The Godfather

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THE GODFATHER

This essay will discuss the extent to which Francis Coppola's film, The Godfather, is a logical conclusion of the changes in Hollywood during the 160's and 170's. I will focus on these changes, with regards to The Godfather, and also look at how Coppola has 'drawn' from the classical Hollywood period. Finally, issues around the social and historical context of American society in this era, will be discussed.

From 160 to 164, the Hollywood "Dream Factory" of the fifties was in turmoil. Thanks to television, which brought simultaneous access of programming to everyone, cinema attendance was at an all-time low. However, many studios responded to this by getting involved in television productions and were slowly producing the majority of television programming. At the same time, the Anti-trust Legislation broke the monopoly of cinema ownership, forcing studios to sell their cinemas.

Yet there was light at the end of the tunnel for moviemakers. "In the 160's the children of the postwar baby boom began to come of age" (Sklar; 14; pg 00) This new generation of filmmakers had grown up in the television era and therefore had a good knowledge of visual media. They looked back at the Hollywood studio system to revive the genres on which they were brought up. As studios lost touch with their audience, these new filmmakers began challenging traditional Hollywood conventions, producing films that were innovative (due to European film influences), capturing the imagination of a new youth audience.

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The Godfather greatly appealed to the youth audience because of its violence and nudity. Censorship limited television from showing violence and sex, and therefore The Godfather, which contains both 'evils', attracted an audience looking for new experiences. One of the features of Hollywood Renaissance films is that they "explore contempory issues such as violence" (Bickford-Smith; 00) In The Godfather, Coppola deals with gangster violence and domestic violence. People are shot, blown up and strangled. Connie Corleone is beaten-up by her husband. Coppola seems to be criticising the growth of violence in America during the 160's and 170's. The Whitman killings (166) and Manson murders (16) were front-page headlines during this time. Perhaps Coppola was feeding the idea that the world was a violent place by overtly demonstrating it in this film.

The Godfather revised the gangster genre by transforming it into a family melodrama or critical commentary on an immigrant family's pursuit of justice. Coppola plays with the genre conventions of the crime film, by placing the spectator in a problematic relationship with the "heroes". This strategy disturbs the classical Hollywood ideology that the audience identifies with the "good guys". In The Godfather, our sympathy lies with the small family of criminals through the framing and editing patterns. We often identify with characters from the Corleone family through point of view shots. The victims of the criminals are demonised, almost deserving of their fate, and therefore the mob are 'justified' and become a force for good. For example, we identify with Michael Corleone in the sequence where he assassinates the corrupt policeman, Mc Cluskey and rival gangster, Solozzo, through shot/reverse shots that are mostly from Michael's point of view.

Another feature of the Hollywood Renaissance, is the increased influence European cinema with regards to editing, the director as Auteur and special effects. Coppola makes use of a montage sequence in the scenes where Michael stands as Godfather to Connie's son. The parallel editing is reminiscent of French New Wave cinema. (E.g. Breathless) Auteur directors meant that the distinction of director and scriptwriter was overcome. Coppola not only directed The Godfather, he also co-wrote the screenplay. Hollywood mavericks like Coppola were experimenting with special effects. For example, Marlon Brando's make-up which transformed him into a much older looking Italian. Special effects extended the idea of 'realism' that was important to Hollywood Renaissance.

Greater 'realism' was achieved through a different acting style in The Godfather. Marlon Brando believed in 'becoming the character' and his portrayal of Vito Corleone is very convincing and 'real' when compared to classical Hollywood's stylised acting (E.g. Gone With The Wind) Also, according to Harlan Lebo, Coppola insisted on authentic props from the 140's era. These enhance the 'realism' because everything in the shot is authentic.

The 160's and 170's were the age of blockbusters. Blockbuster films were seen to be Hollywood's solution to the problem of audiences' over-familiarity with Classical models and conventions. They targeted an adolescent audience who where in search of new entertainment. Many blockbuster films, in particular The Godfather, were based on "stories and concepts from the 10's to the 150's" (Bickford-Smith; 00) The Godfather starts in 145 and not only deals with gang violence, but also the oppression of women. In context of when the film was released, the treatment of female characters by the male characters would have caused some controversy.

Feminism was on the rise during the Hollywood Renaissance era. The National Organisation for Women began in 166. The idea of women as passive objects of exchange was drastically being challenged. I think Coppola's portrayal of the oppressed Italian women in The Godfather, comments on the absurdity and cruelty of this abuse. In a way, Coppola challenges the idea of a patriarchal society, like the one present in the mafia community. Connie Corleone is physically and verbally abused by her husband, but there seems to be little she can do about the situation besides relying on her brothers for help. This is an example of how only males were able to restore a woman's honour.

