by the stall. Some aspects of hard work are also factual at Bartholomew Fair as many people seem to be busy with their daily lives in their stalls. Ursula a dealer in pig and beer is always busy and many times does not listen to what other people are saying since he is in deep thoughts about his business (Jonson and Alexander, pg77). Being a hard worker pays according to Bartholomew Fair market.  Beer and Pig seem to be the order of the day at Bartholomew Fair and also a joint for many people. This can be associated with the fact that it is a township that is popular and concentrated on its own according to the type of activity being done. Most people stop at this particular joint to refresh and enjoy some meals and leisure time activities while others stock in wares for sale. Some aspects of being possessive also present themselves in Bartholomew Fair. I will sit here to see my business (Jonson and Alexander, pg80). This is to ensure that nothing goes against the expectations of Knockem who is a horse trader in Bartholomew Fair. This stimulates the ideology of being possessive and protective of the activities of the business full time.

Current-day fair involves the use of technology and other cheap and faster ways of making the business thrive. Throughout the selling and buying, assorted materials are always in the picture for making sure that the business is successful accordingly. Having a particular booth like the one at Jonson’s play is not a trend since there are more players in the market (Harrison, pg93). The current-day fair involves many participants with either similar or differentiated material for the business. For successful operations, looking for options in the line of business creates chances for many business related opportunities.

Works cited

Harrison, Tom. "Taking Liberties: The Influence of the Architectural and Ideological Space of the Hope Theatre on Jonson's Bartholomew Fair." Ben Jonson Journal 24.1 (2017): 73-95.

Jonson, Ben, and Alexander Leggatt. Bartholomew Fair. , 2014. Internet resource.

Masson, Gaëtan. "Overview of current market trends for PV systems." International Energy Agency Solar Electricity Roadmap Workshop, Paris, France. 2014.  

The Korean Cinema

Introduction

South Korea can be termed as one of the nations that are the front line in terms of central domestic market share in local production.  Korean cinema is dated in 1945 during the liberation of Korea (Berry & Luke 1).  The film industry in this state has grown extensively over the past decades.  Korean movies have gained public awareness in their local market as well as global recognition where they have won prominent prizes during film event (Berry & Luke 2). During the 1980s, the Korean cinema industry was still under the strict regime suppression and screen quotas, which led to its downfall and almost ended it. However, the industry has surpassed all odds and transitioned from propaganda to award winning of the Golfen Lion award during the Venice festival (Berry & Luke 7).  This paper will discuss South Korean cinema industry, which is intertwined with the complex account of its country from 1961 to 1997.

The Golden Age to Depression: 1953-1979

The account of South Korean cinema is directly entwined with the tricky history of this state.  The key historical as well as political measures, which included the Japanese rule of 1903 to 1945, the Korean War of the 1950s, the World War II as well as the military government brought hindrance to the growth and creativity to the local film making industry (Parc 2).   The Golden Age is a period marked the end of Korean War. During this era, the film making industry was close to dying and the elected president exempted it from taxation. With the reduction in the regulations by the government, there was an increase in film production (Parc 4). The Golden Age era was also marked by advancement in technology, which boosted the local production to sophisticated ones where genre films were initiated.  At this era, the production line main topics revolved around freedom plus emancipation from the Japanese invasion.

    During this era, Movies such as Chunhyang-Jon recognized as the first South Korean smash hit was released, which attained over 200000 viewers within two months, which was an impressive number at that time.  The Housemaid also identified as Hanyo released in 1960 is ranked among the best Korean movies of this era (Messerlin &Jimmyn 57). The thriller illuminates a house help who intends to destroy the family of his master after seducing him.  A recognizable movie of this era is Aimless Bullet (Obata), which was banned after its first release in 1961 (Parc 6). The movie portrays the life of a Korean accountant during a period of change trying to support his family, which signifies the hardships faced by the families after Korean War.

This revival period ended in 1962, after a rise of a new government of military coup (Parc 16). During this rule, Motion Picture Law was passed, which led to a reduction in film production as well as importation. A noteworthy limitation of domestic production industries reduced from 71 to 16 during the same year (Parc 17). Film themes that could tarnish the image of the country such as obscenity, communism among others were restricted. Restriction in production subjects enhanced weak storyline that led to decline in cinema attendance in the year 1969 to 1979 (Martin 98). Around the sixties, televisions have already gained popularity and people shifted from the cinemas. In 1973, Hollywood movies were prohibited in an attempt to improve the domestic industry by the government, where imported films were viewed in limited days (Kwon & Joseph 422). During 1984, the Motion Picture Law was revised and the regulations over the film industry were condensed, permission to independent production was granted following certain rules and the film industry saw it burgeon yet again (Kwon & Joseph 423).

Local Production and Foreign Films

Subsequent revision of Motion Picture Law of the year 1984, foreign markets was reopened where importation and distribution of foreign films were permitted (Martin 100).  These revisions led to a significant impact on the domestic film industry. In 1988, foreign companies were sanctioned to start offices in Korea, which allowed Korean films to share equivalent terms with alien production. In 1988, Hollywood branches began to open in South Korea such as Twentieth Century Fox, United International Pictures, and Disney among others (Messerlin &Jimmyn 59).  Within the 1990s, the foreign production had dominated the cinema industry in Korea where only a sixth represented the domestic films produced (Kwon & Joseph 430).

Chaebols in Film Industry

During 1992, chaebols had already joined the Korean markets and they financed the first movie. Samsung is the first chaebol came in the cinema industry and offered 25% finance in the creation of a film by name Marriage Story (Kwon & Joseph 439). Other chaebols also joined the film industry including Orion, CJ as well as Lotte which has remained in the film industry occupying 80% in the market (Messerlin &Jimmyn 57). Chaebols brought a significant transformation in the film industry. They introduced a vertically integrated system, where they were involved in various stages of such as production, distribution, financing as well as generating international sales. Chaebols enhanced a radical rise in 1999 screens from 588 to 1451 in the year 2004 (Messerlin &Jimmyn 58).

International Acknowledgement

The cinema industry in Korea started to gain global notice in between the 1990s and in early 2000s (Martin 114). During this period, Korea established the first transnational film competitions. Busan International cinema festivals were held in South Korea,1996, this being the first time, this film festivals goal was to offer support and acknowledgment to new directors as well as movies particularly the Asian cinema (Messerlin &Jimmyn 59). These events marked 173 films viewed from 31 countries during this first edition. Korea has also hosted other major international film festivals such as Puchon International Fantastic Film Festivals which were launched in 1997 as well as The Jeonju International Film Festival which was launched much later in the year 2000 (Messerlin &Jimmyn 60). These festival films have generated significant motives on the Korean film industry by ensuring digital, independent, as well as art films; continue to be produced in this industry.

Conclusion

From the above discussion, it is clear South Korean film industry has faced a tremendous growth over the past decades. During the 1960s, talented film directors started being recognized therefore moving the industry to greater levels. Through the restrictions set by the government made the industry struggle, the film makers never hesitated to make more films. In the 1970s the cinema industry the government restrictions became too unbearable and the industry started to decline in its popularity. From the 1980s to the 1990s, the industry started reviving back with the influence of new talents from the directorates. The attendance at this time was not that huge of a crowd but there was an increase in number at the end of the 1990s. The growth in this industry presented a chance for the cinemas to be recognized internationally.

Works Cited

Berry, Chris, and Luke Robinson. "Introduction." Chinese Film Festivals. Palgrave Macmillan US, 2017. 1-11.

Kwon, Seung-Ho, and Joseph Kim. "The cultural industry policies of the Korean government and the Korean Wave." International journal of cultural policy 20.4 (2014): 422-439.

Martin, Daniel. "South Korean Cinema's Postwar Pain: Gender and National Division in Korean War Films from the 1950s to the 2000s." Journal of Korean Studies 19.1 (2014): 93-114.

