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Blade Runner reimagines the future and seamlessly marries film noir and science fiction. In the film, humanoid robots have become self-aware and decide that it is unjust for their short, four-year lifespans to be calculated by those that created them and have to find a way to override their self-destructing programming. In Blade Runner, a small group of humanoids, referred to as replicants, escape from their off-world and flee to Los Angeles hoping to find a way to escape their fate. However, since humans have determined that it is illegal for replicants to be on Earth, Rick Deckard, an experience blade runner, is contracted to assist the Los Angeles Police Department to exterminate the replicant threat. In the "Chinatown" scene, the audience is able to see how science fiction and film noir come together in terms of cinematography and mise-en-scene, and are given better insight into Deckard as an individual.…
Blade Runner. Dir. Ridley Scott. United States: Warner Bros. Pictures, 1982. Motion Picture.
"Retrofuturism." 25 March 1997. Web. Accessed 13 October 2013.
Each of the renegades were created to the newest technological level possible, and their creator challenges Deckard to distinguish his new models from a human by using achel (Sean Young) as an example of the level of humanity he has accomplished in his humanoid design.
Deckard finds his self strangely attracted to achel in a very human way, and she responds to his emotions, sensing his feelings, and returning those emotions. Deckard faces a moral dilemma. Of course, in the end, the eplicants (robots) manifest their creator's dark side, and kill to survive.
That they are artificial life forms should erase the doubt of whether or not it is wrongful to enslave them, because they are machines, not people. The impetus of their creation was to serve humans. However, in the film, Deckard is challenged with the idea that he himself might be a eplicant, and finds himself questioning his…
Scott, R. (1982). Blade Runner, motion picture, Ladd Company, USA.
Blade Runner: A Marriage of Noir and Sci-Fi
Blade Runner is a 1982 film noir/science fiction film set in 2019 that depicts a world that is threatened by human advancements in technology. In the film, robotic humanoids become self-aware and decide that it is within their right to live past their predetermined expiration dates and set out to find a way to live among humans and defy scientists, whom arbitrarily decided and programmed these humanoids' lifespans, and society, which does not readily accept humanoids despite having created them. In Blade Runner, a group of these humanoids, called replicants in the film, escape their off-world and flee to Los Angeles with the hope of finding a way to defy their preprogrammed self-destruction. However, because it is illegal for replicants to be on Earth, it is up to former blade runner, Rick Deckard, to stop the replicants before they create any disturbances…
Borde, Raymond and Chaumeton, Etienne. A Panorama of American Film Noir: 1941-1953.
Trans. Paul Hammond. San Francisco: City Lights Books, 2002. Print.
Blade Runner. Dir. Ridley Scott. United States: Warner Bros. Pictures, 1982. Motion Picture.
Dirks, Tim. "Science Fiction Films." AMC Filmsite. Web. Accessed 12 February 2012.
The flaw that has compelled Batty and crew to murder is that a timer was built into the robots, which times them out on a certain year, day, hour. Batty is facing the end of his mortality, and, as is common to the human struggle in the face of its own mortality, he is looking to survive.
What is very interesting in this science fiction film is that technology is not used to detect the technological life of the robots as much as is a test of humanness, which is done through a series of questions to the "person," and answers. The only way to reveal the robotness of the person, if they are indeed a robot, is to ply them with a set of psychological teaser questions they must answer. If the question is so human in nature that the robot's own emotional experience cannot find the answer in…
Blade Runner and C. Estes
The film Blade Runner applies universal myths and archetypes to a futuristic setting. The characters and plot of Blade Runner can be paralleled with many of the archetypes and tales told in Clarissa Pinkola Estes' book Women Who Run With the Wolves.