Still focusing on the context in which this film was made and released, another important aspect was the "rise of counter culture" (Bickford-Smith; 00). The youth were trying to live a lifestyle that was different to that of their parents. Michael Corleone is an example of someone who does not want to be part of his family's 'business'. Instead of following in his father and brother's footsteps, he chooses to go study and then later becomes a war hero. The audience would have recognised and identified with this characteristic.

The Godfather does however have certain continuities with the classical period. For instance, the 'star' cast in The Godfather was a typical classical Hollywood convention. Having a famous actor like Marlon Brando was guaranteed to poke the interest of fans. Even if people knew nothing about the film beforehand, the fact that Marlon Brando was starring in it would get them to buy a ticket.

Continuity editing was also a classical Hollywood convention. Editing was not supposed to draw any attention to itself. In most cases, Cappola ensures continuity in The Godfather through eyeline cuts and match cuts. For example, in the scene where one of the gangsters stick a knife in a rival gangster's hand, the eyeline match allows us to see the direction of offender's gaze we move from watching the character look at what's happening to his hand, to watching what he sees stuck in his hand.

In conclusion, The Godfather aroused some controversy for romanticising gangsters and transforming them into social rebels. It was a Hollywood Renaissance film which offered a subversive perspective on American society. Coppola manages to disrupt the classical form, but still uses certain classical conventions.

BIBLIOGRAPHY

Bickford-Smith, V. 00. Lecture notes on Hollywood Renaissance. April 00

Cavolina, E and Cavolina Meara, J. 11. How to really watch The Godfather. New York; St Martin's Press; chapters 1, , and 6

Lebo, H. 17. The Godfather Legacy. New York; Simon and Schuster (ed); chapters 1, , , 4 and 6

Sklar, R. 14. Movie Made America. New York; pages

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Julius Caesar: Brutus as a Tragic Character

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JULIUS CAESAR by Brian Sia

William Wallace, is one of the most renowned freedom fighters in history. However, his arrogance was his most fatal threat. He thought he could go up against King Edward's forces, but his army was decimated during the battle of Falkirk. No man is perfect. With every great man comes an even greater flaw. Marcus Brutus is no exception. He is what Shakespeare called a "tragic character" a central character who possesses a critical flaw, and inevitably, meets his downfall.

Brutus' primary flaw is most certainly his undying love for his country, Rome. He would go to any lengths "if it be aught toward the general good" (p.1), no matter the consequences, even if it means taking his own life, or the life of his best and most loyal friend. Upon considering the idea of joining the conspiracy, he claims that he is willing to "set honour in one eye, and death i' th' other…..and look on both indifferently" (p.1). Unlike Cassius and the other conspirators, Brutus' intentions to kill Caesar are not related to jealousy, authority, money or respect. He honestly believes that when Caesar is crowned, he will abuse his power, and therefore, become a serious threat to Rome. ("I know no personal cause to spurn at him, but for the general. He would be crown'd how that might change his nature" P.4).

Brutus compares Caesar to "a serpent's egg, which, hatch'd, would, as his kind, grow mischievous", and that he must be stopped at all costs before he is unleashed. Brutus believes that he can free his country from tyranny and bring liberty back to Rome. It is this extreme patriotism that forces Brutus to join the conspiracy and murder his best friend. As Brutus explains his actions to the people, he says that it was "not that I loved Caesar less, but that I loved Rome more" (p.7). In the end, it is this sheer loyalty and devotion to his country that vanquishes the honourable Brutus. You could even consider Brutus a martyr, as he stood ready to surrender his life for Rome. ("As I slew my best lover for the good of Rome, I have the same dagger for myself, when it shall please my country to need my death" p.80).

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This everlasting faithfulness for his nation can be traced back to Brutus' idealistic and stubborn nature. Once he has set his sights on something, he will never turn back. Brutus' dogmatic character is clearly evident when he refuses to tell his noble and trustworthy wife about the conspiracy. He has decided that it be best for her not to know of the terrible secrets he is harbouring, despite her pleads and requests "Within the bonds of marriage, tell me, Brutus, it is expected that I know no secrets" (p.48) and "Giving myself a voluntary wound, here, in the thigh can I bear that with patience, and not my husband's secrets" (p.4).