Messerlin, Patrick, and Jimmyn Parc. "The effect of screen quotas and subsidy regime on cultural industry: A case study of French and Korean film industries." Journal of international business and economy 15.2 (2014): 57-73.

Parc, Jimmyn. "The effects of protection in cultural industries: the case of the Korean film policies." International Journal of Cultural Policy (2016): 1-16.

The Godfather: Coppola’s Mise-en-Scene

Francis Ford Coppola is the director of the popular film The Godfather. The movie demonstrates a number of expertise filming techniques which are effective in enhancing the features as well as emphasizing the film’s movie apprehension. Based on the uniqueness of the film’s art it has been utilized as the primary template for creating a number of films. The film leads its viewers back to the period when major towns both in Italy and America were been controlled by mafia groups. It offers a detailed reminder of what those in domination would do in the quest of maintaining their influence. The objective of this paper is to conduct an aesthetic analysis of the film The Godfather to create a better understanding and appreciation of the customized filming techniques it has utilized. Without a doubt, Coppola’s accurate Mise-en-scene is demonstrated throughout the movie.

The first scene of the film starts with a clear yet low lighting which is demonstrated with slow zooming as the man pleads for assistance on his retaliation. The low lighting technique creates a dark nature which signifies the mysterious atmosphere within the scene. This technique is effective is its representation of a desperate and frightened plea. The zooming out of the man’s close up is an assertion of the unviewed which creates insights that a significant thing might arise. For the first scene, the shot has been conducted in Corleone Don’s view so that he would be classified as the leader of the ring. This is accomplished via zooming the close-up shot where Corleone listen to a whispered plea that claims ‘’ I want them dead and in his response, a close up is presented to the viewers as the state ‘’ I cannot do it… that is not just. Your daughter is still alive’’ (Coppola 6:44). The close-up response offered the prove that mafia’s  also held their own morals as well as values and from the angle of the scene this creates a feeling to the viewer’s where they feel incorporated and can feel what the characters are experiencing.

Light in the film has been utilized in a reduced degree as most of its scenes are presented in darkness. The technique generates a customized visual as well as an artistic brand. Coppola’s lighting changes from a scene to another which permits the views to create a better interpretation of the characters emotions in specific scenes. However, although the first scenes atmosphere appeared dark and full of mystery while revealing revenge, secrecy and organized crime the scene that follows was contradictory. The scene is characterized by highlighting as it offers bright lighting as well as passionate vibe the scene offers an introduction of a shot taken from a high angle in the overwhelming surrounding of Corleone’s daughter wedding. While showing the attendance by friends and family the scene utilizes medium shots. In this scene, Coppola’s Mise-en-scene for the particular scenes are excellent in that it demonstrates the innermost contrast of Corleone’s double life which is being mafia’s leader and a family man.

The film’s lighting, as well as angles, is important since it provides the audience with differing insights as well as updates of the story’s plot as well as offering updates of the rapid changes occurring in the lives of the characters. The two scenes that demonstrated low lighting that is accompanied by dark background are the first and the last. The first scene shows Corleone within the dark backgrounds that holds reduced lighting beam that originates from the window and this shows and demonstrates the significance of being mafia’s leader. On the other hand in the last scene, Michael Corleone stands at his dad’s workplace taking his father’s role. This scene, therefore, conforms to the commencement scene as Michael gets into the darkness as if he was his father. From this lighting, it is apparent that the intention of the director was to portray Michael being the successor who was to lead mafia, business, and family. In support of this is when Michael met with Tom in the previous scene and when Don tries to explain why Tom is no longer part of them Michael pulls a trigger and state ‘’ You are out, Tom’’ (Coppola 33:02) this demonstrates that he is in control and holds the authority unlike Don who is compassion and the angle switches and focuses on Michael’s authoritative response which depicts no care.

An additional mise-en-scene is based on the film’s costume choice which can tell stories. The dressing in black ties and suits depicts a connection amid being a mafia business and family leader by Corleone. In the opening, Corleone and his followers are presented in suits and ties while for Michael Corleone he appears in military clothing. However, the presentation changes after the shooting of Don and Michael takes charge. Lastly, the film’s soundtrack was the cherry on top finishing. This consisted of sounds and traditional strings acquired from trumpet and mandolin the soundtrack created promotion of an Italian authentic mafia feel for the viewers.

Work Cited

Francis Ford Coppola. The Godfather. Paramount Pictures, 1972.

University, Columbia. “Columbia Film Language Glossary.” Columbia Film Language Glossary: Terms. Web. 11 Mar. 2017

Now you see me

The film Now You See Me is an American film of 2013 that is written by three people Boaz Yakin, Ed Solomon and Edward Ricourt and directed by Louis Leterrier. This film basically focuses on a collection cast of people like Mark, Melanie, Jesse Eisenberg, Dave, Morgan Freeman, Michael and Isla Fisher. Generally, the film is about an FBI representative and from the Interpol, an officer who is out there trying to follow a team of magicians who take on a depository robbery in the performance, give the audience the money after the bank robbery act (00:03:30 – 00:04:03). The movie was acted in the New York in early May, 2013 and the certified launch of the same month, 2013 in the United States by the summit entertainment. This film had received several overreacted vies and critics but out of this scenario, the company gained $351.7 million which was way much than the budget which was $75 million. In the next year, 2014 the movie won awards such the people’s choice after that, the movie was nominated for the empire, Saturn as the thriller film and also best acted.

Basically, the film has a deeper meaning than the outside view portrayed in this kinds of films. This is about the big-time magicians who are doing some kind of intelligent magic tricks which leave people amazed and wondering. These tricks involve the bank heist in the Las Vegas and people really benefited from this heist since the money taken from the banks was distributed to everyone around the place. Now You See Me is typically about a shady organization which is named The Eye which is believed to control the entertainers. While the viewers are amazed by these senseless actions of the movie, a very important movie is the main point that is being communicated. In the movie, the occult elite is the one that controls the entertainment business. Most of the critics of this film had basically the same complaint meaning in this film. The storyline is basically illogical since it has makes no sense but an audience catches in the real sense (00:01:30 – 00:02:15). Everything happening in this film is very implausible and hilarious. Even the overarching occurrence that is mind blowing in the movie actually mostly depends on so very many variables which could go wrong at any time and this is just but a very horrible plan.

Most viewers can try as much as possible to make sense out of this movie but it is actually not possible since it is a repetition of every scenario. However close a person can look into the movie, nothing makes as much sense as possible. The film keeps repeating the fact that the magicians will always have a way to distract the audience whereas there is real magic happening nearby. The police in this movie just chase, there are bank heist plots, the explosions happening among the audience are just a way to keep the eyes of the audience gathered occupied whereas the real magic is unfolding. The meaning is all in the entertainment industry, the kinds of forces that govern and rule it and those who are being used by the entertainment industry. The audience also is meaningful in the way they are being blindfolded and fooled by a master illusionist. Looking at the beginning of the movie, this is all the movie portrays. For example, using a certain line from the beginning which says that you can come in and close the door behind you since what you are seeing is nothing but something which I will use to rob you afterward (00:01:50 – 00:02:07). This line is particularly being said when the magic cards trick is being played to an audience, sums up the correct responsibility of the mass media and in general the entertainment industry. These magicians in the play are being recruited by a society which is secret and named The Eye which is using these entertainers in the furthering of the agenda and basically make the symbol known to the world and make this symbol a part of a culture that is very popular. In this movie, it is all about the magician, the themes are very important to capture in the Now You See Me film. The symbol is the main thing being communicated in this film.

In the first stages of the movie, there are basically four magicians who are doing what they want on their own in separates part of the city. They all are trying hard to make few extra coins for themselves in order to afford a living through the magic tricks. At these stages, they are very far from noticing their big time job as celebrities. In every scene, there is a hooded person who is following them from behind everywhere they go and leaves a certain note that is typically a tarot card that is an invitation for them (00:04:09 – 00:04:15). These four magicians are being selected since they have an excellent performance in this field of magic and in many cases they seem to use the occult magic in their tricks. The magicians all meet in a very strange apartment which has strange complications inside. After discovering the many riddles placed in there, they all see the elite’s methodology which is laid out for them. This incidence is what makes them more famous just like the magic.