The relationship between Rachael and Deckard is very similar to the story of the Skeleton Woman, only with the gender roles reversed. Just as the fisherman inadvertently transformed the dead woman's bones into a living, breathing, loving human being, so too did Rachael awaken Deckard's innate sensitivity and kind nature. Although it is ironic that Rachael is the replicant and Deckard the human, the soul transformation still takes place. Deckard was untangled metaphorically, as the Skeleton Woman's bones were literally untangled by the frightened fisherman. Through his kindness and caring, the Skeleton Woman was able to return to flesh and blood. Much in…
3. Viewers who only saw the version of Blade Runner released in 1982 would deny that Rick Deckhard is human. Blade running involves killing replicants, and if Deckhard had been one himself it is unlikely that he would have fulfilled the job well. Moreover, Deckhard comes across as the only beacon of hope for humanity. The bleak vision of the future that Ridley Scott conveys in Blade Runner becomes bleaker still when the final cut of the movie was released in 2007. The final director's cut, which Scott supported as his ideal version of the story, directly depicts Deckhard as a replicant. A cop leaves the origami unicorn outside of Deckhard's room just as he does to the other hunted replicants. The scene is also chilling in that Deckhard suspects that the authorities have read his mind because he had recently daydreamed about unicorns. The origami unicorn could have been…
Enslaving the replicants is completely unethical. Even if the replicants did not completely resemble human beings, like they do in Blade Runner, enslaving them would be wrong. The replicants are like humans not only in appearance but also in their psychological makeup. Their ability to feel emotions and express affection show that they experience pain and suffering as well. Creating a race of creatures like the replicants with the sole purpose of enslaving them is a repulsive act and one that is depicted darkly in Blade Runner.
Deckhard's realization that his memories may have been planted suggests that all memory may be fallible. Even if Deckhard were definitively human, his memories could have been altered. For example, manipulating the brain or using non-invasive techniques like hypnosis makes memory planting or memory manipulation possible. Human beings are taught to trust our memories because they are our only link with the past, our only means of interacting with past events and learning from them. However, a memory can easily be distorted and are seriously unreliable. Two persons can experience the same event and remember it differently.
3. Viewers who only saw the version of Blade Runner released in 1982 would deny that Rick Deckhard is human. Blade running involves killing replicants, and if Deckhard had been one himself it is unlikely that he would have fulfilled the job well. Moreover, Deckhard comes across as the only beacon of hope for humanity. The bleak vision of the future that Ridley Scott conveys in Blade Runner becomes bleaker still when the final cut of the movie was released in 2007. The final director's cut, which Scott supported as his ideal version of the story, directly depicts Deckhard as a replicant. A cop leaves the origami unicorn outside of Deckhard's room just as he does to the other hunted replicants. The scene is also chilling in that Deckhard suspects that the authorities have read his mind because he had recently daydreamed about unicorns. The origami unicorn could have been a coincidence, but Blade Runner is too rich in symbolism and sophistication for Scott not to have purposely crafted the scene.
Frankenstein and lade Runner
Oppressed Creations in Frankenstein and lade Runner
Despite being set more than 200 years apart, Mary Shelley's novel Frankenstein and Ridley Scott's film lade Runner share similar themes about the plight of individuals to become recognized as members of society. Frankenstein was first published in 1816 and republished in 1831 and recounts the tale of Dr. Victor Frankenstein and the consequences that he faces after taking the power over life, death, and creation into his own hands. lade Runner, on the other hand, was released in 1982 and follows Rick Deckard as he sets out to stop a group of humanoids from wreaking further havoc on their quest to defy the laws that have been instituted by humans and are meant to oppress their mechanical counterparts. oth Frankenstein and lade Runner depict the conflict that the outsider -- the Creature in Frankenstein and the replicants in…
Blade Runner, 1982, motion picture, The Ladd Company/Tandem Productions/Sir Run
Shaw, distributed by Warner Brothers Pictures, United States.
Josey, T n.d. A comparison between Frankenstein and Blade Runner, accessed 1 June 2012,
film "blade runner" and will highlight the different tests which were performed in it, it will further distinguish between humans and replicants and will emphasize the tests performed and the variability of the tests on the humans as well as on the replicants. The paper will further analyze the theory of mind and bring forth various other discussions.