Furthermore, when he is plotting with the conspirators, Brutus discards all of the other's suggestions as he believes he is right, and he won't take no for an answer, even though they are the ones who seem to be thinking clearly. In response to including the influential Cicero, Brutus' claims that "he will never follow any thing that other men begin", and in reply to assassinating Mark Antony, he says that their "cause will seem too bloody" (p.4). This becomes perhaps the most devastating flaw in the plans of the conspirators, and also in Brutus' character. He claims that Mark Antony "can do no more than Caesar's arm when Caesar's head is off" (p.4), however, here is where Brutus is utterly mistaken. Brutus believes that once they have slaughtered Julius Caesar, the people of Rome will see their noble cause, and they will not be branded traitors, but glorious heroes. Once Brutus believes something, he will see it through until the end. He is so confident he would march along the streets, his hands bathed in blood, crying out "Peace, freedom and liberty!" (p.6). Brutus claims that they should "kill him boldly" and "carve him up as a dish fit for the gods" (p.4), as if slaying Caesar would please the heavens. ("Our reasons are so full of good regard, that were you, Antony, the son of Caesar, you should be satisfied" p.74).

It is these two flaws that make Brutus blind to see his final lethal flaw that he is actually very gullible and easily persuaded. Right from the beginning Cassius is aware of this and takes advantage of Brutus through his susceptible nature. "Like a Colossus, and we petty men walk under his huge legs, and peep about to find ourselves dishonourable graves" (p.15), says Cassius to manipulate Brutus, and make him see things from his point of view. Next he uses flattery, claiming they are the "underlings" even though the name "'Brutus' will start up a spirit as soon as 'Caesar'". "Caesar…..why should that name be sounded more than yours? Write them together, yours is a fair name…..weigh them, it is as heavy", Cassius continues as he gradually corrupts the mighty and most noble Brutus, who is oblivious to all this.

Mark Antony also manages to deceive Brutus with his persuasive words. ("Friends I am with you all, and love you all, upon this hope that you shall give me reasons why, and wherein, Caesar was dangerous" p.74). He too uses flattery, claiming that he "shall not love Caesar dead so well as Brutus living; but will follow the fortunes and affairs of the noble Brutus…with all true faith". Of course, he is simply flattering Brutus, and later betrays him by turning the people of Rome against the conspirators and brands them as traitors.

So you see, every man, no matter how great, has his flaws. Even the most honourable and noble Brutus, whose sole purpose and beliefs were to serve Rome, became a tragic character. Identical to William Wallace, Brutus gave his life in support of his country and ultimately, came to his demise, regardless of his eternal love for Rome, its people, and the "general good".

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Othello

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Preliminary English (Advanced) Assessment Task

"Othello"

Othello is a motion picture that was directed by Oliver Parker (18) which is based on the William Shakespeare play written in 160, with Lawrence Fishburne staring as Othello. This motion picture is cinematic. It relies not only on the spoken word but also on the visual images, movement of scenes, composition, camera angles, sound, music and skills of the actors playing the characters. This motion picture has been generally effective in presenting the ideas that Shakespeare conveys in the original text. The motion picture has been glamorized through the use of elaborate costumes.

The motion picture begins in the Italian city of Venice, a night on which it is very dark and misty which is a consistent mood for the opening scenes. The music is cold and eerie creating a sense of mystery and suspense with a feeling that something sinister is about to happen.

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As appose to Shakespeare's written text, this motion picture emphasizes more on visual images rather than the spoken word to deliver its central theme across. This motion picture portrays Iago in a better light than the audience would feel than from reading the text. Through his fabrication, deceitfulness and evil nature the audience would establish that Iago would be a gloomy man, with a sinister appearance always looking to cause trouble and spin the situation to his favor after reading the text. But in this production Iago is portrayed as a fair man, with light complexion, always looking to help his fellow man. His clean shaven appearance and glamorized costumes show he is a wealthy man with a respectable heritage. Little do the other characters know, but Iago is a dire man which they all find out in the horrific finale.

Throughout the entire motion picture, there is constant development of the use of camera and lighting which also enhance the viewing experience for the audience. At the end of each scene, there is always an intimate conversation between Iago and Roderigo. This acquaintance is central to the events which occur later in the text and motion picture, as they are plotting the demise of Othello. The voices Iago and Roderigo use are quiet with varying tempo; they speak in prose rather than in poetry which implies they are speaking about an idea. The camera focuses in, only showing these two characters and the emotions expressed on their faces. The pausing and dim lighting creates tension and a feeling of unrest, that these two are plotting an alliance together to over through Othello.