After joining this occult, The Eye, these magicians next location is in Las Vegas where they are surrounded by a very vibrant roaring crowd of people and a background noise saying This is the showbiz. These four magicians who were previously independent and free have now become famous and joined a team to be known as the Four Horsemen(01:00:09 – 01:19:15). The name symbolizes the Bibles Book of Revelation where there are four horsemen are a harbinger of the Apocalypse and the temptations which will follow. These four horsemen are associated with being pestilence, famine, war and finally death. With this outline, it is very strange that a bunch of magicians will be named after a Book in the Bible. Now, this makes sense since we recognize the fact that these magicians are there on behalf of the occult elite. This Book of Revelation is very important and of great need in the secret societies since it is believed to have an occult explanation which is provided by the initiates. Many of the symbolisms used by these four magicians are basically derived from here and there is no exception on this matter. Basically, the main reason for this movie is to send a message of The Eye to the world.

Reference

  Now You See Me film retrieved from https://www.youtube.com/watch?v=AQd1CFu6ZAw

Oracles of Suburbia

Question 1

Grands ensembles d’habitation is described as the large scale housing projects high rise.  The  high  housing  rise  is  particularly  pressured  by modernity  which  works in ensuring  that  urban development occurs  more fast to  utilize  the  existing resources, knowledge , space and the  necessity for  growth (Hesnsmam, 2013).

Question 2

According  to Hensman , Paquot  made a note on the Banlieue cinematic  of the early  years  of 1960s  which was  overwhelmingly a site  for construction since  its  world  was  being  disturbed  by the  pressures  of modernity (Hesnsmam, 2013).  This  is  particularly  discernible  in the  attempt  by  Pialat to utilize  the  expansion  of  suburban’s  as the  symbol  for the  individual  improvement  and  innocent loss (Hesnsmam, 2013).  Hensman connects the representation  of  Banlieue  during the 1960s  and  after  by  analysis  French and  film studies .   he stated  that  according to  Ginette Vincendeau banlieue was depicted as  populist  idyllic  sites  up to  the 1960s  that offered  relief  from the  city  characterized with high noises.  From the 1960s  forward French films responded  to  banlieue via  aesthetic means  in that  the  suburbs  offered backdrop  to   differently  concerns via sociological means that  painting  banlieue  as  directly or  indirectly  a space  problem (Hesnsmam, 2013).

Question 3

According to Hensman Jacques 1958 Tati’s film Mon Oncle developed fresh suburb developments in Creteil with further old fashioned Banlieue adjacent of Saint-Maur (Hesnsmam, 2013).  The film  is  based  on the relation amid  odd  Monsier and   his  nephew  who lives  in a  modernized  suburb  with  the  rich  parents (Hesnsmam, 2013).  In the  case  Saint-Maur is represented  as  the  time honored  celebration  French  social  grounds  such as  a restaurant  and  a marketplace  animation that  is complete  and  housing  is featured  via the apartment  building  of  that  has  warren  stairs  and  corridors. Contrarily  Creteil  is  explored  via its  privatized spaces particularly  the  modern  villa  that   is  occupied  by Madame Arpel Hulot’s  sister (Hesnsmam, 2013).  While  both  Creteil  and Saint-Maur are  the  products  of  modern and  urban  planning  it  is just in the  case’s latter  that  the  attention of  Tati  is drawn  to  the planning  as the negative  social  transformations  changes.  Suburban  housing  portrayal  in Mon-Oncle suggests strongly  that  different  living surroundings  creates  different  residents  despite  the  fact  that  grand ensembles  are  largely not shown (Hesnsmam, 2013).

Question 4

Tati’s  film  is a low contribution  to  the  debate  that  surrounds  the  suburbanization  of  the  working  class  population  in Paris and it  is more  of a Americanization  commentary  of  everyday  life’s bourgeois (Hesnsmam, 2013).  In  that  for  instance  Gerard’s parents  may  act as a representation  of  different emerging  stereotypes which  shows  flexibility  and  the practice  management  that  is American based as a functional  necessity.  The  film therefore  offers  a visual  manifestation  of economic  modernization  forces  rather   than a fresh  specification  of  suburban  way   of living (Hesnsmam, 2013).

Question 5

De La Pattellière’s and Rue des prairies are related by Hensman in that   they explored the modernity in fresh from the perspective of banlieue. De La Pattellière’s creates  an  establishments  of  the  binarisation  explicit amid  the  prosperous  social  networks  and the unknown atomized  housing spaces (Hesnsmam, 2013).  Most  of the  issues  that  are explored  in Rue des Prairies popped  after  WW2 when tensions  rose  amid the  rising generation  of  influential intellectuals  and  technocrats who  viewed  technocracy as  democracy’s  perversion (Hesnsmam, 2013). The  combination of  happiness and  uncertainties   that were  idealized  by the  working   community  in France  led  to  the  rise  of the  reconstruction  process with the  implication that  grands ensembles  was a common enemy (Hesnsmam, 2013).

            References

Hesnsmam, R. (2013). Oracles of Suburbia: French Cinema and portrayal of Paris Banlieues 1958- 1968. Association for the Study of Modern and Contemporary France.  Pdf

Top Tokyo Cyberpunk

Tokyo’s cyberpunk is a film world that is full of strangeness, complexity as well as weaves.  The world represents a different concept from the highly claimed   ideas, computer hacking, ever-present technology and bossy conglomerates (Badmington, 2009). From the viewpoint of cinematic the world perhaps owes more to the science and fictions discoveries.  The visual themes in cyberpunk films are mainly emphasized by the scenes and primarily Mise-en-scene. Generally science fiction has evolved and occupied an important place in the modern society of literature for many decades so far. The idea of cyberpunk in Asia was not fully copied from its origin in the United States. instead the  ideas were  reasonably utilized to  address the  urgent  wave  of  age  with the combination  of  technology and patterns and components  and particularly the fruitful  compilation  of  the  Japanese culture (Badmington, 2009). This is illustrated by "Blade Runner’’ that was released in 1984 and directed by Scott’s Ridley.

Blade Runner occurs in the future of LA in apparently in the 21^st century which is a short period past the solar system colonization by humanity (Bukatman, 2012). During the  particular  period,  artificial builds that  are a resemblance of  organisms  are  a normal occurrence despite  the fact that human copies are banned  on earth  and Deckard  is thus charged  with destroying and  migrating illegally  to the  world  based on the desire of extending their lifespan that  has been  shortened  artificially. Two of the human copies have already been retired by Deckard which ends with a major consideration of mortality nature (Bukatman, 2012).

The film is characterized by the strongest surrounding based on the ability of its scenes in depicting developed science fiction.  Blade  Runner  brings  out  the downhearted  and  complex  feeling of nostalgia for  the  location  and time that  was never in existence (Badmington, 2009). Arguably  the  movie  stands  out to be  the most excellent  one that is both  of  high science  quality  and timely. This is  despite the fact that  the  descendants films  had  also been grounded  on other  distinct concepts but the  film’s cinematic setting offered greater  inspiration (Bukatman, 2012).  The  visual  style  blade  runner’s metropolis underpins the philosophical tones that  have  contributed greatly on the growth  of Anime,  artistic as  well as  music (Bukatman, 2012).