The concept of reality has always been a strange one, being the invention of the human mind, but it seems as if our creation is beginning to come apart at the seams in these so called 'postmodern' times. In this notional 'postmodern' world, which we presently inhabit, the notion of 'reality', or rather how our minds perceive it, is a particular cause for concern. If one stops to look about for just a moment it is very easy to find forms of 'simulacra', which we consider to be 'real'. The…
Blade Runner Insight, Last viewed: 10th May'04
Blade Runner, Last viewed: 10th May'04
Blade Runner: Genre, Conflict and Ambiguities
The conflict at the heart of Blade Runner is like that in most noir, neo-noir and detective films -- a fight between good and evil. In Blade Runner, this conflict is particularly compelling because the distinction between these two forces is ambiguous at best. The film uses the man vs. monster motif put forward in Shelley's gothic masterpiece Frankenstein (in Blade Runner it is updated to man vs. machine to fit the futuristic setting), and this motif allows the film to explore the question of what makes us human, intelligent, sentient, and mortal. The film's underlying philosophical tone is not used in a pedantic manner but rather to elicit sympathy for the film's most interesting characters -- the replicants themselves -- as well as the individuals responsible for creating them and destroying them. The hero of the film, Deckard, is one of the latter…
Blade Runner directed in 1982 y Ridley Scott, is a film which examines the nature of reality, something that it plays with very heavily using factors like visuals and memory design. The film features Deckard, the protagonist who hunts replicants. However, over time, it ecomes clear that Deckard is not too different from those he hunts (Reagle, 1996). "The replicants rely on photographs and implanted memories to olster their nascent and fragile emotions. After Deckard tells Rachael that her photos and memories are merely copies of those that elong to Tyrell's niece, he falls asleep amidst his own childhood photographs" (Reagle, 1996). This demonstrates oth the sanctity and falliility of memory has a whole and how memory, along with the visual elements of one's collective reality can do a great deal when it comes to shaping one's perspective. Memory can distort, the film gently reminds one, and this distortion can…
Science Fiction Stories -- Comparisons / Contrasts
all-E & Blade Runner -- Utopia vs. Dystopia
The two well-known science fiction films that are critiqued in this paper -- all-E and Blade Runner -- will be critiqued and contrasted as to the following dichotomies: utopia and dystopia; technophobia and technophilia; and futurity and nostalgia. Thesis: these films both delve into the potentially disastrous environmental future for the planet, and each in its own way provides an alternative future.
all-E and Utopia: This ravaged planet is no utopia in the traditional sense, for sure, but all-E has evolved over the past 700 years; some kind of mutation perhaps is what has allowed him to survive in a highly radioactive environment. To survive alone with the exception of a cockroach (which is one of the few species that can survive horrendous polluting events like radiation) is proof of his survivability. After all, utopia…
Bennett, Jane. The Enchantment of Modern life: Attachments, Crossings, and Ethics.
Princeton, NJ: Princeton University Press. 2001.
Brooker, Will. The Blade Runner Experience: The Legacy of a Science Fiction Classic. New York: Columbia University Press, 2013.
Jenkins, Mary. "The Dystopian World of Blade Runner: An Ecofeminist Perspective. The Trumpeter Journal of Ecosphy. Retrieved May 12, 2014, from http://trumpeter.athabascau.ca .
imagery in the movies Chinatown and Blade unner and compare the film-noir type of imagery against the actual statistics available in the latest Census results from Los Angeles that characterize the complexion of Los Angeles in 2010. In all three arenas, we see a Los Angeles area that is multi-ethnic, grime and dirt included. In many ways, while the movie imagery is different, in many ways all three characterizations have more in common than have differences. In all three portraits, the dirty, gritty and repressive city scape has the potential to swallow up the inhabitants in the Los Angeles darkness that is almost as thick as palpable as the ninth Egyptian plague of darkness. The films accurately and effectively discuss the "feel" of the city and the city's neighborhoods. The author will provide examples from the films to illustrate this, as well as the similarities and differences.
U.S. Census Bureau. U.S. Dept of Commerce. Los Angeles city, California QuickLinks. Washington,
D.C.: U.S.G.P.O., 2012. Web. .
digital age include worlds that are highly imaginative (eg. Harry Potter films). Films are sometimes conceived in a literary form and then turned into a script and a film. Films since the 1920s and into the 21st century have used physical models and stage properties of some kind (eg. Metropolis, Blade Runner, 2001: A Space Odyssey and Harry Potter). In the digital age, visual effects are created by composite images and ongoing production techniques, practices and narratives. Discuss.