A prominent scene in the motion is where Iago is performing a monologue where the camera continually draws closer. It focuses on his face creating passion in his slow quiet voice with his eyes never leaving the audience. To have made such an impact when this play was performed in Shakespeare's time, they would have had only Iago on the stage with all the light off except for a spotlight aimed straight at him. His voice would have been loud and confident so that the whole theatre could hear him.

During the motion picture there are constant flashback scenes which show imagery of the past. This feature would be lost in Shakespeare's time as it would be impossible to show this. This feature gives the audience an enhanced understanding into the past of these characters thoughts.

A major source of light in the motion picture is candles which are scattered around every room. In the scene where Othello is about to kill Desdemona, he turns out all of the candles on his way to her bed chamber making the area all shadowy. This may symbolize that he is about to turn off Desdemona's light source by strangling the life out of her. This produces a threatening sensation where the audience knows that a tragedy is about to occur.

The music plays big role in creating an atmosphere in the motion picture. Music is an essential element in order for the audience to be captured in the production making them feel as though they are apart of the scenery, involved in the play. The music which is played in a particular scene gives great result to the acting skills. In a cheerful or joyful scene, gentle, flowing music is required to get the most out of it. Whereas in a violent, conflicting scene, loud, sharp and fast music is essential to get the hearts racing and the audience on the edge of their seat. When an important episode of dialogue is being performed the atmosphere is hushed so that every word and every pause can be heard to generate the dramatic desired effect.

With every successful motion picture, there is always a talented cast of actors and supporting actors. Oliver Parker has done a fantastic job in securing the correct actors for each character and has reaped the rewards through professionally produced motion picture. Lawrence Fishburne was the perfect Othello, his strong presence, on stage demeanor and his ability to transform himself into the real Othello. As appose to past actors who may have played Othello, Lawrence was naturally colored. Back in the time of Shakespeare, no colored men were allowed to perform on stage so they had to paint the actor in boot polish to give the appearance he was black. The fact Othello was black, may have been the motive for the slanderous attack on his personality. He was always referred to as the Moor, a black ram, a devil.

As the motion picture progressed, and as his situation became direr, Roderigo's appearance became increasingly worse, with his untamed beard running wild. From reading the text the audience would generally feel that Roderigo was a nice guy who got caught up in a scheme and his feelings of love towards Desdemona. I was first introduced to Roderigo in the opening scene additionally with Iago. At first, along with my class mates, I thought Iago was Roderigo. With his seedy exterior and receding hair I believed the darker featured man was Iago because of the way he was described and portrayed in the text.

Just from reading the text Othello, it is possible to gain an understanding and knowledge of what Shakespeare was trying to convey. However, the motion picture Othello gives the audience a highly improved perception of the characters, environment and overall message of what Othello is all about.Please note that this sample paper on othello is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on othello, we are here to assist you. Your cheap research papers on othello will be written from scratch, so you do not have to worry about its originality.