Blade Runner offers its message via textual concepts that are based on sound as well as visual images.  Voices  sounds  are  characterized  by  uniformity  and  complexity  since language  is  not a primary  feature in the film (Bukatman, 2012).  The film generates its waning surrounding via lighting and moody music in that most of its scenes are characterized by darkness with nonstop acidic rain. The film thus utilizes musical sounds, angles of camera as well as lighting controls in gathering empathy from the audiences for the characters (Bukatman, 2012).  The audiences gets a close connection to Deckard, Zhora, Pris, Roy and Rachael but repelled from Leon, Bryand and Tyrell. The high  angles as well as the  low ones  of the  camera are utilized  to  depict  Roy  as  a character  who  is fully  overriding Deckard  on the scenes  done  on the  roof (Badmington, 2009). Blade Runner as a top cyberpunk film can best  be categorized  as the  strongest  science  fiction pieces  based on  different  rationales but  primarily  based on its great  concentration  to  descriptions  with the company  of  desirable  visual  stylistics. This offers a systematic movement of arts visuals throughout the films which offer a combination of modern components.  In  the  Blade Runner  the modern Los  Angeles  elements  can  easily be identified with the unrealistic neon artistic which has  worked best  in the inspiration  of  recent  cyberpunk narratives  styles.  Across the whole  movie there is the  great  presence of Mise-en-scene, great  editing  with  high  balancing  of lights,  the strongest  effects  on the  part of sound  as well as  great movement of art (Bukatman, 2012). This  is effective in ensuring that  is surrounding  is  viewed  to be more  realistic and  rapid with  the internal  workings of  the  unknown setting that is depicted  in a  manner  that  is easy to recognize.

The film utilized an effective eye level’s camera shot to demonstrate the separation amid the classical human society and the strong scientific world of the presented narratives.  For instance in Blade Runner during the beginning shot when Deckard is beached the audience are able to keep up with his presence based on the eying of the camera (Brooker, 2005).  In addition  the  films  effectively  manipulates  the  audiences  with the utilization  of  the cleverest  framing that uses a strong  contrast  amid  the low  and  high  angles of the camera. In that  when Deckard enters in the first time in the complex  the film this entrance is  depicted  by a high angle  that  casts the  vulnerability  status of the  character which is in a way rare to him.  The utilization of close ups in the film in an extreme way brings down the existing isolation to a more human feeling with the justification of vulnerability (Brooker, 2005).

The lighting and the utilization of   scenes color brings out a sense of reality from their scientific fiction. The utilization  of  this elements in the  different scenes  for instance  the balloon advertisement in Blade Runner is essential  in the reinforcement  of  the   mystery  and the  isolation  rationale (Brooker, 2005).  In most of the intensifying scenes in the films the primary light source is generated from a spotlight form.  The higher lighting contractions additionally assert the consistent thematic division amid the two distinct worlds.  The approach acts best  as a way  of  maintaining the  large  surrounding in the  screen darker thus offering  an atmosphere  characterized  by paranoia  and mystery that  is to be  solved by  the strength  of fictional science (Brooker, 2005).

The arrival and the dominant of the film require an acknowledgement based on its scenes setting significant and power (Brooker, 2005). The film can be  recognized  for achieving  two distinct things which are the popularization  of  anime  to the  international ground  and the  perpetuation  of ethos in the  cyberpunk world  through the  combination  of high technology, neon lighting and the low  existence of blade  Runner  capital (Brooker, 2005). The general setting of Blade Runner is menacing and dark. LA city, which  probably  based  on its  perpetual rain holds a lasting fog  that  generates  some sort of darkness that is  only  penetrated  by  the  street signs  neon’s and the  high  advertisements  of  videos that  generates a form of  control amid  darkness and light. Flying cars circles via the skies in the city while individuals from of distinct colors and races fill the raining streets.  In distance, darkness is an often grumble with the unfamiliar sounds similar to thunder.  Vangelis music vibrates from the onset while the audience is being shifted to the futuristic City’s nature. The city is in decay since all the nature’s remnants having lasted longer since their actual elimination.  Individuals from the distinct grounds are in particular vacating the planet for an offset world location (De & Huxley, 2001).

The film’s backdrop is characterized by an authoritative imagery but a landscape that holds bareness. This can be categorized as a powerful and accurate setting for a convincing modern myth (De & Huxley, 2001).  It is a societal decline period in which technology has contaminated the general planet by seizing the cities control.  Similarly  to  all the exciting creation myths the Film’s setting  is  equipped  with  the needed  chaos  as well as  destruction  in pressuring the  penetration  of a fresh age.  The sky has its showery rain as well as lightning bolts which is a general portrays of authority and violence held by the Gods. In a traditional  era it would be an implication that  gods  were  directly  watching  the  operations on the planet  and subjecting  punishments  to  those  people. The viewers can  perceive the  rise  of a hero  from fiery  coals and  Deckert  as  the  hero in the  film he is not willing (De & Huxley, 2001).

The film utilizes some archetypal characters that are perfect in the facilitation of the supernatural journey that is undertaken by Deckert throughout the general movie. Amongst the model creators are the redeemer the tempter, mother and the integration of light and dark goddess figures (Ridley, 1982).  Probably, the most significant to the movie’s action are the goddess of light and darkness.  Despite the fact that each of goddess each of them does have their individual polar identity and their intentions and objectives are not easily described.  Indeed, similarly to characters such as Yang and Yin   they are utilized in acting upon each other in the quest for transformation (Ridley, 1982). The  figure  of darkness who is  presented at the beginning  of the films  in the Gaff’s character which  as the  type  of an observer who is very passive based on  Yin’s  traits.  On the other, the light’s figure that is experienced by Roy is the generally the influencing change factor and violent.  Roy gradually embraces the conquest as well as transformation change that is linked with Tao’s Yang (Ridley, 1982).

Color-wise, the hero in the film is covered by the different gray shades, blue  as well as brown throughout all the  scenes  which acts  to the emphasizes the masculinity of the  characters  thus taking nature’s charge (De & Huxley, 2001).  More, the consistent schemes provide reliability to the bleak of the traditional world. There are numerous the external world intrudes the operations of the scenes which are noted with high additional of desirable colors that startles when they are contrasted with subdued color scheme that is standardized. With the advancement of the primary character into the complexity of events Pris’s shots are indicated as the counterparts (De & Huxley, 2001). The scenes are presented with different pink color that is targeted at contrasting the masculine of Deckard’s that are offered by the blue and grey colors.  Additional  to the contraction  of the  distinctive colors  the scenes are  characterized  by  a direct  softer  focus with  fair dim actions backlighting. This gives Pris a non realistic quality when a comparison is made with the gritty scenes of Deckard. The unreality is further asserted with the establishment of Pris blocked by toys that appears to be strange (De & Huxley, 2001).

While Pris hysterics in the scenes Deckards exploration beyond the scenes is depicted in a strong manner.  In addition the occurrence asserts the artificial existence of Pris with the accurate fitting into the artificial surrounding. After  her  death the pink shades scenes never  appears  even with  the meeting of Roy with Deckard  the dominating  blue colors  returns  as the  primary emphasis of the both  characters without  the  intrusion by the female gender.  The occurrence further asserts that the unrealistic feminine event was fully produced and supported by Priss and with her disappearance her theme is not in existence too.

With a careful concentration of  the film’s  details  as well as the well constructed  visual  designs, Scott  develops  a captivating  innovative  society.  In that throughout all the scenes, he utilizes cinematic conference in the exploration of suspicion and segregation (De & Huxley, 2001).  The  society  is at a particular  period  approachable and fully  alienated  which  strengthen the unrecognizable  future’s  fear in that  humanity  holds  no certainty  of  its  individual  significance (De & Huxley, 2001).  The  narrative  that is offered  by  Blade  runner  can be  categorized  as  one that is  categorized  by high  form of simplicity  since it is a crime narrative  in regard  to  the hunt of four  illegal earths immigrants. However, it develops a complex configuration in the generation of living in an approachable and yet a hazardous world reserved by the characters.  The scenes  in the  film demonstrates  the  careful  details concentration which is  appropriate  in serving to the  general growth  and sustainability  of the  narrative even in times when  little  film’s actions is being  displayed  on the  screen (De & Huxley, 2001). The utilization of sounds additionally leads to the rise of tension which is a form of foreshadow to the occurrence of Roy and Deckards altercation.  The  human copies  unreality  is highly  asserted in distinct scenes  via the  amplification as well as the distortion  of natural  sounds  that  demonstrates the  continuous  separation amid the  unrealistic beings and  humans (De & Huxley, 2001).

