Korean Christianity Paper Essay Example | Topics and Well Written Essays - 1000 words

Korean Christianity Paper - Essay Example However, the strength of the influence in the clergy, which was once a driving factor in moving the people, now lay down at the side, and materialism as well as influences from other cultures has taken over. Prior to being divided into the south and the north, Korea was once a single nation, being ruled by s single government. Around the 1880’s foreign missionaries started to enter the nation, but was not readily accepted by the people due to various conflicts in their teachings as well as the already present traditions in Korea (Lee 117). Moreover, only some of the educated elite which had the chance to study in Japanese or American universities were successfully converted to Christianity. Common folk, called minjung were still worshipping their ancestors and offering them food and wine, among others, which has been the norm for more than a thousand years (Oak 1). Thus the conversion of Koreans during the start of the 20th century was rather slow and limited. The conversion f rom the pagan religions of the masses and the Confucian and Buddhist principles in the upper class society of Korea was not an easy task. Foreign missionaries did not have an idea that deeply-rooted religions associated with ties to families and ancestors would be hard to break, and converts would have to face ostracism from their families or suffer severe torture or death (Oak 5). Many Koreans also see the conversion as a strong political force that yearns to topple the government, thus many oppose to being converted. Most of the elite that were sent to Japan, the United States or any other country either as a diplomat, a scholar, or exiled were easily converted to Christianity, but their ideals were not easily accepted by many, and people would rather cling to old traditions than lose their families in the process (6). However, after the great depression of the 1920’s and the continuing struggle for independence after being annexed by Japan, Protestant Christianity was prom ulgated by many of the movement’s leaders and revolutions regarding the economic and political reform ensued (118). The association of Korean pride, self-sufficiency and nationalism was spearheaded by a Presbyterian Elder named Cho Man-sik, which was a man with a lot of experience regarding teachings in Christianity, governing a school, and law (Wells 828). In order to initiate the economic stability of Korea (which was struggling due to low wages as well as dependence on Imperial Japan), Cho lived in simple house and worn traditional clothing suited for heavy work, among others. Becoming the symbol for New Korea, Cho held seminars and rallies to push the rest of the nation to become self-governing and self-sufficient (829). Making the people move was something that the socialists were not able to do alone. Protestant Christianity as a religion took its own course and development as well as the integration into the lives of the common folk through the subtle intermingling wit h pagan traditions. Initially, Korean Protestantism was not iconoclastic and sacral in nature, but due to the strong ties of shamanism and other pagan religions, it eventually evolved as such. Also, since the presence of sacred artifacts, people and places was already being practiced, these influenced how converted people worshipped in their faith (Lee 8). And since the lower classes, or minjung were easily converted into Christianity due to the adaptation of old customs, there was an explosion of

Essay type questions Example | Topics and Well Written Essays - 500 words

Type questions - Essay Example They provide their patients with consultation, education and research issues. Another scope of responsibilities is relevant to Certified Registered Nurse Anesthetist (CRNA), which are more focused on ambulatory care, surgical settings etc (Utley-Smith, Phillips, Turner, 2007). Therefore, nurses with a special graduate level nursing degree demonstrate a specialized knowledge. The Nurse Educator and Nurse Administrator were excluded from the list of advanced practice nurses, because the former is prepared at the master’s level or with a doctoral degree, while the second one is responsible for schedules of nurses’ practices and other administrative issues. These two professional categories of nurses are educated at the master’s and the doctoral level. There are many challenges in education of nurses nowadays. In spite of the fact that modern nurses have expanded educational programs there are many shortages in practical hours. Therefore, nurses are focused more on skills utilization and not skills acquisition (). There is a great a variety of pathways, but these two categories have different outcomes of their education. For example, the doctoral degree of nurses is more focused on scientific underpinnings. The Clinical Nurse Leaders are more considered about quality improvement of nursing systems and organizations. DNPs are more oriented to improvement and transformation of health care, while CNLs are involved in interprofessional collaboration (Reay, Golden-Biddle, Germann, 2003). The CNL and DNP reflect changes in health care. Thus, CNLs are operating at the micro level and provide with their help small groups of patients. The DNP provide care at the system level (Stolee, Hillier, Esbaugh, Griffiths, Borrie, 2006). They are looking for various decisions outside healthcare system, i.e. they are more open for transformations. There are three positive factors in the process of EBP implementation: therapy efficiency,

Make Way Movie Brats Essay Example for Free

Make Way Movie Brats Essay In the late 1960s to late 1970s, as the veteran directors retired, a new generation gradually took their place. Associated with â€Å"New Hollywood,† these young and diverse directors, often in their late twenties and early thirties, were considered â€Å"movie brats. † These new directors Some of the more famous were Francis Ford Coppola, Stephen Spielberg, and George Lucas; all of whom had an intense awareness of film history, worked with quotations and remakes, and created extremely successful films. With an influx of new directors, it seemed fit that they would take over the industry entirely. However, director Robert Altman, born around twenty years earlier and being significantly older than his â€Å"movie brats† successors, Altman remained essential to the industry. Post mid-1970s, it was less commonplace for efforts to be put toward maintaining Hollywood art cinema. The new directors were focusing on box-office revenue and the production of both action-oriented and youth-oriented, blockbuster films with radiant special effects. Two films that demonstrated such qualities were Steven Spielberg’s Jaws and George Lucas’s Star Wars. Altman persisted for efforts to be continued. He, as well as other older directors like Paul Mazusky and Woody Allen, ventured into the American art cinema. Altman had to work at a rapid pace during the 1970s as he completed more than a dozen films. He also had to compete with the younger generation of Hollywood that was producing huge blockbuster hits. Though rather than trying to create an action flick, Altman