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Montana 1948 EssayMaturity

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may come at any age and time in a person's life. One moment he or she may be a carefree child, and then suddenly realize that they have been transformed into a mature adult by a powerful and traumatic experience. An experience they will remember their whole lives. In To Kill a Mockingbird by Harper Lee, the adolescence of Jem and Scout is threatened one fateful night by a dangerous man bent on taking their lives. After this startling experience, they were never the same again. As a result, they rapidly matured into adults. Similarly, young David Hayden, the narrator of Montana 148 by Larry Watson, also encounters an equally traumatic event. He discovers that his uncle has been sexually assaulting Native American women in his town. This is a heavy burden for a twelve year old boy, especially since it reveals that his beloved Uncle Frank is the bad-guy. However, one discovers, as the novel develops, that David matures and grows in order to deal with this situation. He must come to understand what has happened and how the immoral actions of Frank will affect his family and its name. But most importantly, he must know that his integrity will be changed. He will learn shocking things that would mean nothing to a child, but everything to an adult. Larry Watson suggests that traumatic experiences transform children into adults. Therefore, disturbing experiences lead to changes of mind, growth in morals, and an emerging sense of adulthood. David changes his mind about Uncle Frank through the traumatic experiences regarding the discovery of Frank's secret actions. Uncle Frank used to be David's idol and David adored him. But that all changed when David's housekeeper and baby sitter, Marie Little Soldier, becomes violently ill and is in need of a doctor. Wes Hayden, David's father, calls his brother Frank, who is the town doctor, to come and see her. Strangely enough, Marie Little Soldier refuses to be alone in the room with Frank. Later on, Marie tells David's mother horrible things that Frank has been doing to Native American women. David's mother, Gail, tells Wes as David overhears. She says, 'Wesley, your brother has been raping these women. These girls. These Indian girls…' [David states] I was beginning already to think of Uncle Frank as a criminal…Charming, affable Uncle Frank was gone for good (47, 4). David always thought goodly of his uncle, until he heard these ghastly statements. All the attractiveness and appeal of Frank dissipated once David learned of his filthy behavior. David knew this information would change him forever. He takes another step toward adulthood by hearing and understanding what his uncle has done. David also knows that his opinion of Frank is changing. Young David Hayden grows in morals due to the shocking events of the summer of 148. Consequently, David learns a great lesson about morals from all the episodes that occur. Marie is found dead a few days after Frank goes in to see her. Frank claims she died of pneumonia. David's next door neighbor, Daisy McAuley, goes to their house to comfort Gail. Daisy treats David maternally and wants him to leave the scene of the crime. So she tell him to go over to her house and have a piece of pie. While he's there, David encounters the deputy sheriff, Len McAuley. Len is drunk and reveals the fact that he thought he saw Frank walking into David's house a little while before Marie was found dead. David discloses this and the fact that, he too, saw Frank. David confesses to his parents, …While I was sitting there I saw someone cutting across our backyard. There's a knothole you can see out of. I was pretty sure it was Uncle Frank. Then I got out and watched him go down the tracks. He was going toward town… (7). After receiving the shock of knowing his uncle is a fiend, David experiences a growth in morality. He chooses to tell his parents what he knows, or at least part of what he knows, about Uncle Frank. This shows that he is developing in the area of honesty. Before, David would have kept all this to himself, rather than face his parents with knowledge he knows will displease them.Through dreadful experiences, David feels an emerging sense of adulthood. David and his parents are not on good terms with David's grandparents because Wes locked Frank in his basement. Julian, David's grandfather, is very unhappy that Wes would lock up his own brother despite the fact that Wes saves Frank the humiliation of going to jail. David faces an even more intimidating threat when he notices that a few of the hired hands from his grandfather's ranch come to his house to try and break Frank free. He comments, These men must have figured, with Grandpa's help, that Frank was in the basement, and that rear door was the way they were going in after him… (1). David is close to being an adult because he realizes how he must act and the gravity of the situation in which he and his family are involved. By now, David has issued forth a sense of development and maturity. He is far from the child who once looked forward to visits from his uncle and visits to his grandfather's ranch. As an adult, he is concerned with the welfare of his family and his parents' well being, emotionally. David exemplifies this and stands by his family when they are in need. He does not desert them or feel shameful. He stays loyal and true to those he cares for and loves. Thus, he has shown his ability to act as an adult would. One can never be too sure when the innocence of childhood is lost, the sure thing is that everyone becomes an adult eventually, and that's when they lose their innocence. In many cases, this change from child to adult is a harsh one, often it is the realization that the world is not perfect. The shootings at Columbine is just one example. Those children were faced with the severe reality that death does not apply only to older people, but to anyone in the world. This revelation caused many of them to cease their immaturity and become an adult. And it was a very difficult task for many of them. One must be careful for corruption rears its ugly head where you least expect it. The loss of innocence signifies a person's metamorphosis from a child to an adult. Therefore, it is the events and happenings in life that trigger this change.

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Team Leadership

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How do groups cohere? Historically, strong leadership and a shared culture have been the primary factors in determining collective unanimity within social groups. Managers today might not have absolute power of life or death over their staff, being restricted to hiring and firing in their power to enforce the hierarchy, and their corporate mythology might shade by comparison with that of, say, ancient Rome; yet, although managers today need to unite different people without the traditional binding agents of shared ethnicity or religion, unifying them in pursuit of tasks which can sometimes appear dreary even to the most committed worker, it is becoming abundantly clear that negative motivation the threat of unemployment is at best a limited management tool. Although the knowledge that keeping one's job is contingent on performance necessarily informs every worker's consciousness, fear alone breeds hatred, discord and consequently inefficiency. It is a truth almost universally accepted that a happy worker is a good one aside from such prerequisites as a pleasant working environment and the avoidance of overwork, it seems clear that a good team-spirit is the key to healthy morale. Working as a team increases people's sense of purpose, their feeling of belonging and consequently their productivity. In fact, a properly functioning team is absolutely essential for any business with more than one employee. If the rugby pack doesn't push together, they lose the game. Fortunately, for the twenty-first-century corporate manager, a support-structure, a science and industry of positive motivation, fitted for the contemporary market, has evolved. And one of its principal methods is that delineated in this section. The companies on show here specialize in removing workers from their normative contexts and involving them in challenging, unusual and entertaining activities, by which shared experience the group knits together, eliciting previously untapped interpersonal relationships and individual potential. It is important that we recognize the constructive use-value borne by play in relation to work, since the two exist not in opposition, but in symbiosis. The cooption of constructive play by the corporations is their masterstroke; for by simulating the activities of family and friendship within its aegis, the corporation inculcates comparable loyalties and energies among its workforce.

