Note: Sample below may appear distorted but all corresponding word document files contain proper formattingExcerpt from Term Paper:
Several interesting facts surrounding The China Syndrome are worth bringing out at the beginning of this paper. First, Jack Lemmon, Jane Fonda, and Michael Douglas, the principal actors in the film, were all actively anti-nuclear at one time during the 1970s and 1980s in California and Oregon. Fonda in fact flew from Los Angeles to Eugene Oregon in 1976 to appear as a celebrity on behalf of the proponents of Measure B, a ballot proposition (which failed) that would have restricted the further development of nuclear plants in Oregon pending the establishment of a safe repository for the highly radioactive "nuclear waste."
The same kind of ballot measure that was voted on in California in 1976, and was defeated because of massive advertising by the utilities, which used scare-tactic TV commercials showing a family eating dinner by candlelight (the direct implication was that the lights would go out unless nuclear power plants could go online). Diablo Canyon nuclear plant, build in San Luis Obispo County during the 1970s, was delayed for several years after an earthquake fault was discovered 2 miles offshore by geologists from the U.S. Geological Survey and Shell Oil, according to an anti-nuclear group in San Luis Obispo, California, the Mothers for Peace (www.mothersforpeace.org).
In the movie, suddenly, when a noticeable shaking event takes place in the containment building -- where the TV station staffers are gathered, part of a PR tour conducted to help the station do an in-depth series on energy in Southern California -- indeed, some serious scurrying takes place on the floor of the control room. What if a nuclear power plant got out of control? The viewer has a close-up look at what might take place during such an event. It might even be more frenzied than it was shown to be.
When a visiting journalist feels the shaking, and then hears, over the loudspeaker: "All personnel proceed directly to safety areas, this is not a drill"; that is enough to scare any reporter who is on site to produce television journalism about nuclear power, and Michael Douglas does a believable, excellent job in his role as cameraman, when he hears that warning in the film. He is told not to roll tape of the control room, but when the loudspeaker announces that personnel are to report to "safety areas," he covertly begins taping the scene.
'Routine, huh?" Douglas whispers, cryptically, while Fonda, who is playing the role of a talking head -- something of an airhead "fluff reporter," says little, but just stands wide-eyed and looking puzzled.
Given the paranoia by stations over running a story that might embarrass a public utility, another very potentially realistic sequence takes place back at the TV station, when Fonda and Douglas explain what they've got to the news director. He immediately senses a scoop, but when the station manager comes into the editing room and sees the footage, he shuts the story down, for lack of backup. Basically, that is a good strategy, but when Fonda and Douglas see the PR guy for the Ventana nuclear plant up in the room with the station manager, they know they've been censored.
The fact that the news media just happened to be on hand to witness one of the potentially hottest stories in Southern California news history was stretching credulity a bit, but Hollywood can get away with that.
"My God we're losing it," Lemmon, the man in charge of the plant's controls, barks, trying to re-establish control over the reactor following an earthquake. "Please God ...." Lemmon pleads, looking up and closing his eyes. This is a very human and realistic set of emotions shown by Lemmon; the anguish on his face tells a story that a scriptwriter's best dialogue could not match.
A bit later, in the executive suite owned by the power company the news is not so much directed on the accident that nearly resulted in a meltdown, but on the economic picture. Losing money is key to utility executives, as least in this picture, if not in the real world as well. A second nuclear plant is soon to go online at "Pt. Conception" (which in reality is a fictionalization of the Diablo Canyon plant which at the time the movie was made was still not fully licensed by the Nuclear Regulatory Commission).
"If the license of the Pt. Conception plant is delayed even slightly, our cash flow dries up," the chief operation officer of the utility is told, by an underling who is trying to put the best face on a dangerous situation. And as to getting the nuclear plant at Ventana back online ....We've got heavy debts on the power grid to every other utility west of the Rockies."
'I figure we'll be losing $492,000 a day," says an executive to the head of the utility.
The CEO pours himself a drink and one each for the two men in his suite. He asks that the investigation be "thorough," but "let's not waste any unnecessary time," he adds. "Let's get it over with." "Yes sir."
Back in the TV station's staff meeting, Michael Douglas is emphatic, loud, and very upset at management for capitulating to the wishes of the power company. He believes it was a serious accident, and insists that the station tell the truth. Richard (Douglas) calls the station manager a "chicken-shit asshole ... " which could get him fired, but he is so distraught that he doesn't seem to care." Douglas' character steals the film (there was no "video tape then") and shows it to nuclear experts, in order to find out for himself what really happened during that "event."