stayed true to his roots and produced films primarily based on the character’s emotions rather than plot. Two specific movies in which Altman emphasized shifts from objective reality and subjectivity of the character are Images and 3 Women. In 1970, Altman directed M*A*S*H*; a film praised for its uses of humor with a topic as heavy as the Korean War and for becoming one of the highest grossing films of the year. However, Altman’s films did not always prove to do exceedingly well at the box-office. McCabe and Mrs. Miller and The Long Goodbye created a few years later were generally well received and proved to be moderate earners. His films That Cold Day in the Park, Brewster McCloud, and Thieves Like Us evidently all became box-office disappointments, even though the three generally received good reviews from critics. Although Altman’s movies are not always top box-office earners, they are still habitually the subject of a lot of critical attention. Such is evident with his film Images where the movie didn’t garner a lot of praise for Altman, even though the film might have been considered a peak for other directors. It was released between the films â€Å"McCabe† and â€Å"The Long† and as mentioned previously, they were moderately successful. They received more acclaim and attention resulting in less appreciation of Images upon its release on-screen and it’s availability in today’s time. For this reason, the film can be compared to Francis Coppola’s The Conversation. Although a great movie, it was only considered to be a minor significance to Coppola’s career coming between the crowd pleasers and box-office smash hits The Godfather and The Godfather 2. Images was shot in the wet autumn months of 1971 in Ireland. It premiered at the Cannes Film Festival the following May. It was there that Susannah York won the award for best actress. York credited her role as Cathryn in the film as the role she is most proud of. Although taking home an award, Cannes audiences were primarily confused. Images isn’t the type of film an audience would feel sympathetic towards. It’s somewhat complicated to follow and comes off as cold. However, it’s not as nearly as hard to comprehend as the first reviewers of the movie suggested. As film critic Roger Ebert states, â€Å"[The film] is a technical success but not quite an emotional one. † Because Altman was a hot ticket item in 1971 with M*A*S*H*; Columbia Pictures took the distribution rights of the film and entered it in the New York Film Festival. Unfortunately for Images, neither Vincent Canby nor Roger Greenspan (two dominant film critics for the New York Times) took up the movie to review. It was then left to Howard Thomson, a journalist and film critic for the New York Times nicknamed â€Å"mishmash† for writing brief reviews for films. Thomson made no exception for Images, leaving it only with an imperceptive review. The film never went on to have a traditional commercial release in America. Essentially the film is about a children’s author and housewife Cathryn (Susannah York) who receives several phone calls on a gloomy night in her London home. The voice on the other end is a female stating that Cathryn’s husband Hugh (Rene Auberjonois) is having an affair with another woman. Hugh comes home seeing his wife in grief and tries to comfort her. He vanishes and another man is shown acting as if he was her husband. Frightened at the sight, she screams and backs way, later seeing the figure change back into the â€Å"image† of her husband. Hugh feels that her angst is a result of stress and her budding pregnancy. He takes her to vacation at an isolated cottage in an attempt to relieve some stress. As she stays there, Cathryn dives farther into foreboding delusions as the stranger reappears. It becomes difficult for her to distinguish what is happening in reality and what’s just going on her head. Images shows a lot of subjectivity through its characters because of the extreme personas of the characters and the situations they are placed in. Cathryn begins hearing sounds and hallucinates constantly. She feels guilt sexually after envisioning encounters with two men that are not her husband. One is a sinister Frenchman who asked to be shot by Cathryn to exorcise his ghost. After he apparently falls dead, it is shown that her husband’s expensive camera is all that was really shot. The other man is more realistic, portraying a neighbor who’s infatuated with her and believes Cathryn has rape fantasies and needs strong care. She bares an attraction to him but also feels guilt. She eventually stabs the neighbor with a kitchen knife eventually â€Å"killing† him. The husband Hugh is relatively the only normal character of the film. He never completely comprehends the extent of his wife’s mental horror. Truly having his wife’s best interests in mind and acting as an ideal husband, Hugh thought relocating her to a more isolated place would relieve her of woes. He’s a typical simple American who is addicted to dumb jokes. What Cathryn actually feels about him is only pointed at towards the last 20 minutes of the film where she tries killing off a ghost she incorrectly sees as her other self. Altman’s introduction of his characters and plot comes off as him trying his hand at feminist tax. For one thing, there’s barely any scenes that don’t revolve around the main protagonist Cathryn. Her character isn’t compelling which somewhat dooms the film from the beginning. The male characters come across as jerks. Altman’s goal seemed to make a point about the way movies objectify women, turning them into the â€Å"images,† the film’s title indicates, for the consumption of male viewers. After all, Cathryn is only a little more than something for the men in the film to enjoy. Cameras figure plainly in the film’s mise-en-scene. Her pointing and shooting a gun (a symbol of male power) is yet another example of Altman’s use of gender associations. Although Altman’s point is clear, it seems like he went about delivering the message in a cliched way. In terms of objective reality, every image revealed rovides a lot of suspense and anticipation of what effect Altman will provide next. However it is somewhat difficult to find the reality as it is one of Altman’s most abstract films. It is full of so much symbolism and images that it reflects the work of Bergman and Kubrik. These â€Å"images† consist of shimmering water and tinkling ornaments. They are astonishing beautiful â€Å"images† cut often by shocks of Cathryn’s sensibilities. One daunting scene that does not occur in her head is when she is writing her story and watching ponies, but a dog and frantic sounds break the peacefulness. Altman wrote the film entirely, but the children’s story that accompanies some of â€Å"the images† was composed by Ms. York. This blends art and actuality. The film also has a wonderful use of color that separates the protagonist Cheryl from her ambience in a particularly unique and incomparable way. A few things that this movie can be credited for is its complete originality and uniqueness. Images is a very bizarre Altman film. For a filmmaker who characteristically produces works with large ensembles and layered dialogue, Images feels more blunt and almost claustrophobic. One thing that