Gamesman Productions are currently leading the way in the provision of innovative team-building games to the corporate event industry. Neil Harvey, the owner (who previously made scenic props for such shows as 'The Phantom of the Opera'), aims to create a 'toy-box' sensibility in all Gamesman products, to effect a high visual impact and encourage a ludic attitude. Thus it is that Mr. Harvey's new game, 'Hell's Bells', uses imaginative play rather than the more divisive impulse of competition as its driving force. 'Hell's Bells' is designed to throw light on team dynamics, focusing on project management skills and team communication issues. For the manager, this is a handy side-effect of corporate team games, which become a means of observing one's colleagues at close hand, in a different light from usual, throwing their strengths and weaknesses into relief. 'Hell's Bells' itself is an unprecedented and impressive development, in which the participants have to construct a series of automata whose correct alignment will enact automatically a medieval story, which is the culmination of the game and the convergence of cryptic clues and riddles scattered throughout. The game can accommodate fifteen to two hundred participants, lasting from a minimum of two hours to significantly longer, depending on how it is supervised, keeping everyone involved and, of course, thoroughly entertained.

Now, a more martial model of group play is that perennial favourite of the corporate market, paintballing. Holmbush Paintballing has over ten years of experience at organizing paintballing events to boost morale and help to create firm business relationships with staff and clients alike. Situated on the prestigious ,500 acre Holmbush Estate, they offer tailored 'Paintball' events for all sizes of companies, both small and Blue Chip, supplying an action-packed, adrenaline-fuelled corporate day out. Paintball highlights the absolute necessity of communication and teamwork from all levels of staff. Players have the opportunity to practice and develop their leadership skills. Everybody is encouraged to be highly motivated to achieve success, and their decision-making and risk management skills are tested to the limit. Players have to combine their individual talents and create real working relationships, breaking down traditional work-place barriers in order to achieve the set objectives. Holmbush provides all the equipment necessary - which includes full camouflage uniforms, full-face masks and the paintball guns and all players are given a full half-hour safety briefing before any of the weapons are issued and the players go to any of the twelve different playing areas, each of which provides a different objective for the players to achieve. All the staff are fully trained in-house and are enthusiasts of the game. Each team is assigned a Marshal who guides you throughout the day, ensuring safety and fair play while in the varying 'Combat Zones'. At the end of the day the Marshals hold a Presentation where the teams' results are discussed and an award is given for the first and second placed teams.

A different kind of marksmanship can be found at the National Shooting Centre at Bisley Camp, the home of competitive shooting since 180. The Centre offers world class facilities for all shooting disciplines. This includes target rifle, gallery rifles, black powder pistols and air guns to name but a few. The Centre also plays host to international competitions. The National Clay Shooting Centre, which is incorporated within the National Shooting Centre, will open in July 001, with evening shoots held twice a week in the summer. The impressive new clay layouts have been built with the aid of a Lottery Grant from Sport England for the Commonwealth Games in 00 and include nine down the line as well as English and Olympic skeet, ABT, double trap and universal trench. A magnificent new clubhouse provides a focal point for the complex and includes catering facilities with a terrace that overlooks the ground and finals layout. The superb new layouts are equipped with seventy-two Materelli traps, covered stands, computer controlled scoring and acoustic release, all against a backdrop of over 000 acres of unspoilt Surrey heath land.

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Bullying - An insight to what goes on inside the playground.

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PART A

1) Bullying is a form of harassment, which makes a person feel unwelcome and/or uncomfortable. Some forms of harassment include physical harassment, verbal harassment, social harassment and sexual harassment. All these forms of bullying make a person feel powerless, afraid and isolated. The victim might also find it hard to concentrate in school. Every type of harassment, bullying or discrimination is illegal and the offender can be punished if caught.

) The offender/s can leave an imprint on a victim that stays with them their whole life. Some cases can be so bad that it results in suicide, this leads to the family members of the victim to sue the offender/s. That could make the offender find it hard to relate to their family and/or friends, because in reality, the offender has just murdered someone. Once a person has bullied someone else, the victim has been left feeling helpless, frightened, and secluded. But this only happens in the long-term. Short-term affects may be a person feeling uncomfortable and/or not wanting to socialise with family and/or friends.