What this question primarily conveys is the feasibility associated with the growing trend of using digital techniques in filmmaking. The importance of digitalization, computer generated imagery and visual effects, has grown tremendously and that can be proven with the help of various relevant examples. In the essay, the technological value added by digitalization along with the advantages and disadvantages of digitalization have been discussed. Finally the future of digital filmmaking…
Matrix, lade Runner, And Metropolis
Science-Fiction films have evolved through the decades as technology as progressed, allowing for greater Special Effects and visual demonstrations of worlds overrun by machines.
Three such films - The Matrix, lade Runner, and Metropolis have manifested their stories not only through their scenery and futuristic landscapes, but also through society and the forces governing them.
In their essays, Stan rakhage and Giuliana runo examine these influences within film and how they demonstrate the relevance of history in a social context; postmodernist influences; and the perceptions of vision as they appear on film.
In runo's essay Ramble City: Postmodernism and lade Runner, runo examines the film lade Runner, as it relates to postmodernism and the ideals surrounding the architecture, and social infrastructure of the world where people lack a 'real' history, and therefore, philosophically, a 'real' existence.
The city of lade Runner is not the ultramodern,…
Blade Runner Dir. Ridley Scott.
1982. Based on Philip K. Dick's Do Androids Dream of Electric Sheep?
Metropolis Dir. Fritz Lang
1927. Based on Thea Von Harbou's novel.
.....humans interact with technology in increasingly sophisticated and meaningful ways, the ethical and philosophical questions posed by artificial intelligence start to become more pressing than ever before. The science fiction genre has promoted as ambivalent a relationship between humans and technology as scientists and futurists have. Both the potential benefits and drawbacks of artificial intelligence have been explored, asking human beings involved in the development of AI technology to consider the ramifications of their work. For example, Nick Bostrom has indicated the need for developers of artificially intelligent systems to work with cognitive scientists to mitigate risk by programming AI from the beginning to act only in the best interests of humans (Shead 1). However, the assumption that AI will somehow eventually need or want to compete with human beings with the potential to overcome or conquer human beings is just that: an assumption. It is a flawed assumption because…
Analysis of Godard's Alphaville
French New ave cinema emerged during the 1950s and was inspired by the criticism of Andre Bazin and Jacques Donial-Valcroze who helped to found Cahiers du Cinema. The Cahiers du Cinema helped to establish two filmmaking philosophies that would help to guide New ave auteurs in the creation of their films. Additionally, New ave directors would also establish a set of guidelines that would help to classify their films as part of the New ave movement. Among the founders of the New ave movement was Jean-Luc Godard whose films not only adhere to the guidelines of the movement, but also push the boundaries and allow him to use his films to explore politics, genres, and cinematic styles. Alphaville, released in 1965, not only follows the guidelines that were established by the New ave movement, but also brings together the genres of film noir and science…
Alphaville. Dir. Jean-Luc Godard. France: Athos Films, 1965. Motion Picture.
Phillips, Craig. "French New Wave." Green Cine. 2005. Web. Accessed 8 April 2012.
"Retrofuturism." 25 March 2007. Web. Accessed 8 April 2012.
Spicer, Andrew. Film Noir. New York: Pearson Education, 2002. Print.
Artificial Intelligence / Robotics
Robot Outline Name: Complitar (aka the LoveBunny 3000).
Personal Statement: Greetings, human. I am the LoveBunny 3000, and I offer advice on relationships and also sex. You are here gazing at my glass containment because you are troubled in your relationship, or you seek advice for how to drive your lover wild, or perhaps you just need concrete advice for how to find a lover -- although in these days of social media and nonstop connectedness, if you can't find someone to sleep with you, you're doing it wrong. And that's where I come in. You can ask me any question pertaining to the relationship genre.