The effectiveness of editing is best depicted by its lighting, visual movement actions and sound. This helps in the creation of details amid the known and unfamiliar events which is asserted by the utilization of sound (De & Huxley, 2001).  The entrance of Deckard into the half lighted building leads to the synthetic abandonment of soundtrack in the priority uncomforting wind and decreased but almost happy tunes. The scene is not characterized by any kind of dialogue rather the audiences receive the continuous tricking water sound.  A few tensing moments are presented with a Japanese singing that is coming from the unknown.  Actually the sound is basically from a balloon advertisement that is extradiagetic (Badmington, 2009). The positioning  of the  silence  complexity  with the radiant colors  and the smile of the spokesperson creates focus of the  fresh world  that  then causes  the contrasting harshness amid the  relics that  had been  abandoned  and the  hope that is stored in the  future’s glitters. In addition, Scott utilizes  traditional  sounding  in the basis  of the fresh technology  that  continues to make  emphasizes  on the  futuristic and classical  combination.

            References

Badmington, N. (2009). Blade Runner’s Blade Runners. Walter de Gruyter. Print.  Pdf

Brooker, W. (2005). The Blade runner experience: The legacy of a science fiction classic. London: Wallflower.

Bukatman, S. (2012). Blade runner. London, England: British Film Institute.

De, K. M., & Huxley, A. (2001). Brave new world by Aldous Huxley and Blade runner: the director's cut directed by Ridley Scott. Glebe, N.S.W: Pascal Press.

Scott, Ridley. (1982). Blade Runner. Retrieved from http://www.imdb.com/title/tt0083658/ 

Like water for chocolate

            This is a film that was beautifully written in 1989 by Laura Esquivel and it greatly offers seniors with an opportunity to experience literature of another culture.  It was later published in Mexico in 1989 and is a genre of magical realism. The novel is however written so much using a strong voice of the females. The film is set in Northern Mexico as it was established during those eras of the Mexican revolution as from the year 1910-1920. Each chapter of this film starts with a recipe in Tita’s cookbook as it has been inherited from Tita’s great niece and told by the producer (Esquivel 1). The film starts by instituting the kitchen as well as Tita’s birthplace and the same place where she grew up. The story unfolds as it portrays the significance that this cooking and food will have on Tita’s life. As from the start, Nacha replaces Mama Elena as the true mother figure in her life showing us the importance of nourishing to a certain extent than child bearing as the most important act of maternal love. However, even before Tita’s birth, her emotions are supernaturally powerful and able of impacting others as well as altering the occurrences in various magical manners. Tita therefore grips her wide selection of colorful emotions as she also embraces the affluence and the variety of the food that she is taught to cook by Nacha.  At this point in time the war between the characters was minimal and stories to do with violence were not regularly heard of. However, as the novel progresses, the war starts and it affects their lives in intimate manners. However, despite the fact that Tita was warned of marrying her childhood friend, due to his mixture of race, the descendants of this family continued to experience inequality and discrimination. Therefore, this paper will present and discuss how the characters in the film are presented as racial, gendered and as sexual objects. It will also present the roles, the costumes used I the film and sceneries that represent the issues of race, gender, class and sexuality.

            Despite the popularity of the film with the public, the film is a poor imitation of the male canon as the producer feminizes the story line on showing a society of women who are maintained throughout the activity and the food preparation that rise above communal hindrances of either group, race and age bracket. Women in the Mexican nation are expected to be responsible for their mothers and that’s the sole reason as to why Tita is forbidden from getting married since she has to take care of her mother until she dies. The producer therefore, focuses mostly on the female characters all throughout her story depicting the place and the role of women in the society and some of the gender roles that are related with men. Mama Elena is however viewed as a cruel woman and an evil one as well who delights by means of her authority to tear down her daughters. She is heartless as well as a dominating head of the family who is emotionally detached. She dominates her children and it is evident that they fear her as they are ever obedient and they have to produce perfect work. She does not want Tita, who is her guardian angel who takes care of her to be married to Pedro but instead she forces Pedro to marry Rosaura and making Tita who is heartbroken to make food for the marriage party. This is a high level of cruelty and it killed Tita from inside slowly by slowly (Esquivel 47).  The producer thus uses these screenplays so as to address the manner in which tradition as well as conservative thoughts is so well-established within the Mexican community. Her use of food in the scenes is to portray the storyline device that points at the manner in which women encounter with laws that they have not established over which they have no control. The violence that Tita is exposed by her mother represents the male brutality. For instance, Mama Elena seems to have characters that are mostly accredited to men instead of females while a closer interaction with the film indicates that women are stronger than their male equals. However, Tita in this case is the one who finally approaches her mother and sister as well as Pedro and through her power of dishes she wins Pedro back and makes him to sleep with her (Humbi53 0.21sec).  On the other hand, Pedro and some of the other male actors as portrayed by the scenes as being uncertain, weak and vulnerable to small jealousies. Though Pedro states to be in love with Tita, he is not that tough enough to fight for his love through challenging Tita’s mother for refusing him to marry Tita and instead he accepts Rosaura as his wife. His feeble nature is thus clearly viewed in his negative response to carry out his marriage with Tita.  

            The male characters in the film also portray different kinds of characteristics that are typically viewed as feminine. For instance, the scenes shows the long term suffering that Pedro is undergoing through but decides to wait patiently for his woman whom he wants to marry. This feminism trait is also seen in the scene of Sargent Trevifio who in spite of the fact that he is a male, he manages to work out recipes which is basically regarded as feminine role in the society. Pedro’s insight is entirely feminine on the various occasions as is seen in his dramatic act of marrying Rosaura with so much love for Tita that he assumes will never end.

            Sexuality on the other hand is one of the themes of this film. Tita in this case was the transmitter while Pedro acted as the receiver while the weak Gertrudis was the source of medium.  The use of culinary powers by Tita made her conquer the battle of the man that she loved as she achieved sleeping with him and this caused her to lose his virginity (Esquivel 55).

            This film re-establishes a pre-industrialized rural Mexico through its costumes, lights and the dramatic settings. Tita is therefore a paradigm of femininity as portrayed in her costumes, that is, long and flowing skirts and loose fitting blouses. This is in contrast with that of her mother and Rosaura’s her sister as they wear tightly buttoned restraining dresses. Pedro and John, who is a doctor and is in love with Tita, are rarely seen out of their formal suits as well as bow ties. The sepia tones that are used in the inside scenes make an old-fashioned stage for this story which is as well an unfashionable kind of film. Most of the actions in the film take place in the ranch and this offers accord of place of the traditional heartbreak. This therefore offers a chance for several highly staged social occasions such as the wedding for Pedro and Rosaura, Roberto’s baptism who is a nephew to Tita, Esperanza’s wedding with Alex which serve as platform to showcase the colorful as well as exotic dishes made by Tita (Shaw 41).

            The plot and the structure of the film show the struggles that the film makes in bringing about individuality and communism. This is emphasized in the theme of the interrelationships of the human beings despite the various spaces that these social groups occupy. The structure as well as editing of the film demonstrates the correlation between the characters of the film and their personal worlds. Individual characters fight to be independent and to stand by their principles and as per their personalities. Tita fights for her freedom even by telling John of her affair with Pedro and it is after this that they start meeting with Pedro in the open after the death of her sister. However the situations that are posed to them by others make them lead a pretence kind of life that has no joy in it but regrets. The fact that Pedro and Rosaura were forced to marry by Mama Elena even when they were not in love, portrays how hard it is to live one’s own life and how difficult it is to make the right decision for one own self without other forcing one to do as they want. This is enhanced by the dominance power that most of these characters have. Thus Pedro is seen sneaking out and having an affair with Tita as Tita also uses her prowess in cooking so as to seduce Pedro (Humbi53 0.09sec). The situations force them not to be together despite their love for each other and in this case they fight silently without anyone knowing.  Pedro is unable to exist independently as they are haunted by Mama Elena’s ghost even after her death. They thus tend to lead pretence life as individuals even after Tita’s mother dies (50). Food genre is greatly used by the author to effectively and strongly communicate views on cultural formations as well as identity. Thus the audiences can be able to bypass nationality and it’s meticulous to establish a complex approach of symbolism which can be identified without necessarily having to take individual positions.