) There are many ways of controlling what happens to you, one way is the 'ARE YOU BEING BULLIED OR DISCRIMINATED AGAINST?' plan which can be found in the 00 Marist College Ashgrove Diary. It is as follows

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ARE YOU BEING BULLIED OR DISCRIMINATED AGAINST?

You CAN control what happens. Don't retaliate either physically or verbally.

(A) Show it doesn't upset you ignore it.

If the harassment stops no further action is needed.

(B) Speak to the person harassing you. Tell them the behaviour is illegal and unwanted.

If the harassment stops no further action is needed.

(C) Tell someone this is reporting abuse, not 'dobbing'. Talk it over with

• Your tutor teacher

• The school counselor

• Designated senior student

• Any member of staff with whom you feel comfortable

• Your head of house.

If the bullying stops no further action is needed. If it continues the matter will need to be addressed further with the Deputy Headmaster.

PART B

The purpose of the Bullying Survey is to show students how bad bullying can be in the playground. It is also made so students that usually bully other people by verbal social or physical harassment would maybe start to feel as if people know what they are doing or feel guilty and stop straight away so they don't get into trouble. Another reason they conducted this survey was to outline to the teachers and the counselor how bad the bullying is at Marist College Ashgrove. I think they targeted Ephrem, Foley, Harold, Ignatius, Rush and Slattery because I think the teachers where studying them and they came to the conclusion that those six houses are the ones that needed the most help, at the time of when it was conducted.

Here are some graphs that came from the bullying survey; I chose these because I thought our class could relate to them the best.

1) Name calling, is a big issue at Marist College Ashgrove. This is because boys think that verbally harass someone is okay, because it doesn't leave a physical imprint on the person, but it can seriously hurt people's feelings. In our class, I think name calling is the major thing that is going on around inside. Students become very annoyed and angry at certain people because they constantly do this in class time. The people that call other people names waste the teachers teaching and other students learning time, which is illegal.

) Another thing that struck me was Exclusion in the classroom. This is because a few people in our class get excluded from certain activities occasionally, whether it is choosing your own working groups or playing groups. This makes a person feel extremely weak and small, and is another form of harassment.

) One more thing that I think happens is that boys threaten other students with violence, even if they are only joking; it is against school policy and should not happen. And if it is seriously for real, the person that is being threatened should see a member of staff to ask for the appropriate actions.

PART C

1) Yes, I think it does effectively respond to the social issue of "Bullying and Harassment" because it gets straight down to the point, and is more thorough than the current safe school policy, because it goes into how you can control what happens to you, and it has a small check list, so you can decide if you are a bully or not.

) Yes, it is a very practical document for both parents and students because it tells students how to control what is happening to them in the playground, and it has a series of points to read for parents so they can find out if their child is being harassed or not. It also reminds the students that are being harassed that they too have rights, and the person doing the bullying isn't allowed to.

) The one strategy that I think could be most affective is reporting abuse to your head of house, deputy headmaster or the headmaster, because these three people have the most power and have access to different types of punishment. The penalty for harassing someone should be suspension and these people have the power to do that. If the teachers should catch a person bullying someone else, the teacher will report him to their Head of House, and should be given a full-day suspension from the college and a Friday afternoon detention.

4) A few ways of which that would help both the victim and the bully deal with the stressful effects of bullying are the two families meeting each other and talking about either by themselves or with a counselor, either a face-to-face warning with the victim and the bully or a formal warning (a letter to the parents of the bully). They can both over come these stressful and harmful effects of bullying by not seeing each other again, even if that means moving schools. Or they can overcome them by seeing a counselor either separately or together. This should put everything back to normal. If the effects of bullying are still disturbing either the victim or the bully, they could try and talk together, alone, and maybe find out that they have more in common that was first thought, and after that they could become more friendly and not bother each other any longer.Please note that this sample paper on Bullying - An insight to what goes on inside the playground. is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Bullying - An insight to what goes on inside the playground., we are here to assist you. Your cheap research papers on Bullying - An insight to what goes on inside the playground. will be written from scratch, so you do not have to worry about its originality.

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Topic: "We feel for Griet, who glimpses possibilities beyond her limited life, but is condemned never to reach them." Discuss.

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The drama of the novel Girl with a pearl earring, centers around the tension created between what people want and what is permitted, especially when it comes to the main character, Griet. She is very much 'bound' because of her lower class and poverty. Chevalier has skillfully brought to life an imagined character, whose situation and behaviour are quite true to the novel's historical setting. Griet suffers considerably, in a number of ways (in which we feel for her), including her being forced to go into service because of her family's poverty, her being mistreated in the Vermeer household, her being looked down on despite her obvious abilities knowing that if she follows her instincts with the artist she will be damned, and so on. Although Griet suffers a great deal of unfairness, she develops throughout the novel and learns to deal with the situation she is dealt.