My form is that of a classic automaton -- a spooky sort of robotic doll that performs certain functions within a limited and circumscribed physical field. Some may recognize my appearance from a standard fairgrounds type fortune-teller or more specifically…
Science fiction and horror both offer narrative closure and "the restoration of the social order," as does Repo Men, only in this case the social order being preserved is completely amoral and evil (Grant 21). It does not end with the monster or alien menace defeated, like Independence Day, Star ars, Terminator or The ar of the orlds, but just a literal return to the
status quo and business as usual. Repo Men is definitely not an adolescent or 'infantilized' film, with heavy reliance on special effects and light and magic shows, nor do the good guys win in the end -- insofar as there are any good guys at all. It has no real hope or comport to offer, and n this absolutely dehumanized world of the future that lacks redeeming features of any kind, Remy's fantasy existence might actually be preferable to 'reality'. Thus the film is…
Grant, Barry Keith. "Sensuous Elaboration': Reason and the Visible in Science Fiction Film" in Redmond, Sean (ed). Liquid Metal: The Science Fiction Film Reader. Wallflower Press, 2004: 17-23.
Landsberg, Alison. "Prosthetic Memory: Total Recall and Blade Runner" in Ballard, David and Barbara M. Kennedy (eds). The Cybercultures Reader, Second Edition. Routledge, 2007: 286-96.
Milner, Andrew. "Dark City: Urban Dystopia and Science Fiction Cinema." International Journal of Cultural Studies, 7(3) 2004: 259-79.
Sobchak, Victoria. "Images of Wonder: The Look of Science Fiction" in Liquid Metal: 4-10.
Humanity seems to unravel altogether in Pi: Faith in Chaos, both written and direct by Darren Aronofsky. Max is a brilliant but socially crippled young mathematician who has built a supercomputer and possibly unlocked the mathematical secrets of the universe, explaining everything from the stock market to God. The mathematical precision with which the world would operate if this is true casts a great deal of doubt on the existence of free will. At the same time, however, the film is asking questions about reality, and whether or not Max's discovery can truly be used in any practical way. Ultimately, both questions are rendered moot by Max's destruction of the mathematical portion of his brain. Though this seems to be an act of free will, it could also be the natural and inevitable next step in the algorithm of his life following his discovery of the sacred 216-digit number. Regardless,…
This need to be structured in MLA format.
Prompt for Transcendent Man
I first became aware of Ray Kurzweil many years ago, but was introduced to this documentary about him by a student a few semesters ago. I knew his book, The Age of the Spiritual Machines, but hadn't, up until that time, been aware of his theories concerning "the singularity."
Unquestionably, Kurzweil is a brilliant inventor and a man of vision. His work has helped millions of people - not only those of us who use flatbed scanners, but the millions of those who can now "read" due to his work with technology for the blind. Furthermore, no one can argue the fact that technology has been experiencing exponential growth for decades. What is in question, however, is just exactly where this growth is leading us. ??
While some of those interviewed in the documentary agree that…
This became an age in which visionary thinkers said, "see, we told you so," and were able to garner additional support from not only the activist type, but the regular citizen.
Malthusian dynamics (overpopulation and resource allocation) became a focus of futurists. Marshall McLuhan, for one, combined futuristic predictions with analysis of global media and advertising trends.
Noam Chomsky was revolutionizing the idea of linguistics as a way to view our innate cultural mechanisms.
Science fiction writers like Clarke, Asimov, and Lem pushed the boundaries of science as far as possible -- insisting that the reader ask very difficult questions about what it truly means to be human, what it truly means to have conservatorship of a planet, and whether or not we have the wisdom to maintain life on earth as we know it.
Chapter 6 -- Fast Forward
Arthur C. Clarke made an interesting remark about…
"The rumor claiming that the commercial almost never aired is true," said Clow (www.ciadvertising.com).The Apple board "demanded that it not be aired," Clow goes on, but Apple CEO Steve Jobs insisted that it be played, and so it was. Clow says that this commercial wasn't just a parody of Nineteen Eighty-Four; "one could almost interpret this commercial as a bleak commentary on society," he writes. It shocked the "PC world into paying a little more attention to their competitors in their field," Clow asserts.