            It is therefore important to note that this film portrays women as those who has the male traits while the men on the other hand has the women traits and thus they are regarded as the weaker sex in the Mexican society. In this, she expresses the manner in which the issue of domesticity has evidenced to be negating to most home and the meaning of being a woman in the contemporary Mexico is undermined. The film demonstrates the formulas that are used to achieve success through the use of the traditional products in the use of the time consuming recipes. This film is therefore represents gender, racism as well as sexuality back in the old eras when the women were represented as being more innocent as well as submissive while gender divisions were more clearly defined. It has thus offered an image of the Mexican nation that fits in the idea that the ideal land which has maintained its culinary as well as social traditions through establishing and view through the ideology of the femininity by use of Tita character and demonizing the mannish trait of Mama Elena. The film thus suggests that women have the potential to reach their goals but only within the patriarchal codes. This outwardly harmless romance thus covers up an antifeminist subject. Beauty, cooking proficiency, obedience and kind of Magical femininity portrayed by Tita seduced Pedro and made her to reach into her fulfillment. Thus she is one of the characters of the film that is used to act as a form of role model female to all the female audiences as well as an ideal fantasy wife or mother for oblique male audiences. The romantic love between Titan and Pedro that is greatly exalted all through the film can thus be linked to the Mexican Revolution since the Mexican revolution power was only vested on the selected few. Thus in the case of the film, power was in the hands of only a few characters who dominated in all that they did and this made it hard for others and thus causing them to be indecisive.  The parallel setting of the Mexican revolution with that of the film shows a great intensity as time moves on and as complications yields up.

References

Esquivel L. Like Water for Chocolate: A Novel in Monthly Installments with Recipes, Romances and Home Remedies. Trans. Carol Christensen and Thomas Christensen . New York: Doubleday, 1992.

Shaw D. Contemporary Cinema of Latin America. Retrieved from: http://www.asu.edu/courses/fms504/total-readings/Shaw%20--%20SeducingThePublic.pdf

Humbi53. Like Water for Chocolate—1992

https://www.youtube.com/watch?v=vb2QJvmETL4

Unnatural Causes - Is Inequality making us sick?

The film shows that health and longevity are directly related to their social class and those people who have access to resources, power and opportunities live healthier and longer lives. Those people with higher incomes than those in the level below them have more control over their living environments and jobs. In the film’s episode 2: When the bough breaks , the issue addressed involves why African American newborns are death rate is twice as much as the rate of those born by white families(Fox, 2009). Another issue relates to why black women who are well educated have worse birth outcomes than educated white women. In episode 4, as the Native Americans lost resources in terms of water and land to white settlers first, and to the government later the rates of diabetes soared (Fox, 2009). The people in the social classes that are considered lower are likely to experience a drop in income levels, which raises stress levels and turn lead to excess stress hormones production. This increases their blood pressure and thereby the vulnerability to various illness. From such a scenario, it can be seen that limited unequal distribution of job opportunities and healthy environment are major factors which lead to health disparities.

The economic, social and political policies should address the inequality in income, education and occupations in order to narrow the health gaps between the haves and haves-not (Adler &Newman, 2016).  This is because these policies determine people’s social economic-status which in turn affects their birth weight, hypertension and cardiovascular diseases, diabetes and cancer.  Policies that address these factors ensure that the poor do not suffer malnutrition and can easily access health care services.

References

Fox, H. (2009). "When race breaks out": Conversations about race and racism in college classrooms. New York: Peter Lang.191 -192

Think like a man film

            The film is a Tv production by Tim Story. This film basically borrows its argument from the book in print by Steve Harvey on, “act like a lady, think like a man”. The film features some of the most contemporary popular Black American actors who are the stars in this film. Lauren is at the top of her career as she is the CEO of a major company and has extremely higher standard. However she is still single. Her best friend is as well a single mother who also happens to be single (Dreisinger, 2008). She and Candice, her best friend is fed up with relationship and dating issues and wonder where good men are.  It is after reading the book by Steve Harvey that they meet up with a couple of bachelors. They therefore use the book as a guideline. Lauren meets a dreamer, Michael Ealy while Candice meets a mother’s boy, Terrence. Their relationships develop and he book’s advice were working so well until the men found out about the book and decided to also get even. This paper therefore will analyze the main characters illustrating the connection of race, class as well as the gender identities (Harrision, 2011).

            The movie outlines black affairs which normally gets a harsh handling by Hollywood despite the Tv producer. Intricate affairs are transferred into a mad, aggressive blur which turns out to be a domestic violence and an aspect of as due bills such as the electricity bills. This is the perception of many as they watched the movie but it is rather evident that the movie was nothing as this.

            In most cases, when a black passionate comedy exerts an impressive cast as influential as in the film, it is only to entertain the viewers from apprehending that they are watching another film which approaches a black relationship from a clichéd perception. This leaves the viewer with a smile as they view the black relationship as humorous.

            The film thus deals with rote typecast about black affection. The black ladies are painted as difficult and unattractive characters whose just aim is to seek for helpmates so as to be able to raise their children with someone different. They are also highlighted as unapproachable since they seem to be arrogant as they roll their eyes, blaspheme one out or even kick one in the nuts when asked out for a date.  However, they are portrayed as successful, powerful women in think like a man. This is portrayed by characters such as Meagan who is a good woman and a kindhearted one while Henson is strong while Gabrielle character stood with her man even when he did not have a job and she assisted him to create an adult resolution as to how he desires to live instead of kicking him out as per the stereotypes on black women. Black men on the other hand are the ironic reverse of the black ladies. They are viewed as the elusive sex symbols despite of how thuggish or womanly they seem to be. All that they are expected to do is to be sexy with no aptitude or even without decent values. These black characters exclusively rely on their physical appearances and attitude so as attain approval as a champion in the viewers’ eyes. This approach has demonstrated success in the sense that the film maker makes money out of the films as they feature simple black personality.

            Think like a man film therefore tries to use these tactics where Romany seeks assistance from his fellow friends so as to make his seduction effective as he has failed in his seduction strategy with his most recent girlfriend. As his friends are entirely clothed, Romany is still not clothed and as his friends they hear him out as they want to sincerely help him out. It is at this moment that Kelvin Hart a comedic actor, Cedric reminds his friend Malco actor that there are no women who are present in his life despite the fact that he has six pack as this would not help him get out of this challenge. The geographical location of some of these characters has enhanced the shaping of the actors behaviors in the film and this plays a major role in the shaping of the manner in which they act. Michael Ely(Henson)  is from a humble background hence her character is solely based on chance.

            There are implications of interaction seen from the characters that are gripped from luring promises and those who are subjected to them. In the film black men are seen to have patriarchal beliefs as they start relationships between black men and black women. Black women are portrayed to be too strong a reason that prevents black men enacting their true manhood. This is racial as the strength of the black women is perceived from their color (Dreisinger, 2008). The film also reveals that black women cannot sustain a functional relationship with equally strong men as they are strong minded and self assertive. Sadly it is true to say that such assumptions based on the race are bedrock of the large society that forms an understanding of the black men and women interactions (Harrision, 2011).

            However the film portrays black women as the one who have extensive knowledge in relation to love, commitment, intimacy and relationships. The effect of the title suggests that the suggestion of women aligns to the thoughts of men (Dreisinger, 2008). This indicates a masculine performance of women to that of men. Traditional women are considered to be the weaker sex whom the film contradicts. Women are meant to seek protection and love from men and not be the one to give instead. This has changed a world view of the black women making them to be feared.