makes it so different is that the visual style is more lyrical at some points while jagged at the others. Another difference is that the dialog does not overlap. In charge of photography was Vilmos Zsigmond, one of the best cinematographers of the seventies and Altman’s favorite cameraman at the time of production. He does an amazing job with his photography by remaining with the woman’s point of view while never suggesting at what is really going on. Altman added a clever touch to interchange the character’s names with the actors that portray them. Susannah is played by actress Cathryn Harrison and Cathryn is played by actress Susannah York. Another switch of names is shown in the characters of three actors: Hugh played by Rene Auberjonois, Rene played by Marcel Bozzuffi, and Marcel is played by Hugh Millai. Altman’s demand of the audience’s senses is both nontraditional and expert. The fragmented style applied to the movie will definitely not please all senses to each audience member. However its witty script, brave look at a twisted inner world, and the eerie atmosphere the film creates is enough to keep one’s attention for the films entirety. If that’s not enough, there is always the pleasure of watching characters played by phenomenal actors Altman is so famous for providing. American film critic and film/animation historian Leonard Maltin described the film best in stating the film was â€Å"difficult but fascinating† and that it comes off as â€Å"off-putting at first, but worth the effort to hang on. † It is a definite must see for Altman admirers who want to see him in a new style. Altman doesn’t worry about the defenses needed for his film, but rather simply creates a spiritual and poetic vision letting logic and caution fall in the depths of the films beauty. Whether or not Altman produced a commercial success, didn’t change the pace at which he put forth films. Five years after Images was produced, Altman came out with the film 3 Women. The idea for the film came to Altman in a dream. It was because of Allen’s success with filmmaking; 20th Century Fox approved the movie before he had a definite script. Although it was original intention to film without a script, he eventually had one made before filming. This script was more like a â€Å"blueprint,† which he regularly did with previous films. The film centers around two women whose characters are in keen contrast with one another among their first encounters. The third woman the title hints at is a minor character but has a key supporting role, although not first recognized to the audience but gradually can be understood. Essentially the movie tells a story of three women whose characters change and merge, until finally, in the perplexing ending scene, switch roles. 3 Women, although praised for its uniqueness, was not very popular at the time. American audiences may not have even recognized its release at the time. Why you might wonder? A little movie directed by George Lucas bearing the name Star Wars was released in the same year. The three women the title hints at are Shelley Duvall, Sissy Spacek, and Janice Rule who live in the same apartment complex in the desert of California. Duvall plays Mildred â€Å"Millie† Lammoreaux, who works as a physical therapist at a senior care center. She comes off as very confident about her charm and her appeal to men, even though the men she goes after openly mock her. Pinky Rose, played by Spacek, is a young, naive, and childlike woman from Texas who too gets a job at the senior center. With Millie’s roommate moving out, she is forced to find a new roommate, after accepting the conditions, Pinky becomes that new roommate. Rule plays the supporting yet vital role of Willie Hart, the pregnant wife of the landlord of the apartment complex. She gives off an incredibly sad aura as she moves with a gloomy silence, keeping isolated from other people. Willie is a muralist who makes visually appealing yet moderately unsettling murals; one in which is painted at the bottom of the apartment pool depicting godlike creatures, absurd men, and women who annoy each other. The opening scene of the film reflects roles of each of the three women that women in general often play. Willie, the pregnant wife, represents a mother. From the mural she is painting in the pool, one can determine that she seems very sad. Millie reflects a teenager in that she is often very interested in the opposite sex. She is an odd character in that she obsessively gives recipes to others and tells them how she organizes them by the allotted time, even though no one seems to care. Pinky, when first introduced at the clinic, comes off instantly as immature and naive just like an average child. During lunch, she blows bubbles through a straw into her drink and later plays around in a wheelchair, pretending as if she was a patient. Along with making faces at the workers, she says to Millie, â€Å"You’re the most perfect person I’ve ever met,† resembling a young child admiring their cooler older sister. As with Images, this film is also extremely subjective in terms of the characters. Each character has an excessive emphasis on their moods, attitudes, and opinions. There’s no subtly in any of the way the characters act. Millie, as explained in the previous paragraph, is portrayed as an annoying friend who talks excessively. We’ve all experienced or know someone who has experienced a friend like this before, but someone having a personality as dramatic as Millie is just unusual. The audience quickly understands how desperate she is to find a man. Tom, a neighbor who works the grill during poolside dinners, is someone Millie fancies a lot but can’t get attention from. She even tells Pinky that he has asked her out on dates but she’s always been too busy to accept; clearly an act of desperation over someone she cares fantasizes about so deeply. During her lunch break she eats and sits with the doctors, consisting of only men, rather than her co-workers even though it’s more expensive. Her efforts are useless in that they still don’t really acknowledge her. Her last hangout spot to socialize with men is a local bar/ recreation area, owned by Edgar and bartended by his wife Willie. The boys too preoccupied with shooting at a gun range and riding bikes outback, provides yet another obstacle for Millie to find someone. Pinky too reflects the extreme of a personality behaving as some would call childlike. She is a withdrawn woman trying to begin a new life in California, refusing to go into specifics of her past life. The way she looks up to Millie after knowing her for less than a day is extremely odd. Most people emulate people, especially when they are the new one in town as Pinky was, when they are popular or are known for doing something good. They think by acting similar to that person, they will share that same sense of praise and popularity. What’s strange about Pinky’s situation is that Millie isn’t your ideal role model and is the complete opposite of a popular girl. Millie is more of the nerd that’s oblivious to what other people truly think about her. It brings to the question, why would anyone want to duplicate Millie? Also, what made Pinky not want to keep her past life hidden? Altman was very creative in