Feature Article Analysis

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The statement "The structure and content of feature article reflect and reinforce the attitudes and values of their target audience" is not always true. Some feature articles challenge the attitudes and values of their target audience by presenting biased facts and opinions to make the reader view a controversial topic or issue from a different perspective. On the other hand many others support this statement and endorse the attitudes and values of their target audience, such as "Fur Flies Again" by Tamsin Blanchard. "Fur flies again" was featured in The Weekend Australian Magazine. It is based on the return of fur in the fashion industry and the lack of opposition from animal welfare groups and the general public. The author Tamsin Blanchard has only included one point of view in the article. "Not since the '50s, when movie stars didn't know any better, have so many pop culture figures worn so much fur and with little reaction or comment" sums up the entire attitude of the article.

TA The target audience of The Weekend Australian Magazine is men and women from the middle to the upper class therefore the target audience for "Fur flies again" is women of middle to upper class status who are 5 years and older. Since the 50's, wearing fur was thought to be immoral because of the fact that innocent animals were tortured and killed in horrible and cruel ways. While reading this article these women would be thinking "Thank goodness I'm not as vain or as selfish as these people who wear fur with no feeling of guilt". The target audience has been brought up around the same time as these celebrities who are wearing fur, but they do not have the need or the money to spare to buy fur clothing. As they are not as wealthy as this small group of influential celebrities they haven't been blinded by money and power, and still have morals and a sense of what is right and wrong.

The article starts off by listing some of the celebrities who wear fur and that animal skins are the new celebrity security blanket. It goes on to say that the people who wore fur in the '50s didn't know of the suffering and torture that the animals went through, but this generation does. They have no excuse and cannot justify their wearing of fur with their ignorance. Tamsin Blanchard says how fur has slowly made a comeback over the past couple of years in tasteless fashion shows and she suggests that the people don't care about protecting animals against exploitation, as more and more fashion magazines are supporting fur and pushing it to become 'cool'.

There is one quote from a celebrity fashion designer who is not in favor of fur in fashion. Stella McCartney said "My morals before money" and "there is nothing sexy about having an electrode put up your bottom", she sent a secretly filmed video of the pain and suffering encountered by animals which are killed for their fur. It suggests that some fashion designers use fur just to make money and they don't care that an animal has died because of them. This small part of the article dedicated to Stella McCartney's opposition to fur usage symbolises the small number of people who are taking action against the growing fur industry and many of the readers would agree with what she has to say. But at the end of the article it says that change is the oxygen of fashion and it doesn't matter where you stand on the issue of fur usage in fashion, it is definitely making a comeback. This comment urges the reader to take action or more innocent animals will be tortured and murdered just so they can be mismatched with a horrid outfit or made into a tasteless coat or stole.

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The quotes (from Katie Grand, the editor of a British fashion magazine 'Pop'; Stella McCartney, fashion designer; and Tom Teifel-Kristensen, director of communications for Saga Furs) are used to support the authors view. Katie Grand says that wearing mink isn't a problem, we experiment on rats and other animals so there should be no problem wearing fur and Tom Teifel-Kristensen says that wearing fur is more widely accepted by younger people as it is seen as rebellion. These quotes maintain the idea that people are becoming comfortable with animal cruelty.

"Fur Flies Again" lacks statistical evidence therefore graphics are used to create interest and validate and endorse the views of the author. Most of the pictures are of runway fur-fashion and to the average person, the fashion on the catwalk is bizarre and they wouldn't ever consider wearing most of it therefore these pictures make the reader think "why would people want to wear fur? It is so unattractive". The two most effective pictures are the ones on Jennifer Lopez and the US Vogue editor Anna Wintour. The picture of Jennifer Lopez has her in London wearing a fur hat and a coat with diamonds on the buckles which shows her as being selfish, spending too much money on her self rather that being compassionate and looking after others. The picture of Anna Wintour shows that even someone who works for one of the most popular fashion magazines has no fashion sense at all.

"Fur Flies Again" by Tamsin Blanchard is a great example of a feature article which supports the attitudes and values of its target audience. The overall message of the article is that the people of the world are losing their morals and have no compassion or respect for each other and the environment. Humans are too greedy and the 'morals before money' comment is a wake up call to the wealthy people who appear to have lost their morals and values and a call to action for the people who are against cruelty to animals. Animals aren't fashion accessories! Please note that this sample paper on Feature Article Analysis 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 Feature Article Analysis, we are here to assist you. Your cheap research papers on Feature Article Analysis will be written from scratch, so you do not have to worry about its originality.

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Howard Florey

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Howard Florey was the first Australian to win the Nobel Prize for Physiology or Medicine. He shared the 145 award with the German refugee chemist Ernst Chain and the Scottish microbiologist Alexander Fleming. Working together at Oxford University, Florey and Chain built a research team that transformed penicillin (discovered by Fleming in 1) from a laboratory curiosity into a widely available drug.