            Through the film there has been an evolving understanding of masculinity between black men and women. The film has been able to position black men and women to be more than just consumers due to their reaction and negotiation presented. A system of oppression has been identified in the film through racism and classism as there is discrimination of others (Dreisinger, 2008). The discrimination shows the experiences of the black worldwide. This shows that the Blacks rights were violated and only their strength could save them. it implies that there is a perception by the people that the rights of the Black can be easily violated as it was done historically. Conceivably the film also portrays the whites to be scared of their black counterparts giving them a run for their money (Harrision, 2011). In reality this shows the black man as a person who can use excessive force to damage the life of others. This is not true as the whites can also oppress the black through bitter and disappointing experiences.

Conclusion

            Tim Story and the corporation in charge of the film production did a comprehensive post of representing the contemporary black American ladies and in turn represent the black affection. With the direction of Steve Harvey in combination with the humorous recounting by Kevin Hart, the perception on black American relationship has shifted from slew of sex insanity as well as drugs into a far better perception. This film therefore acknowledges the challenges that the young cohort has when running their relationships and drops a hint on what was used to be on the dark side of the black people relationships.

Reference

Dreisinger, B. (2008). Near Black: White-to-Black passing in American culture. Amherst: University of Massachusetts Press.

Harrision, L. P. (2011). Think Like a Man: And here’s a thought…Start acting like a man. AuthorHouse

Video Game Industry -

1. Darfur is dying

The Darfur conflict presented one of the worst humanitarian crises in the world. This conflict fared in 2003, when rebels in the region took up arms as a result of what they referred to as the government neglect of the region. This forced the government of the previous larger Sudan to respond with a campaign to counter the insurgency, leading to the displacement of about 2.3 million people and most of them started living in fetid camps while others ran to the neighboring Chad (Toïngar, 2013). Many of civilians who did not manage to escape came under heavy attack from the rebel groups, government forces and the pro-government militia. As per the year 2013, almost 400,000 people had been displaced show the dire consequences of the war. Many villages were destroyed, further complicated the situation as more people fled their homes and this was blamed on the government as part of its ethnic cleansing policy in order to cripple any support for the rebel groups. There was a lot of looting, burning of houses while rape cases were reported to be very high (Toïngar, 2013).  

Darfur is Dying, an online video game seeks to bring to attention he larger social awareness to the conflict that was taking place in Western Sudan. The game enables the players to be take action and be actively involved in the Darfur conflict. This game which takes around 15 playing minutes looks too real and sometimes not real enough in the depiction of the situation in this conflict area. The video represents a movement whose subject involves very serious issues challenges faced by the society but not just irrelevant fighters (Knowlton, 2009). Basically the game uses digital simulation and traditional narrative to advance the intended message.

To represent the real situation on the ground, the game involves two-level structure and the player is either outside searching for water or building shelter and collecting food in the refugee camp. The structure used in the game is a straight forward one, where there is an outline of the way in which players would use it.  Users are also allowed to read information relating to the conflict at top of all screens. There is also information provided on the way action can be taken to stop the conflict. Simple progression is used within the game play, while few choices are available allowing than enable the user have direct impact on the story and any choice will led to the continuation or conclusion of the game (Knowlton, 2009). For instance, the user cannot choose a male of 39 years of age, given that it is unlikely for adult males to search for water which shows that female and especially younger ones were the targets of rebel groups. There are also common objects where characters can hide which includes rocks, bushes and rotting carcasses. The user is caught if unable to hide and information is presented on what is likely to happen to the character. The environment provided by the play is one that depicts the hardships that the individuals in the Darfur conflict have to undergo in the hands of warring parties (Michigan State University, 2008). The game successfully delvers short persuasive messages which serve to compel the players to take an action outside of the Darfur video game, in the real war-torn region.

2. Power dynamics of Grand Theft Auto V to Portal 2

The videos Part 2 and Grand Theft Auto V basically represent the speculative fiction of mankind driven by fantasies and have great impact on human perspective on real life issues.  The infrastructure employed in the design of the games are directed towards fulfilling the power fantasies of the players given the level of immersion that they have to embrace in order to feel part of the game. Both videos have end goals which involved players having to reach their own desires and may be to have such players illuminate their own story.

Grand Theft Auto V involves seeking physical power in an extraordinary universe which works as an exciting setting but also as a nihilistic satire more so on the western society. Considering that the game appears as very misogynistic, vulgar and violent, it immerses players into an internally-consistent world which requires thick and complex analysis (Stuart, 2013). The game can best be described as having set up a satirical carnival. The power dynamics in the game can be seen in the way it slides into narrative. It can only be tolerated in an open world obsessed in power fantasy and the endless outlook makes the users eyes to be stuck on its mini-map. The game is defined by attitude to openness and freedom giving someone little liberty for escaping its structure. The game is more about culpability and complicity and raises the question of what the player is prepared to do in a real world and how much they are responsible for. Moreover, the GTA video game is basically a gangster narrative with violence showing a genre that has a history of looking into the male’s aggressive pride or machismo while disregarding all other perspectives (Erick & Gaines, 2013). It is parody of the idiotic misogyny of power hungry and violent men. It shows the satire of modern life, and the players being driven to the fixation with power fantasies, political apathy and to crown it miserable self-obsession (Stuart, 2013).

On the other hand, Portal 2 exhibits a rare ability to form a resonating impact on players by use of emotions or persuasive themes. The game has a process aspect of action and the consequence which and seems to gain rhetorical meaning by empowering users so that they have an experience instead of observing and to invest instead of watching (Dafnis, n.d). Unlike the Grand Theft Auto V, Portal 2 is based on personal perspective with no extreme nihilistic motives. The characters of the game impact heavily on the persuasive nature of the game, and it becomes easier to understand the impressionability and motives of such characters. The major themes in this video rarely on obsession for physical power but the exploitation of players emotions so that they become very emotionally attached to it (Dafnis, n.d).

These power dynamics are just fantasies given that there is really no power gain in the process. It is a fantasy of meaninglessness which evokes the outside explosions and dominance display that is not real. The players get so lost in fantasies especially if physical power that they forget the difference between reality and fantasy.  Engaging in non-power fantasies would involve integrating social fabrics into the game. Examples of such fantasies include having allowing players to reach non- controlling goals, practicing skills that do not involve violence or a structure of sharing success among characters in the game.

3. video games as a cultural form

Video games have a significant part in human culture. The video games have reached gained a high cultural legitimacy which was previously reserved for other things such music, literature, film and art.  They can no longer be treated as only a medium of entertainment but as a form of expression or as a tool for presenting various topics common in the society (Burrill,2008). This means that there is no ground for treating games as being different from other forms of literature as more and more games are becoming artful and in a form that should be recognized in the same manner.  Just like other arts, the video games have been used to show the intrinsic ways of modern life and has had great influence on various aspects especially innovative media technology. The video gaming community aspect has had effect on the social interactions of consumers and their collective behavior. Moreover, just like any other forms of culture such as music, video games need to be learnt by users before they engage in playing (Burrill, 2008). Experiencing the games on a basic level needs some considerable effort for them to be ingrained in the systems of people involved.

The symbolic, developmental and social value of the games can be recognized having great impact on anthropology and sociology studies. Games tend to organize the behavior of individuals, and provide practice in exchange of language, synchronized expectations and even performance. The pleasure obtained in games lies in both communication and inactions, and matching of languages to action and it involves arranging both into a social interaction pattern (Burrill, 2008). The video games have been adopted by many people and have shifted from being just for young males, something which has been assisted by the ever increasing presence of Smart phones. Those games referred to as casual have attracted demographic of users, beyond the teenage boys to include the hobbyist development across the globe (ESA, 2013). In addition, they have become a significant part of popular culture which an aspect which has been enhanced by the internet culture. Many of the people involved in playing the games identify themselves as gamers, which could mean a person who is passionate and enjoy playing. The increasing online capability of the games and social multiplayer has seen them grow into social networks. This multiplayer aspect can be seen in the improving gender distribution pattern which has been observed to be reaching almost equilibrium as per a study done in 2011, which shows 42 percent of the gamers being female. Majority of individuals in the 6-49 has been gamers and the older players are growing in numbers (ESA, 2013). A reason that can be used to explain the increase in the popularity of video games includes the rising number o genres which needs less specific audience. Games such as Wii Fit and Wii Sports have been developed to widen the six of audience.