creating Willie’s character. Although Willie doesn’t have many lines in the film, shown mostly with her paintings instead of with people, her supporting role is necessary for the flow of the movie. With a macho husband possessing such an extravagant personality, it wouldn’t be hard to miss her character entirely. Although withdrawn from social interaction, it is made evident that she is still caring. After Pinky attempted to commit suicide by jumping into the apartment pool, Willie didn’t hesitate to jump in and save her. Also in the final scene, even though Willie and Pinky were both messing around with her husband, she still decided to take them in and let them work at the bar with her after the â€Å"accidental† death of her husband. The three women make a complete 360 from polar opposites, into a family. The objective reality of the film is evident through its use of the visual representation found in the mirrors and the water. Mirrors and reflections represent the way Millie views herself. Through the mirrors, we begin to understand Millie’s obsession with looking good, something she is proud of accomplishing. Millie is always beautifying herself by making small changes to her clothes, touching her hair constantly to make sure her curls are intact, and perfecting her makeup. She looks at her reflection, apparently adoring what she says looking back at her, even though no one can figuratively see her. The mirror and the reflections represent Millie’s invisibility to other people in that when you look in the mirror, you are the only one to take notice of what’s reflecting back. Water is also extremely prevalent in the film’s entirety. Each of the three female protagonists of the film is associated with water in one way or another. The opening shot of pregnant Willie painting a mural and water being immersed as a backdrop is said by Altman to represent â€Å"the amniotic fluid surrounding a fetus,† (Ebert). The seceding scene shows Millie and her coworkers helping old people slowly descend into a pool- going to the water as their lives initially started. The wavy line shown on the screen is thought to represent an umbilical cord connecting the person to its life line. Also located in the pool is the crucial turning point in which Pinky jumps into the pool from the balcony, to be later saved by Willie. The movie does feature men; however they are of far less significance to the main protagonists. Edgar, played by Robert Fortier, is the husband of Willie. What someone might call a â€Å"manly man,† Edgar showcases himself with motorcycles, beer, and guns. He is very much a drunk who tries to portray himself as a benevolent western gunslinger and fails to acknowledge his wife properly. The other men, often seen lounging around the apartment’s pool, are objects of Millie’s captivation. She always comes off in preparation for dates or dinner plans with these gentleman, even though they never actually happen and they fail to notice her. It is understood fairly quickly that Millie is a lonely soul. The men are used only to further emphasize the personality of the female characters they come in contact with. It is obvious that this film was primarily focused on the significance of the character rather than creating an high-suspense adventure like Stephen Spielberg did with his film Jaws created a mere two years previously. Each actress perfectly resembles their characters through their looks and acting capabilities. Rule depicts Willie with no apparent expression on the face and a sad look in her eyes. Spacek’s light hair and eyes that stare in adoration fit a character named Pinky. Duvall especially contributed a lot to the creation of the film. She was accountable for creating the recipes, the diary entries, and a great deal of the dialogue her character Millie had. Her big brown round eyes resemble a deer in headlights as she is oblivious to the feelings others have towards her. It’s no wonder why she took home the Cannes Film Festival and Los Angeles Film Critics Association Awards best actress award. Though the actors fit the characters well and portrayed each scene wonderfully, some things are left unanswered for the audience. Although Pinky is a main character, not a lot is understood about her past. Upon completion of the film, it is still left a mystery why she left Texas and whether or not she was actually from there. When Millie asked for specifics on what part of Texas she was from, Pinky accused her of giving her the third degree and avoided the question. Also, when Pinky saw her â€Å"parents† in the hospital she claimed that she had never seen them before, screaming for them to get out. This was a very peculiar scene since the old couple claim to be Pinky’s parents, but look far too old to actually be them. Whether they are frauds, grandparents, or her adoptive parents, is never actually presented. Another mystery Altman added to make the movie come off as a dream, where not everything makes sense and only certain details are vivid. For its use of water coming in and out of scenes with the primary characters, even though water is not actually present, and the mysteries that leave the audience questioning scenes, 3 Women possesses a dream-like quality. The idea of the film, the story, the cast, and everything included, was said by Altman to come to him in a dream, so he wanted to express it as such. The message and the overall point of the film are left open to interpretation for the audience. Altman himself says he is not exactly sure what the ending means but has a â€Å"theory† on what it signifies and what actually occurred. He wanted to create a film filled with emotion and allusion rather than â€Å"surface realities caught with the camera’s allegedly objective eye,† (Sterritt). Essentially this movie is not a narrative in any way but reflects the three stages of a woman’s life. The three women merge into a single person, who is mother, daughter, and granddaughter, â€Å"isolated but serenely self-sufficient (Canby). The film is about age and youth and the overall quality of American life. Trying to decipher the exact meaning of the movie is pointless in that no one could be definite for sure. 3 Women is a film concentrated more on mystery, mood, and behavior than the use of plot devices. In both Images and 3 Women, it is evident that Altman avoided an attempt to make a flashy movie in order to compete at the same level as his younger comrades in the business. Images depicted a fairytale and 3 Women, a dream; both very unconventional types of films. He was far too interested in the preservation of Hollywood art to care about garnering publicity. These were films that had emphasis on ambiguous between objective reality, and character subjectivity, decorated with abstract, enigmatic compositions. Both were films in which Altman was involved both with the writing and directing process, enabling him to project on screen what he himself envisioned as the direction of the movie. Also, these films examined madness in its female characters. It is no coincidence that these specific films both won a best actress award at Cannes. Although Altman’s movies don’t always do extremely well at the box office, they are perpetually the subject of a lot of analytical attention.