In conclusion, TV Guide called the Apple commercial "the greatest commercial of all time," according to CNN. And while Orwell's book isn't the greatest by any means, it has created an endless number of allusions and references, including the phrase "Big Brother," who, unfortunately, is with us today far more than most of us probably realize.
Clow, Lee. "Lee Clow: His Masterpiece." Chiat/Day Advertising.…
Clow, Lee. "Lee Clow: His Masterpiece." Chiat/Day Advertising. Retrieved Nov. 28, 2007, at http://www.ciadvertising.org/SA/fall_02/adv382/qwkag/assign2/master.htm .
Leopold, Todd. "Why 2006 isn't like '1984'." Cable News Network / CNN.com. Retrieved Nov. 28, 2007, at http://www.cnn.com/2006/SHOWBIZ/0202/eye.ent.commercials.
Orwell, George. Nineteen Eighty-Four. New York: Plume / Penguin Group, 2003.
Medical personnel served patients and visitors deftly; they were professional, attentive and knowledgeable and operated in a no-nonsense manner that I respected and hope to emulate as a practicing physician. The occasionally present language barrier posed few problems in the doctor-patient relationship while my friend recuperated in hospital.
Cultural differences in the medical experience can become issues for medical practitioners anywhere but especially in multicultural America. Doctors who treat patients from different backgrounds sometimes fail to accommodate for large extended families for visiting hours, for example, or doctors may resist accommodating for outmoded misogynistic cultural norms such as addressing the husband directly about the wife's medical decisions. Linguistic barriers can also impede a doctor's ability to properly treat a patient or offer the patient all the options available for treatment.
While in Asia I witnessed the diverse ways patients and relatives interact with doctors, reflecting social structures that emphasize hierarchy.…
Metropolis, directed by Fritz Lang. Specifically, it will compare the film with the essay "Metaphors on Vision," by Stan Brakhage.
Stan Brakhage could very well have been writing about Franz Lang's classic 1927 film "Metropolis" when he wrote this article. hile there is no color in this black and white science fiction film, the camera eye was innovative for its time, and still influences the way science fiction is filmed today - darkly, and with great attention to even the most minute of details, which show in the detailed buildings, which were models. It is most certainly a "world alive with incomprehensible objects..." (Brakhage 66). In his pedantic way, Brakhage illustrates what a cameraman (or woman) can do with a lens, from spitting on it to create "stages of impressionism," to slowing the motion, and using filters to enhance the final image (Brakhage 69). Certainly, Lang understood this philosophy,…
Brakhage, Stan. "Metaphors on Vision." Film and Reality: A Historical Survey. Roy Armes, ed. Baltimore: Penguin, 1974.
all-E's appreciation for the world and his Eden-like naivete (versus the terrible knowledge brought about by Eve's discovery of the living plant that will bring back humanity), shows how false and world-weary the humans have become in their consumerist bubbles.
There is one particularly marked difference between all-E and the traditional Christian vision of divine grace offered in the Bible, thought. The concept of salvation is usually conceptualized as ascending to heaven and losing one's ties to the earth. For all-E, however, the only grace comes when human beings and the robot return to the planet and reconnect with the ability to move in an earthbound way and to love the earth, as embodied in the tiny planet that still survives and leads them there.
French, Phillip. "all-E." The Guardian. 20 Jul 2008. 6 May 2014.
Genesis. Bible Gateway. 6 May 2014.
Murphy, M. "Anatomy of…
French, Phillip. "Wall-E." The Guardian. 20 Jul 2008. 6 May 2014.
Genesis. Bible Gateway. 6 May 2014.
TELEVISION'S ELATIIONSHIP TO SCIENCE AND TECHNOLOGY
Television's elationship to Science and Technology
Scientific knowledge has led to the development of machinery, and equipment among other provision of technology. Notably, computer technology is a product of scientific knowledge: the advancement of the science and the engineering knowledge has led to the increase in the practical application of knowledge. As a result, the technology has continued to advance leading innovation and modernization. Television is a product of scientific knowledge and thus led to the transmission of knowledge of science from one region to another. Television has had gradual improvement in different time. For example, in the ancient time, the transmission of news and entertainment was limited and only in the black and white. As seen in the modern society, television has advanced from black and white images to colored photographic images (Williams, 1974). The improvement in the mode of transmission of images…
Dick, P. K. (1982). Blade Runner. Random House LLC
Jonze, S., Kaufman, C., & Burwell, C. (1999). Being John Malkovich. Universal Studios.