The station manager later in a cocktail party atmosphere answers Fonda's question ("what are you going to do with the film") with a condescending, "not to worry your pretty head about it ... " Fonda's character wants very badly to be given serious TV assignments, but the manager wants her to continue the "fluff"; as a sidebar story to the nuclear safety story, she winds up getting the nuclear assignments because she simply goes to where the action is, and the station is, in the end, glad for the scoops she is providing.
Cover-up: Lemmon, the control room manager, says in the bar, to Fonda, in a realistic depiction of what someone in his position would likely do: most reporters "mostly deal with, 'the only good news is bad news' ... " and that is why he doesn't like reporters. He covers up the accident at the plant, saying it was just a "faulty relay in the generator circuit," Lemmon said. "There was no accident." "And a stuck valve." Did the safety hearing on Pt. Conception have anything to do with the hurried nature of the investigation?
As to Barry Commoner's book, Poverty of Power, he does point out -- and has been saying this for many years -- that "decentralized energy," such as is provided by solar power, is a threat to the giant utilities, because those energy companies want to continue to be able to produce electricity through nuclear and fossil fuel plants, and sell that energy to consumers. They don't like the idea of millions of consumers having technology on rooftops (whether it be just solar hot water, or photovoltaic hardware which take the sun's energy and convert it to direct electrical current), and not needing to buy electricity from the big companies.
Enron, a company that has made a lot of news lately, all of it negative, made money, multi-millions of dollars, by buying and selling access to power grids, and they, too, relied on big centralized power plants to supply the juice to be moved on grids and bought and sold.
The "logic" of what Commoner has been saying…[continue]
"American Politics Through Film And Fiction" (2005, March 19) Retrieved December 10, 2016, from http://www.paperdue.com/essay/american-politics-through-film-and-fiction-63400
"American Politics Through Film And Fiction" 19 March 2005. Web.10 December. 2016. <http://www.paperdue.com/essay/american-politics-through-film-and-fiction-63400>
"American Politics Through Film And Fiction", 19 March 2005, Accessed.10 December. 2016, http://www.paperdue.com/essay/american-politics-through-film-and-fiction-63400
George Orwell's 1984 And Contemporary American Politics And Society Orwell's novel, entitled 1984, is essentially a fictional projection of possibilities and "what if" scenarios. While it is classified as a work of fiction, the foundations of 1984 stem from the author's personal experiences and insights into the way governments and political groups manipulate and even construct the truth to suit their own ends in an effort to gain and maintain power.
Roger and Me: Automobile Industry Like All the President's Men, this work is a departure from fiction in film and in novels. Rather than portraying fictional characters in a contrived plot, "Roger and Me" takes us into the lives of actual men and women dealing with the all-too-real problems of the decline of the United States as a world industrial power. The focus is on the automobile industry, in particular, on one
Justice for All The title itself is an ironic play on words, because as this film plays out, nobody is treated justly -- every character, even the central protagonist played by Al Pacino has either been screwed by the system of justice, or is part of the system that screws others. The "justice" shown in this film is only lip service to a system that is rotten from top to
Hunt for Red October Few fictional texts are as redolent of the global Cold War as Tom Clancy's novel of east-west submarine intrigue and confrontation, The Hunt for Red October, first published in 1984. For those who have the benefit of hindsight it may appear that the mid-1980s was a period in which the Cold War was clearly coming to an end, but at the time the east-west confrontation was
In this area, meanings with their endless referrals evolve. These include meanings form discourses, as well as cultural systems of knowledge which structure beliefs, feelings, and values, i.e., ideologies. Language, in turn, produces these temporal "products." During the next section of this thesis, the researcher relates a number of products (terminology) the film/TV industry produced, in answer to the question: What components contribute to the linguistic aspect of a sublanguage
These blows come in the form of beatings and disappointments encountered by Antoine while he is a student at a prison-like school. Truffaut paints the starkness of his reality effectively in his use of black and white hues. The boys are dressed mainly in dark formal clothes and their surroundings are also dark. This is contrasted with the brightness of the outside world in which Antoine is constantly looking
American History Role of the United States in Europe After WWII This essay attempts to present the role of the United States of America in the reconstruction of post World War II Europe. This report also attempts to provide information regarding the covert Cold War, the formation of NATO, and the ample economic trade opportunities sought by the Americans. After the successful D-Day invasion of Normandy Beach, it did not take much longer