Role of the Art Director in Film

Role of the Art Director in Film ABSTRACT Art director is having one of the most important job in an film. Art direction can be similar to snowboarding or sky diving. The essence of the activity is mainly on the way in which its done. Art direction is an action figure in film making. The art director is the one who renders the script in visual metaphors, location , color schemes costumes hair style and make up. An art director is the one who draws us in to sinful lust. They will invigorate us. They will sleepless nights with a horror film and keep us laughing for days with a comedy film. This dissertation attempts to study the influence of art direction in 3D movies. It attempts to claim that art direction is very important and necessary in a film. Art director is an important post in live action films. An art director should have good creative and management skills.But when it comes to Cg films art director is not having much importance and movies like UP is not having any art director. One of the most difficult problem the art director Rfaces is to put together everything and to make sure that it creates the mood contrast features and I appealing to the viewers. This study will attempt to make it simpler through a thorough understanding of art direction in animation INTRODUCTION The film we see today is a group work of many people. We cannot say any one is individually responsible for the success or failure of a film. We can say art direction plays a very important role in translating words in to screen. An art director is the one who is largely responsible for the look of the film. Art direction is helping in everything in the film including construction to ensure everything goes smoothly Art direction is a big part that helps the movie to get its identity. A normal movie will not be unforgettable to the viewer but great script and great production values and surely good art direction can make the movie unforgettable. There is a look and feel for every movie. But art direction only cannot make a bad movie great but great art direction can make a really good looking bad film. RESEARCH QUESTIONS The research questions that will be answered in this session Qualitative What is art direction? What are the different types of art direction? How art directions influence movies in overall appearance? What are the different style and steps to be applied in art direction? How does a good art direction can change an animated film? AIM To study the role of art direction in 3D movies OBJECTIVES Methods of creating sets of popular art direction. Various styles in making an effective art direction Difference in the styles of art direction in 3D and live action. Difference in the style of art in different geners STATEMENT OF A PROBLEM At present animated movies doesnt focus much on art direction. SIGNIFICANCE OF STUDY Art direction is one of the important part of every movie. At present the directors of animated movies even animated short film does in give much importance in short film. My study helps to understand about the importance of art direction in short film and thereby improving the quality of the short film LITERATURE REVIEW Art direction is an integral part in every movie. We have seen great looking movies that brought us the feel of the movie. Many artists do different works in a movie but art director unifies everything. In order to know more about art direction and art direction in animation a lot of books and articles has to be referred Books and articles The art direction handbook published on 2005. written by Michael rizzo: This book gives a detailed description of preproduction in a film. It also gives us information about responsibilities relations and setup and the techniques used in art direction. It involves all the duties of the direction from postproduction to pre-production The education an art director published on 2006 edited by Steven Heller: this book answers many questions like can art direction be taught? Can anyone be art director? Are all directors alike? Is an art director an editor? Is art direction design? And similar things. The art of the lion king written by Christopher finch: this book has the sketches used in the movie lion king and also some of the details of art direction in the movie which will help to analyse art direction with the help of a movie example The film makers guide to production design published on 2002 written by Vincent Lobrutto: this book mentions about production design and visualisation of a screenplay. It is having information about design metaphors, research and information about colours and texture. Its also having information about everything in the film like budget pre-production and post-production Websites About art direction in a film (http://www.ehow.com/about_4571288_art-direction-film.html) Accessed on 27 -09-2009: this website give the basic information of art directions and the significance functions and importance of art direction Art director- film makers guide( http://www.wildsound-filmmaking-feedback-events.com/art_director.html) ) Accessed on 27 -09-2009: this websites has information about the duties of an art director. It also have information about character design set design and props design. Art direction in movies(http://www.ehow.com/video_4990616_art-direction-movies.html) Accessed on 27 -09-2009: This is a video in which tells more about what is art direction and the role of art direction in movies. Art direction v/s cinematography v/s film editing(http://recomparison.com/comparisons/100963/art-direction-vs-cinematography-vs-film-editing-who-does-what/) Accessed on 27 -09-2009: this site gives the difference between art direction cinematography and film editing. It also tells about purpose of everything RESEARCH METHODOLOGY The dissertation is that of qualitative and quantitative in the study of the topic importance of art direction in 3D animation This research will include book, web pages and secondary information. This research will explore about the entire details of art direction Different methods of creating art direction will be explored which will helps to learn more about different styles so that the best for animation can be selected from those  ­Various stages in making effective art direction sequence is studied thoroughly to get a through knowledge of the process of art direction Difference between the styles of art direction in live and 3D animation is studied and also between the different genres. This will give an in depth knowledge of art direction A survey will also be conducted about the reasons of liking a 3D movie and the reasons and also about the influence of colours in the film Scope This study will help to apply art direction in animation movies in an effective way which can dramatically improve the look and feel of the movie and thereby dramatically improve the quality of the movie. Limitations This study is limited to 3D animation only and this topic is not studied much before so availability of books and articles is much less Sampling Judgement sampling is used for my survey because the topic is technical and people who knows about art direction can only give sufficient amount of information