Williams, R. (1974). "The Technology and Society" from "Television: Technology and Cultural Form." New York: Schocken, pp. 35-50
Certain eternal questions haunt every human being: are we just body, or body and soul? We are born alone and die alone -- but are we truly alone in this universe? Is there a God? How deep is love, how genuine, how real, and can it be everlasting? In the extraordinary, haunting poem, "Sex Without Love" by Sharon Olds, the mere choreography of sex raises the deepest questions about body, soul, God, love, and aloneness. Although some have interpreted this poem as an argument against casual sex, particularly the kind of casual sex that leads to mothers giving away their unwanted babies, the poem is actually a philosophical meditation on aloneness. It is a felt, and primal, philosophy -- the poet brings us right into the experience of the body with her words, and leaves us moved, uneasy, and feeling as unprotected as the "children at birth,/whose mothers…
One might consider fibromyalgia to be one of the most confounding conditions around today. It is debilitating. It results in several quality of life issues. The confounding aspect of this condition is that it is difficult to diagnose. It is also difficult to treat. Most treatment modalities today recourse to treating one or more specific symptoms -- but there is no treatment that can comprehensively treat all the symptoms. (NIAMS, 2004) More holistic treatment modes however, are being researched, explored and considered. Fibromyalgia often presents symptoms of other diseases. Essentially therefore, fibromyalgia is characterized by widespread pain that cannot be localized to any part of the body. It is also associated with fatigue and other specific (though not necessarily widespread) symptoms that will be discussed later in this work.
Fibromyalgia syndrome is often referred to in its abbreviation FMS. Some of the symptoms (though not all) enjoy significant overlap…
Adiguzel, O., Kaptanoglu, E., Turgut, B., & Nacitarhan, V. (2004). The possible effect of clinical recovery on regional cerebral blood flow deficits in fibromyalgia: a prospective study with semiquantitative SPECT. South Med J, 97, 7, 651-655
Baldry, P. (1993). Complementary medicine. The practice of acupuncture needs tighter safeguards. Bmj, 307, 6899, 326
Baumgartner, E., Finckh, A., Cedraschi, C., & Vischer, T.L. (2002). A six-year prospective study of a cohort of patients with fibromyalgia. Ann Rheum Dis, 61, 7, 644-645
Bennet, Robert. (2000). The Scientific Basis for Understanding Pain in Fibromyalgia. Myalgia.com. Retrieved August 21, 2004, from the World Wide Web: http://www.myalgia.com/Scientific%20basis.htm
4P's Marketing Mix
Nike Marketing mix
Nike as a company was initiated by two visionaries from Oregon, Bill Bowerman and a runner at that time for the University of Oregon Phil Knight. They were then working together in athletic with Knight being the runner supervised by Bill. Bill saw the endless possibilities that existed within people in terms of sports potential and it was with this that they set the tone for the company in 1972. This has remained the inspiration that runs the company to date and keeps the employees of the company from one generation to the other motivated to uphold the motto of the company (Nike, 2011). The company has grown from being a U.S. based footwear distributor to a mega world supplier of athletic shoes, equipment and apparel whose dominance is unrivalled in the entire globe.
The goal of the company is to have a legacy…
China CSR Map, (2011). Nike Sports (China) Co., Ltd. Retrieved November 23, 2011 from http://www.chinacsrmap.org/E_OrgShow.asp?CCMOrg_ID=737
Matthew Forney at.al., (2004). Marketing: How Nike Figured Out China. Retrieved November
23, 2011 from http://www.time.com/time/magazine/article/0,9171,995462,00.html
Marketing Mixx, (2011). Marketing Plan for Nike. Retrieved November 23, 2011 from http://marketingmixx.com/marketing-plan-2/164-marketing-plan-of-nike.html
The shots in the scene reuniting Indy and Marian are impersonal, long shots and medium shots.