Penicillin is one of the most efficient remedies ever discovered, and in the 140s its effects seemed almost miraculous. It revolutionized medicine, allowing once lethal infections, pneumonia, diphtheria, syphilis, meningitis, gas gangrene--to be cured. For infections that were resistant to penicillin, other antibiotics were soon found, including cephalosporin, which was also developed by the Oxford group.

Florey was born in Adelaide to a wealthy family. Rather than enter his fathers shoe-making business, he resolved to study medicine, and in 11 won a Rhodes scholarship to Oxford University. In the mid-10s, he became intrigued by the problem of extracting pure penicillin from the Penicillium mold without destroying its potency. He later assembled a multidisciplinary team--including his wife Ethel to work on manufacturing the drug. The technical difficulties of carrying out such a project in wartime Britain were enormous, and at first the team struggled to produce enough penicillin to cure a few infected mice. The amounts available to treat the earliest patients were so limited that the researchers concentrated the drug back from urine, then reinjected it. But (thanks in part to collaboration with well-funded U.S. researchers) by the time of the D-Day landings in 144, penicillin was available in sufficient quantities to save the lives of many wounded Allied and German soldiers.

In his approach to practical science, Florey was a true experimentalist, and is credited with establishing the nexus between physiology (normal function) and pathology (disease) that defines the discipline of experimental pathology.

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The Nobel and other accolades gave Florey great influence, which he used well. He visited Australia often, and his efforts were central to the establishment of the Australian National University as a postgraduate research university, a visionary idea for its time. Florey assumed responsibility for the initial phase of the ANUs John Curtin School of Medical Research, contributing greatly to the recruitment of a stellar group of founding professors. Though he continued living in England, he was chancellor of the ANU (making annual trips to Canberra), when he died at age 6 from cardiovascular disease. A typical Australian stoic, he suffered angina in silence for many years. Today, coronary bypass surgery would probably have given him a decade more of productive life.

Florey was a familiar figure to Australians of his time, but the 100th anniversary of his birth, in 18, attracted little public interest, even in his home town of Adelaide. When I spoke there at a well-advertised event in his honor, the Crows football team were on a winning streak and the press seemed terminally obsessed with Sir Donald Bradmans 0th birthday. Australia has not, so far, been looked on as a land of opportunity for the intellectual, Florey said in 158. That is changing, but young Australians need to be reminded that their country has produced great achievers in science, the arts and the world of ideas. A sophisticated society can support a broad pantheon of heroes.

Peter Doherty and Rolf Zinkernagel won the 16 Nobel Prize for Physiology or Medicine for their work on viral infections and immunity, carried out at the John Curtin School of Medical Research.

BORN Sept. 4, 188, in Malvern, Adelaide

1 Attends Oxford University on a Rhodes scholarship

15 Becomes Professor of Pathology at Oxford

14 His department publishes Antibiotics

160 Becomes first Australian president of the Royal Society

165 Becomes life peer as Baron Florey of Adelaide and Marston

DIED Feb. 1, 168, in Oxford

Florey gathered a team of scientists at Oxford University in Britain in the 10s, when working together on scientific discoveries as a group was not at all common.

His team commenced a careful investigation of the properties of anti-bacterial substances that are produced by mould. One member of the team, Ernst Chain, found an article about Alexander Flemings work while flicking through a medical journal, and this prompted them to begin looking at penicillin.

Individual members of the group concentrated their attention on areas in which they had the most knowledge, but they often met to exchange ideas. Chain worked on purifying penicillin with Edward Abraham. Norman Heatley improvised methods for extracting penicillin using ether and bedpans (see penicillin production below). A. D. Gardner and Jena Orr-Ewing studied how penicillin reacted with other organisms. Howard Florey looked with Margaret Jennings at the impact of penicillin on animals. Ethel Florey later worked with her husband on clinical trials of penicillin.

In May, 140 they performed one of the most important medical experiments in history. The work was so urgent that they came in to begin the experiment on the weekend, and on Saturday 5 May, Floreys team tested penicillin on eight mice injected with a lethal dose of streptococci bacteria. Four of the mice were treated with penicillin, while four were used as controls. By the next day, the treated mice had recovered and the untreated mice were dead. In the early days of World War II, the lives of eight mice may seem insignificant. But their rescue by penicillin led to the treatment of Allied soldiers as early as D-Day, in June 144, and probably influenced the outcome of the war.

In 14 Florey travelled to North Africa to test the effects of penicillin on wounded soldiers. His trials were seen as a miracle. Instead of amputating wounded limbs or simply leave them to heal, he suggested soldiers wounds be cleaned and sewn up, and that the patients then be given penicillin. Thanks to Florey and his team, the drug was available to treat Allied troops by the end of World War II. It has since revolutionised medical science, saving millions of lives. Please note that this sample paper on Howard Florey 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 Howard Florey, we are here to assist you. Your cheap research papers on Howard Florey will be written from scratch, so you do not have to worry about its originality.