ART DIRECTION-A BRIEF HISTORY All production designers are art directors, and formerly, there were noproduction designers at all there were only art directors. In earliest filmmemory, the first creative moviemaker to be given the title of art directorwas Wilfred Buckland By 1916 when Photoplay (magazine) commented on the rise of the artistic executive or art director, WilfredBuckland had already been working for Cecile B. de Mille and Paramountsince 1914 and would continue to 1927.2Previously, he had designed Broadway theatrical productions, andlater for the fledgling movie business developed a form of minimalist, a Carravaggio-like lighting that engulfed the characters in darkness exceptfor a single source of side illumination. This dramatic theatrical effect quickly became a silent film trademark known as Lasky lighting, after theproduction company that made The Cheat (1915), his most successful film. It was also one of Cecil B. DeMilles masterpieces, shotin Standard 35mm spherical 1.37:1 format, combining all the ingredients typical of the infamous DeMille style a mixture of sex, sadism, and sacrifice,washed down with lurid melodrama. ( Michael rizzo 2005) Bucklands lighting contributions were groundbreaking. Two signature scenes in the filmà ¢Ã¢â€š ¬Ã¢â‚¬ the branding of the heroine by her wealthy Japanese paramour and the subsequent shooting scene are lit with such theatrical richness and integrity that our attention is just as adroitly manipulated today as it was during its initial release. This early mavericks scenic designs created an equally powerful toured force for film-going audiences in the early twenties. Towering 40 feet above Santa Monica Boulevard and La Brea Avenue, King Richards castle, the center piece for Douglas Fairbanks Robin Hood (1922), is arguably the largest set ever constructed in Hollywood history. It took 500 workmen three solid months to build. Considering Los Angeles was more of a wide spot in the road then, the silhouette of the completed castle set could be seen for miles. It exemplified W. Bucklands penchant for creating extravagant, naturalistic sets, and it attests to his flair and flexibility as an early art Michael rizzo, The art direction handbook first edition published on 2005. director. Allan Dwan, director and trained engineer, recalled, We worked out a couple of interesting engineering stunts for the big sets. On the interiors, the walls meshed together with a matrix, which we designed and built,so they could be put together rapidly in sections. The interior of the castle was very vast too big to light with ordinary arcs. We didnt have enough. It was an open set, and certain sections were blacked out to give the right atmosphere. So to light them we constructed huge tin reflectors, about twenty feet across, which picked up the sun and shot the light back onto the arches inside. Then we could make effects.4 This set was larger than life in all ways from the completion of the steel-frame, reinforced, working drawbridge, signifying the end of set construction, to the fact that the shooting of the film on its massive sets was a big tourist attractionthe magic of the Dream Factory continues to stir our imaginations ( Michael rizzo 2005) Under the steady but tumultuous employ of Cecil B. De Mille, Buckland was a prolific film designerWilliam Cameron Menzies.Incidentally, as supervising art director Buckland ran the art department for Robin Hood overseeing Anton Grot and William Cameron Menzies, not credited as assistant art directors. The practical vision of Buckland, the little-known Hollywood art director and initiator of the use of controlled lighting within studio environments, set a standard in the first decades of the twentieth century that has become as commonplace as shooting film sequences in Hollywood sound stages today. He stands as an art direct giant; his creative ingenuity ennobles the craft of film design even now. The stills shown here illustrate the enormous sense of theatricality belying his earlier, formative years in New York City. His exuberance for designing these impressive, interior castle shots matches that of the swashbucklingstar and sole producer of the film, Douglas Fairbank( Michael rizz o 2005) Michael rizzo, The art direction handbook first edition published on 2005. Past Changes The function and title of art direction continued into the next decades before the landscape of the art department was changed forever. Since Bucklands inauguration, Hollywoods creative visual managers were simply called art directors. Each of the existing studios including 20th Century Fox, Columbia Pictures, Paramount Pictures, Metro-Goldwyn Mayer, and Warner Brothers contained stables of art directors overseen by a supervising art department head. The paradigm shift began in 1939 during the Golden Age of the American Studio System. William Cameron Menzies, having grown up under Bucklands tutelage, set a new standard for visual excellence by mapping the film epic, Gone With the Wind, with detailed concept sketches and storyboards, and adamantly insisting on using them as guides for shooting the film. David O. Selznick, the films producer, rewarded Menzies efforts of managing every detailed aspect of GWTW from a visual standpoint by crediting him with the title of production designe r. By the way, GWTW was art directed by Lyle R. Wheeler and set decorated by Edward G. Boyle. ( Michael rizzo 2005) This distinction continues to the present. Regardless, the titles continue to be blurred. One logical reason is that the Academy of Motion Picture Arts and Sciences annually presents an Oscar for Best Art Direction for a Film, never having taken the leap to make the correction. Another explanation reminds us that the television industry has consistently maintained the original label for the designer as art director. Despite the confusion of terms between industries, one fact remains: two different titles refer to two separate job descriptionsà ¢Ã¢â€š ¬Ã¢â‚¬ plain and simple. When in Hollywood, speak specifically. ( Michael rizzo 2005) Michael rizzo, The art direction handbook first edition published on 2005. Present changes Several years ago, the Art Directors Guild in Los Angeles was in a minor uproar when the title of our union, Local 876, had come up for review and subsequent vote by the membership. As we have just seen, the battle of whos who had gone on intermittently in an informal way during the many years since Hollywoods Golden Age. A handful of committed members called for a formal discussion and vote to resolve the squabbling for a truly descriptive title for the Guild, once and for all. After a lengthy debate, the name of the art directors union was changed from Society of Motion Picture and Television Art Directors to LOCAL 800 ART DIRECTORS GUILD SCENIC, TITLE AND GRAPHIC ARTISTS or, The Art Directors Guild, informally. Holding title in a designing capacity or not, art directors continue to occupy a vital place within the context of cinemas creative operatives. Formally being called an art director now more than ever personally connects us to our glorious past and reminds us of our historic roots without pretension.