The scene introducing the relationship between Indy and Marian quickly cuts in to the Nazi whose expertise is one of torture. He has come for the same thing Indy has, and the close ups are Marian's facial expression of fear as she's about to lose her eye to a red hot poker. Indy comes to the rescue and the final Nepal scene is a montage of dynamic action where Indy and Marian make their escape.
The film cuts to the Middle East, where Indy and Marian have traveled, as have the Nazis, in search of the ark. The first part of this Act II, so to speak, introduces Indy's good friend and his Middle Eastern contact. The scenes in the Act II employ a series of medium and long shots as Indy and Marion…
Formalism Meets Realism in Haunting, Childlike Badlands
Terrence Malick's 1973 film Badlands blends formalism and realism to produce a genre film (crime, American, gothic, romance) that is at once self-aware, genre-adherent, genre-breaking, realistic, cinematic, artful, and genuinely objective in its depiction of an a subjective childhood experience. The film's sound and editing contribute to the overall feel of the film, which is deliberately romantic, innocent and haunting -- as though the characters were living out a violent Peter Pan fairy-tale in the real world without realizing their own culpability. This paper will discuss Badlands from the standpoint of formalism, realism, editing and sound in order to show how Malick approaches the horrifying story of a serial-killing couple in a fresh, imaginative, sympathetic, subjective and yet amazingly objective way.
The sound of the film is guided by a score that repeatedly uses the "Gassenhauer" of Orff's Schulwerk (German for "school…
Malick, Terrence, dir. Badlands. Los Angeles: Warner Bros., 1973. Film.
Terminator and Matrix evolutions
When a Californian speaks of the "terminator," almost anyone listening will wonder briefly if the emerging dialogue is to be about the actor/governor of California (Arnold Schwarzenegger) or the film, The Terminator. And if the discussion is to be about the movie The Terminator then which "Terminator" will be in focus - one, two, or three? For purposes of this paper, the focus will be on The Terminator (1984) and Terminator 3: ise of the Machines (2003), and, also, on The Matrix evolutions.
The Terminator: The big career break for Arnold Schwarzenegger was not when he became a well-known body-builder. His huge break was playing the lead role in The Terminator, the first of three science-fiction films that were also action-thrillers.
The plot: It is the "Year of Darkness," 2029, and a powerful and intelligent computer named Skynet continues to battle human resistance on Earth, after…
Axmaker, Sean. "If nothing else, 'T3' is blessedly unpretentious." Seattle Post-
Intelligencer 2 July 2003.
BoxOffice Online Reviews. "The Terminator." Retrieved online on 18 August 2004. http://www.boxoffice.com .
Clark, Mike. "Schwarzenegger is back, barely, in 'Terminator 3'." USA Today 1 July 2003: C1.
Vignola began his career as an architect in ologna and supported himself by painting and making perspective templates for inlay craftsmen, later traveling to Rome to work and study. His talent and skill was utilized by the papacy, including Pope Julius III and the papal family of the Farnese. He worked with Michelangelo and was deeply influenced by his style.
It is believed that Cardinal Gianfrancesco Gambara commissioned Vignola to design the Villa Lante in 1566. The first casino was completed immediately, but the second one was not finished until after 1587 when the Cardinal passed away. The two casini differ mainly in the style of frescoes. The first casino uses a riotous highlight of color used to highlight the architecture, while the second casino was done in a more classical style of fresco and plaster sculpture combination.
The gardens of the Villa Lante incorporate water features in "a visual…
Coffin, D.R. 2003. Pirro Ligorio: The Renaissance Artist, Architect, and Antiquarian. Pennsylvania: Penn State Press.
Lees, Frederick. 1997. The Chateau de Vaux-le-Vicomte. Architectural Record. pp. 413-433.
Pater, Peter. 1976. Renaissance Rome. California: University of California Press.
Rogers, Elizabeth Barlow. 2001. Landscape Design: A Cultural and Architectural History. New York: Harry Abrams, Inc.