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Globalization

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Introduction

Globalisation is defined by the IMF (The International Monetary Fund) as the increasing integration of economies around the world, predominantly through trade and financial flows. The term sometimes also refers to the movement of people (labour) and knowledge (technology) across international borders. The term globalisation has come into common usage since the 180s, reflecting technological advances that have made it easier and faster to complete international transactions. (World Bank Policy Research Report Overview, 00)

Understanding globalisation

Globalisation can be understood as having economic, political and cultural dimensions where companies are selling products the same way throughout the world, treating it as a single market. It is the process of business structuring in a worldwide market; creating growth and profit opportunities in production and distribution. Globalisation can also be seen as the process of rapid economic integration between countries, and increasing international trade and foreign investment has further driven it. (World Bank Policy Research Report Overview, 00)

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fortify city of Pisa during war time.

It has been 500 years since Leonardo da Vinci recorded his thoughts and designs in

notebooks for us to marvel at, and within these notebooks I am interested in the "Codec

Madrid II", which dealt with military architecture and Leonardo plans to divert the Arno

river. The Codec Madrid were rediscovered in 165 in Madrid after being officially lost

since 180. This is were the arguments become interesting. Many are unsure whether or

not Leonardo da Vinci originated the design of the diversion of the Arno River to help

fortify Pisa for war. There are many arguments about whether or not Leonardo originated

idea to divert the Arno River. Scholars and experts alike have many different angles to

this design. Experts say he would have known it was a hopeless project because of the

environment, war, and lack of manpower. There are many who think the Florentines

came up with this design 100 years before Leonardo was born.

The wars and campaigns in Italy began in the 1500's because of political conflicts

between the great powers. All involved parties had to maintain the best possible defense

as well as their means of attack. Since new firearms, explosives, and artillery were

developing all the time, they had to alter the systems of fortifications and technical

warfare became more important. It was only natural that Leonardo da Vinci with his

theory and practice of architecture throughout his life should also be included to the field

of defense architecture and strategic engineering studies.

In 150 the Florentine Republic started a new campaign against Pisa, and here

emerged the most daring plan to divert the course of the Arno river to cut off the sea

access so the Pisans could not get supplies. The big question is whether Leonardo had

any part in drawing this plan up or if he was just to perfect the idea. This must be left

undecided.

Scholars doubt that the Florentine plan to divert the Arno River was originated by

Leonardo, because they said he would have know from the beginning that such a feat

would be difficult in peacetime but very impossible during war time. The plan called for

canals to be dug 60 feet wide and 1 feet deep to carry the river as much as 7 miles off

it's normal course.

Being a man of practical knowledge of time-and-motion expert and he could figure

our how much digging men could do, how they ought to do it, and what it would cost.

This what Leonardo wrote in Codex Madrid II

I found that the complete excavation of the moat, which is, on average, 17 braccia wide,

and 16 braccia deep, and 40 braccia long, reduced to square braccia, amounts to

174,080 braccia. Which reduced to square canne, amounts to 70 canne. Of which,

those at the mountain, due to the difficulty offered by the rock, deserver 5 lire the canna,

an amount paid on other occasions to the diggers. (Leonardo da Vinci, Madrid II 10r)

With this in mind he knew he had to design a machine to help the dig process

because of inefficiency of men equipped with shovels. That is where the treadmill

powered digging machine design was born.

All of these calculations and work was erroneous. It was said that five times the

available manpower would have been necessary, according to more realistic calculations

by today's experts. Besides, the work had plenty of difficulties. It seemed to be

impossible to get the thousands of workers required, or to keep them working, especially

since they didn't get paid on time, and the section which was completed but could not

handle the mass of water that was fed to it and collapsed. By this time opinions were split

amongst the commanders, so the projects came to end in October 1504. The Florentines

continued fighting another five years only to surrender there city in 150.

As one of the greatest men in recent history , Leonardo da Vinci's genius remains

unbounded by time and technology. His dedication to the discovery of truth and the

mysteries of nature make his insightful contributions to science and technology legendary

in the Renaissance period. By helping to set an ignorant and superstitious world on a

course of reason, Leonardo's spirit lives on to influence the inventors, artists, and art

patrons of our own time. Whether or not Leonardo originated the design to divert the

Arno River doesn't matter it was he vision and challenging dedication that moves me and

many others. Some might argue that such ideas in the Renaissance time period should of

been too modern. They need to remember to whom there referring too.Please note that this sample paper on Leonardo da Vinci "The Arno River Challenge" 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 Leonardo da Vinci "The Arno River Challenge", we are here to assist you. Your cheap custom research papers on Leonardo da Vinci "The Arno River Challenge" will be written from scratch, so you do not have to worry about its originality.

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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.

Please note that this sample paper on Montana 1948 EssayMaturity 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 Montana 1948 EssayMaturity, we are here to assist you. Your on Montana 1948 EssayMaturity will be written from scratch, so you do not have to worry about its originality.

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