( Michael rizzo 2005) Michael rizzo, The art direction handbook first edition published on 2005. Chapter 5 Responsibilities and relationships art director Responsibilities The main responsibility of the art director is to take care of the visual aspects of on screen as well as printed media. The process of visualisation is being over seen by the art director in a variety of communication problem. All art directors even though they are specialised in a particular field must be good not only in design and illustration but photography computers, research etc so that they can interact with all the workers under him He is the one who keeps track on scheduling and budgeting. An art director gives instructions to the art department co-ordinator and the lead man. The art director is also in touch with the departments such as construction, transportation, location and special effects. Art directors start their work two or three month before the production of the film. Art directors start their work on the sets of the shots that are going to be shot first as soon as the schedule is decided. The script is studied thoroughly to know what the essential are props needed in the shots and they are designed according to that. The sketches and plans for the set are drawn so that they can be given to the construction managers and their teams for reference. One important part of art directors work is trouble shooting. They find cost effective solutions for constructing and decoration problems. They work closely with the relevant department from the stage of preproduction itself if some special effects or visual effects r there in the movie. They are responsible for the use of any vehicles and animals in the movie. Sometimes the raw materials needed for construction may not be available so they need to adjust with whatever raw materials is available at the present situations. Safety is another important concern of an art director he must make sure that all the workers under him are safe when working in dangerous and hazardous situations Relationships Historically, the art department is seen as the imagery hub of film production More than this, it also exists as the central department providing a strategic guide for all crewmembers in their respective departments. As keeper of the visual concept, the art department has creatively inspired and monitored all related activities for decades. Head accountant and staff- an art director should be in good relation with the accountant so that money is easily available without any delays Locations Manager and Staff- Another early arrival in the pre-production phase is the locations manager. Logistics is what cements your relationship the locations finally chosen to satisfy the design concept, the schedule of in-and-out movement at a location, access and parking, and strict adherence to what can and cannot be physically done are some of the issues both will face together. Much like the art director, the locations manager is the first to arrive and the last to leave any and all given locations. UPM, Production Supervisor, and Production Office Staff- The bulk of your interdepartmental marketing efforts are exercised with the production office, the other nerve center of film production. All final decisions are made in this office. Your goal as an effective art department manager with the UPM, production supervisor, and production office coordinator is to provide good offensive support. First Assistant Director and Staff-The influence of a good art director should be felt everywhere at once. Unfortunately, the shooting crew and its activity on a hot set are not an art directors legitimate domain; the first assistant director, the second assistant director, and the second-second assistant director will continuously remind you of that fact. Regardless, you need to do your job despite any restrictions; acknowledging the domain status of the 1st AD is key to working within those restrictions. Pre-visualization Supervisor and Staff The advent of 3D animation and how it has affected the design landscape has forced film designers to rethink the process of matching human and animation film elements seamlessly into the visual fabric of filmmaking. A reluctant respect now governs this young relationship between the art department and visual effects folks. It cannot properly function as an adversarial one because our quickly advancing technology is forcing a paradigm shift. The marriage of minds to create a singular vision has arrived and with it, a rethinking of boundaries. Essential knowledge and skills A good art director should be an expert in interior design and architecture

Interest Groups and Collective Action on the Internet :: Business Roundtable Papers

Interest Groups and Collective Action on the Internet The Business Roundtable is a unique business-oriented interest group. The BRT was established in 1972, founded in the belief that the chief executive officers of major corporations should take an increased role in political debates and public policy on economic and trade issues. Indeed, the entire membership of the BRT is comprised of CEOs. However, a permanent seat on the BRT is granted to a company, not its CEO. For example, Philip Condit currently fills Boeing’s seat on the BRT, but if Boeing replaced Condit as CEO, his replacement would serve as Boeing’s representative. There are currently 131 corporations with seats on the BRT. This size is relatively small and the high-profile nature of its members makes the organization very influential in political circles. BRT is sometimes criticized as a â€Å"privileged group,† particularly by union-oriented interest groups, such as the AFL-CIO. Another benefit of BRT’s small membership is their capacity to overcome the collective action problem outlined by Mancur Olson in, The Logic of Collective Action. This theory says that political groups with large memberships face a â€Å"free-rider problem.† Each individual member rationally views their own participation as insignificant and therefore, does not actively participate even though they still receive the benefits in the end1. The BRT overcomes this problem through their small membership and their ability to meet face-to-face, once a year in Washington to set their agenda for the year and assign issue-oriented taskforces. Persona lized face-to-face meetings strengthen the relationships between members and reduce the chance of â€Å"free riding.† The BRT has a single stated objective – â€Å"to promote policies that will lead to sustainable, non-inflationary, long-term growth in the U.S. economy.† Although each member speaks as a individual, even before lawmakers, the BRT believes that â€Å"the basic interests of business closely parallel the interests of the American people who are directly involved as consumers, employees, shareholders, and suppliers.† In fact, the 131 members of BRT have a combined workforce of more than 10 million employees in the U.S.2 BRT membership is granted by invitation only. The company is the member and its representative is the Chief Executive Officer. The participation of the CEO is the distinguishing feature of the BRT. The BRT is headed by a chairman, two co-chairmen, a nominating committee chairman, a president and executive director.