Games are also well suited to take up the position of cultural ratchet, where they preserve a pattern of behavior from a generation to another, through the inherent pleasure of shared imitation and attention (Newsman, 2013). Playing games can be said to be a way in which general habits of synchronization and sequencing of actions are transmitted. Video games cannot, therefore, be separated from other forms of culture in the society.

References

Toïngar, E. (2013). Idriss Deby and the Darfur Conflict. 84-87.retrieved from: https://books.google.co.ke/books?id=_pHLAgAAQBAJ&pg=PA90&dq=Idriss+Deby+and+the+Darfur+Conflict&hl=en&sa=X&redir_esc=y#v=onepage&q=Idriss%20Deby%20and%20the%20Darfur%20Conflict&f=false

Michigan State University,(2008)."Gaming" Genre: Serious Games, Genre Theory, and Rhetorical Action. ProQuest.44-53.Reteived from: https://books.google.co.ke/books?id=E_IlMoS1mBYC&printsec=frontcover&dq=Gaming%22+Genre:+Serious+Games,+Genre+Theory,+and+Rhetorical+Action&hl=en&sa=X&redir_esc=y#v=onepage&q=Gaming%22%20Genre%3A%20Serious%20Games%2C%20Genre%20Theory%2C%20and%20Rhetorical%20Action&f=false

Knowlton,Q.(2009)Darfur is Dying: A Narrative Analysis. Retrieved from: https://www.academia.edu/1334277/Darfur_is_Dying_A_Narrative_Analysis

First People - Kumeyaay film

The video explores the various aspects of the Kumeyaay people’s resilient culture and shows the areas in which they initially lived. It describes with a probing insight the areas located throughout the San Diego County and they are currently comprises of 13 reservations which are scattered across the county and northern parts of Baja California. These people live on and off the reservations and have a common heritage that goes back to the period they refer as to “the beginning of time” (Sly & Johnson, n.d). The film is necessary in various aspects in that it helps in documenting some of the valuable heritage for the local Kumeyaay people. The film involves the participation of some local Kumeyaay people in various tribes who provide the vital information of their heritage.

 The film indicates that the local native community has substantial interest in their heritage, shows how the people’s cultural identity and legacy cannot be ignored when referring to the history and population that forms part of the modern larger Baja culture. Included in the film are aspects of the culture that formed their day to day activities including the process of gathering of acorns, how they were prepared and cooked for consumption by the people. The economic activities of the people also include fishing in ancient Lake Cahuilla using fish traps that can be observed in the part of the desert where the lake was. Another important aspect learnt about this history involves the movement by the people in over the whole region as a result of changing climatic and weather conditions (Sly & Johnson, n.d). These movements were also informed by the necessity to look for food in form of various plants in this region. In addition, various ceremonies are performed in same manner they were performed in the past which helps to connect the people to their history. We learn that in the past, the Kumeyaay people as naïve Indians underwent very difficult situations in the past and the ceremonies serve to remind them of the hardships that previous generations had to undergo. They are more important for the younger generations in teaching them of their culture, just as other ethnic groups in California have resorted to passing on the knowledge of their cultures. The children are able to learn the culture in terms of songs, foods and other ancient practices is what define whom they are (Sly & Johnson, n.d). 

Moreover, the film explores the manner in which the Kumeyaay people integrated their culture with other noble practices such as plant husbandry which is shown in the way past generations had planted numerous oak trees. These people are seen to be very mindful of the environment which provided all their needs including food, water and shelter. The people took the acorn, nuts and pines and planted the forest, which shows that they could not leave it to nature to provide for them.  It shows that these people were not just hunter and gathering wild people but communities who lived with various values that were ingrained into their culture and directed their interaction with nature. Such plantation shows the line between the wild and the community (Sly & Johnson, n.d).

In conclusion, the main theme of the film is to present the need for sharing and maintain the cultural heritage for the Kumeyaay people and why I should be passed along to the coming generations.  I would recommend the film to a friend who wishes to learn more about the history of Kumeyaay community in San Diego.

Reference

Sly, B., Johnson, M. (n.d).First People – Kumeyaay. Retrieved from: http://www.pbs.org/video/2365254548/

REFLECTION

Food, Inc. About Food Production Documentary

The documentary looks at the industrial production of grains, meat, and vegetables. The film raises an ethical issue about the industrial practices as they can be considered to be harmful for human consumption, economically and environmentally unsustainable. Moreover, the film exploits the industry legal and economic powers that the food companies have (Kenner, 2008). In the previous year’s food distribution was based on self-sustaining farming methods through the Green revolution that was enough for their families. Through the advancement of the agricultural technology, food production changed in order to cater for the large population. However through the massive food production under the advanced technology had its own negative repercussions. Initially, corn was only for human consumption but was later converted to other uses such as animal feeds rather than grass or wheat resulting in negative consequences. The mass production of meat raised ethical queries as well. This was because the massive food and meat production was characterized with deceptive advertisements that covered up potentially damaging information (Kenner, 2008).

Issues affecting the food industry include the exploitation of corn, false advertisement and the brutal way of treatment of animals. Corn as a major vegetable in the western world is used for edible purposes but its exploitation by even feeding animals. This has resulted into large-scale farming of the corn where chemicals have been used to boost their growth (Kenner, 2008). The chemical used to have a negative effect on the human health. In the film, it has been identified that most of the processed foods contain corn-based syrup. There is a potential overdose threat of due to related issue of corn nutrition thus increasing certain allergies. Large tracts of large are used in farming corn that raises issues of land usage due to the fact that 30% of the U.S land is strictly under corn farming (Kenner, 2008).

Bigger, Stronger, Faster About Steroids in Sports Documentary

The documentary addresses the effect of steroids in American sport. The steroids are used as performance enhancing drugs. The documentary featured Chris brother who has used steroids. Chris the film director gave up after feeling guilty and had a strong belief about his brother use of steroids was more harmful than beneficial (Bell, 2008). This is because he felt obligated with his brothers’ life for the rest of his life. The film also addresses the baseball scandals as it got to the bottom of the drugs that enhance performance. As a way of proving that the steroids are harmful, the director interviewed a top medical expert who specializes on steroids. The performances are supposed to be conducted on a fair ground thus bringing up the issue of morals as some take advantage of the steroids in order to perform exemplary. In reality, the steroids have a huge negative effect on the user health (Bell, 2008).

The films talk about the strength of the athletes, endurance of the athletes as well as the Olympic trainers. Despite the stunning performance by the athletes it does not qualify to be sports. It has to be recorded that there are about 435,000 deaths attributed to tobacco usage, 85,000 towards alcohol and 3 to steroids (Bell, 2008). As the film demonstrates that steroids enhance the romance power and strength which in reality it does not last a lifetime as it adversely affects the body as it cannot perform without the drugs. The fact that steroids make one feel better just like breast implants and liposuctions one cannot shy away from the long run effects. Chris Bell features the Belgian Bull due to the double muscling. Double muscling causes a disease of muscular dystrophy which deteriorates the performance of an individual (Bell, 2008). The use of steroids does not only cause harm to the body but it makes the sports world lack a sensible meaning.

Reference

Bell, C.  (2008). Bigger, Stronger and Faster. Retrieved from http://www.imdb.com/title/tt1151309/

Kenner, R. (2008). Food Inc. Retrieved from http://www.imdb.com/title/tt1286537/