Griet is illiterate and comes from a poor family. The truth is she never really had the option of being categorized as a 'lady', the term given to the wife or daughter of a rich man. In that era, Griet was limited to doing only the domestic work that every girl would have learnt in the home. She has no career prospects. She has only one seemingly 'escape' route, that being Pieter and his willingness to marry and provide for her. She is also being pressed to accept Pieter as a suitor, despite the fact that she doesn't want him. This is because she is her family's only hope for a more comfortable life. After all, "a butcher's wife- and her parents- would always eat well". Thus, we feel for her, as she isn't able to live outside this square that is her life's limits.

Griet's involvement with the master Vermeer (whether emotional or artistic), leads to the creation of a very insightful Griet one that, in another time, might have been an artist too. After all, her father is a tile maker and she has an intuitive visual sense too. However, the unfairness of Griet not being able to realize her potential is again emphasized. She feels she should not help the master because doing so would heighten Catharina's jealousy, a woman that holds power over Griet. This girl possesses a high degree of intelligence, often pointing things out to Vermeer, even moving things around so that the composition of the painting becomes "balanced". All of this advice Vermeer accepts. She has a keen eye, firstly seen in the opening chapter of the book, where she places the chopped vegetables in a neat colour wheel. No wonder Maria Thins refers to her as a "clever girl". However, the distress of this restriction (that she cannot pursue this interest further) is additionally sharpened by our and her realization that she is this clever, artistically gifted girl. She is allowed to glimpse the rich world of art and work alongside a great master like Vermeer, but she is then forced to go her own way condemned never to reach her artistic desires.

Van Leeuwenhoek can see the potential in Griet and hence urges her to remain herself, to not get so lost in the world of Vermeer, who "sees the world only as he wants it to be, not as it is." Vermeer changes Griet; he makes her think she may have a chance. He turns her into that 'lady', from the moment he mentions her wearing the pearls. He cares more for the painting of Griet rather than her own person. She realizes this and thinks Vermeer has "ruined her." The secret portrait of Griet is symbolically giving her to the rich man, van Rujiven, in return for the money the artist makes, and van Rujiven's continuing patronage. There is no hint whatsoever in the text that Vermeer was even thinking about giving up his wife, his family, his link to society through his art, just so he could be with Griet. He saw himself as much too much of a respected member of community to do so. Their liaison, the course of her painting, could never be more than a man and his mistress relationship- and not even that, seeing as Vermeer was surrounded by a household of women, and possessed little money himself. That leaves only a dalliance between the two, and one as much of the mind as the body. The painting being finished, Griet begins to "cry silently". She knows what has happened that she has had a glimpse into possibilities beyond her limited life, she has had a taste of them, but she will never be permitted to reach them. For that, we feel for her. She returns to the eight-pointed star and ponders her options. There was only one option there that was truly possible for her to undertake it was the "choice she knew she had to make."

Cheap research paper on Topic: "We feel for Griet, who glimpses possibilities beyond her limited life, but is condemned never to reach them." Discuss.

Life for Griet throughout the course of this novel could be debated as being unfair indeed, she is condemned to never reach the possibilities which she glimpses that are beyond her limited life. However, note that she emerges intact and well taken care of. She is pretty, made to live forever in a painting, married to a prosperous merchant, her brush with notoriety forgotten, with two boys and no fear of hunger. In comparison to poor Tanneke and the widow Catharina, she has come out of this the victor. Griet chose the only way open to her, as would have been open to any similar girl living during that time. She chose the safety of a marriage to a man who loved her. She chose the socially acceptable role of wife and mother. Any other path chosen would have jeopardized her reputation, with the potential of leaving her a "fallen woman". While we feel for Griet never being able to enter those possibilities she dreamt of, we find solace in that deep down, given her circumstances, we knew she would never reach them and rejoice because she has made the most of her situation.Please note that this sample paper on Topic: "We feel for Griet, who glimpses possibilities beyond her limited life, but is condemned never to reach them." Discuss. is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Topic: "We feel for Griet, who glimpses possibilities beyond her limited life, but is condemned never to reach them." Discuss., we are here to assist you. Your cheap custom research papers on Topic: "We feel for Griet, who glimpses possibilities beyond her limited life, but is condemned never to reach them." Discuss. will be written from scratch, so you do not have to worry about its originality.

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