Past and Present Views on Gossip Essay -- Exploratory Essays Research

Past and Present Views on Gossip Culture is constantly changing: the prevailing beliefs and trends of one period can vary substantially from those of another. A significant consequence of this cultural flux is gradual evolution in the meanings of some words. Since language is naturally tied to culture, it is not surprising that these changes occur. Words have meaning only in the context of the current social climate; therefore their definitions change synchronously with cultural progression. The meaning of the word gossip, for example, changed several times over, from its original definition of kindred relation to its present definition of empty talk. How did this progression take shape? As society adopted new trends and beliefs, the meaning of the word gossip changed from having religious connotations to having more social connotations. The original meaning of the word gossip had strong religious undertones, implying that society and culture then were very religious-minded. Stemming from the Middle English roots "god" and "sib", the word gossip referred to a person who sponsored a baptism and shared a spiritual rapport with another. During this time period, Christianity was a newly emerging religion, and one of its most sacred rituals was baptism. It was also becoming an increasingly important part of society and culture. Undermining baptism, therefore, would have been an insult to the religion, but associating it with spirituality would have been an avowal of Christianity, a recognition of this new force in people's lives. Sponsorship of a baptism and spiritual affinity were connected primarily because religion was such a predominant force at the time. However, the word gossip progressively lost its religious connot... ... "talking about other people, even in a negative way, is not just socially useful but indispensable" (Cohen B7). Cohen's point emphasizes that the driving force behind this etymological evolution is often change in the social environment, particularly in the attitudes of the people using a certain word. Gossip in its original sense was probably used in ecclesiastical circles. As ordinary people started using the term more frequently, the word gossip started to lose its religious undercurrents and slowly gained social connotations. Used by women, the term's definition evolved to reflect an activity shared by many of them. Today, the word's derogatory sense may reflect increased cynicism among people. As Cohen points out, though, the meaning of the word gossip is likely to change, and this change hints at possible trends - and kinds of people - society will face next.

The Republic - Book 1 - Theme Of Justice Essay -- essays research pape

The subject matter of the â€Å"Republic† is the nature of justice and its relation to human existence. Book I of the â€Å"republic† contains a critical examination of the nature and virtue of justice. Socrates engages in a dialectic with Thrasymachus, Polemarchus, and Cephalus, a method which leads to the asking and answering of questions which directs to a logical refutation and thus leading to a convincing argument of the true nature of justice. And that is the main function of Book I, to clear the ground of mistaken or inadequate accounts of justice in order to make room for the new theory. Socrates attempts to show that certain beliefs and attitudes of justice and its nature are inadequate or inconsistent, and present a way in which those views about justice are to be overcome. Traditionally justice was regarded as one of the cardinal virtues; to avoid injustices and to deal equitable with both equals and inferiors was seen as what was expected of the good man, but it was not clear how the benefits of justice were to be reaped. Socrates wants to persuade from his audience to adopt a way of estimating the benefits of this virtue. From his perspective, it is the quality of the mind, the psyche organization which enables a person to act virtuously. It is this opposition between the two types of assessment of virtue that is the major theme explored in Socrates’ examination of the various positions towards justice. Thus the role of Book I is to turn the minds from the customary evaluation of justice towards this new vision. Through the discourse between Cephalus, Polemarchus and Thrasymachus, Socaretes’ thoughts and actions towards justice are exemplified. Though their views are different and even opposed, the way all three discourse about justice and power reveal that they assume the relation between the two to be separate. They find it impossible to understand the idea that being just is an exercise of power and that true human power must include the ability to act justly. And that is exactly what Socrates seeks to refute. The Socratic dialogue begins of Socrates recounting a conversation he had with a number of people at the house of Cephalus. Returning to Athens from Piraeus, where they had been attending a religious festival, Socrates and Glaucon are intercepted by Cephalus, who playfully forces them to come to his father’s house. Socrates begins by asking t... ...s are a paradigm case of those in control. The essence of ruling is, therefore, to be unjust and that is why a tyrant is a perfect ruler. He always knows what is to his advantage and how to acquire it. Thrasymachus’ view of justice is appealing but therein lies a moral danger and this is refuted by Socrates. Out of the confrontation with Cephalus, Polemarchus, and Thrasymachus, Socrates emerges as a reflective individual searching for the rational foundation of morality and human excellence. The views presented by the three men are invalid and limited as they present a biased understanding of justice and require a re-examination of the terminology. The nature in which the faulty arguments are presented, leave the reader longing to search for the rational foundations of morality and human virtue. Bibliography Allan, Bloom. The Republic of Plato. Second Edition, Basic Books. 1991 Foster, M.B. The Political Philosophies of Plato. New York, Russell and Russell. 1965 Annas, J. An Introduction to Plato’s Republic. Oxford, Clarendon Press. 1981 White, N.P. A Companion to Plato’s Republic. Indianapolis, Hackett. 1979 Graby, J. An Inquiry into the Works of Plato. New York, McGraw. 1961.