The Truman Show Written Assessment

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To Whom It May Concern

There are many programs that have made it to our TV screens over the past few years as the ever-growing popularity of reality TV continues to be a demand but ‘The Truman Show’ has pushed the limit of reality and unreality too far. Watching a person that doesn’t even know he is being watched in an environment too made up to be real is just not exposing the problems in real life that may occur to a normal person such as unemployment, no education, no family and no financial support. To have 5000 camera’s focused on a single person to bring him his every action that he does, to millions of people world wide, gives the poor person who had never volunteered for that position no privacy at all even when he/she may be in the shower, toilet or just sleeping. Christof has made money by having Truman pillows and other things while Truman has not made a cent. The viewers watch his real emotions within a world that is fake and keeping enclosed by creating the fear of water. Christof has just placed the demands of the Truman Show over all other human values. Christof has made Truman’s every move broadcast live and the show is kept alive from the product advertisements Meryl places so suddenly in her conversations with Truman. A program such as the ‘Truman Show’ should not be allowed to be on TV simply because of the fact that he has absolutely no idea he is being filmed (although he guesses in the end and tries to escape) and he did not volunteer to be only real character on the TV show. Shows such as ‘The Mole’, ‘Temptation Island’ and ‘For Love or Money’ show people who actually want to be on the show for probably instant stardom that they can make a profit from. The ‘Truman Show’ has very deep issues that are currently in our community and show the difference between reality and unreality TV. The broadcast of a person that didn’t have a say in anything and wants to see what the real world is like, should have the right to leave and see what it is like because it is a free world. To have him cooped up in the dome shaped island of Seahaven is almost like a cage in a zoo where millions of people point and stare. You should personally consider if it was you in that position and imagine how you would feel. You should act by what you would think you would do if you had the power to change things. Hopefully the age where Reality TV has become a popular sight on TV will be gone and replaced with something more open.

Yours sincerely,

Imagine that a programme just like ‘The Truman Show’ is currently being broadcast on Australian TV. Write a letter to the Australian Broadcasting Standards Commission arguing why the show should not be on the air or write a letter to the television station explaining why the show should stay on TV.

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The Automobile Revolution of the 1950's

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The autombile, much like the T.V., was something everyone once dreamed of owning, and thanks to the post-war economic boom of the Fifties everyone could. Unlike the automobiles of the Forties, which showed a utilitarian, military influenced design, the automobiles of the Fifties spoke of a much more progressive style. This essay will speak about the design influences that made the automobile a much more attractive purchase, as well as the effects that an automobile driven society has had on our lives since.

The event that arguably had the single greatest influence on the evolution of the automobile took place on October 14, 147. It was on this day, in the skies over Victorville, CA, that Chuck Yeager broke the sound barrier. From this point on the car consuming public wanted nothing but speed and style. Cars with bigger engines and improved aerodynamics were the featured attraction at the GM sponsored Motorama in 14. This was an exhibition of the new ideas and new technologies that would be brought to bear on the car market. Four years later, what could be argued (by me) to be the most monumental achievement of Western Civilization was released. For it was on June 0, 15 at the assembly plant in Flint, Michigan that the first Corvette was rolled off the assembnly line. Everyone of these American legends featured a white paint job with red interior, all fiberglass body, and a chrome grille. The first incarnation of this vehicle had no side windows or exterior door handles. This evolution in auto-design is something we bear witness to everyday as we drive the streets of South Florida, however there were several design influences of the era that have not made it into the working vocabulary of autodesigners today. The most remarkable of these would be the fins that were a staple of every Cadillac of the era. Reminiscent of the dorsal fin of an airplane, this is something we do not see much of today. Some concept designs of the day did make it into the history books however, such as the 155 Lincoln Futura. A concept car with a standard bubble-top and 00 horsepower V-8, this design was sold several years later to a customizer in California, who turned it into the first ever Batmobile. These concept cars were designed with the intent of testing out radical design ideas on the public to see if they would work on a mass-produced scale. Needless to say many of the features of the day (such as dual-cockpits, or joystick controls, as was the case with 150 Firebird III from GM) didnt appeal to the mass market and were forever lost on the cutting room floor.

The sheer popularity of the automobile in the 150s led to many changes in the landscape of America. The focus on comfort and convienience in your vehicle during the 150s led to many more people taking the ever-popular roadtrip. This was made practical as we started construction of our National Highway System in 156. The increase in the number of people on the road led to the start of todays motel industry. These offered a cheap, clean place to spend the night and soon began to outpace the small mom and pop bed and breakfasts of the 0s and 40s. The roadtrippers wanted not just accomodations that catered to them, they wanted food as well. The decline of the diner, and the proliferation of fast-food chains and drive-thru windows (as well as ill-hyphenated words) can probably be traced back to this desire of the consumer of the day. In addition still to the motels, fast-food chains, and roads that were built to accomodate the motorist, gas stations sprung up everywhere. Unlike the gas stations of today, the majority of these were full-service establishments, once again catering to the motorist, and making them feel as comfortable as possible in their vehicle.

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The changes that have resulted in America, and in so much as we are a global role model, the world, as a result of the proliferation of automobiles havent all been good. As a matter of fact, other than the convenience factor of having the means to quickly get from point A to point B very little good has come as the result of the automobile. I dont mean to downplay the importance of quick and convenient travel, it has led to the type of fast paced economy that America enjoys today. However we now suffer from a great dependance on automobiles and therefore on gasoline for them. A natural resource with a limited supply, the majority of which is controlled by the none too altruistic countries of the Middle East. Sure we also have great reserves of oil that will power our vehicles for years to come, but true independance from oil and gasoline means finding an alternative energy source. Something the R & D teams of today are only beginning to truly consider. As much as the automobile industry has brought to us, in the end they have only served to help us to further pollute the planet that we call home.

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A little common wealth

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A Little Common Wealth…

In A Little Common Wealth… John Demos exposes myths about the Puritan life. Demos also explore the unusual aspects individuals.

The first myth Demos exposes is that Puritan have or wear expensive jew-elry, but he not sure about it. One thinks the Puritans show that they are wealthy by wear-ing their gorgeous necklaces, or their wedding ring. The truth is that Puritan societies do not allow wearing any Jewelry because they think that a person wearing them is lust and their next life will live in hell. Instead of showing, they are wealthy by wearing expensive jewelry they wear expensive clothing. "A fine suit for a man, or the best kind of women's petticoat, might cost as much as one pound, ten shilling." "This sum would also bought a young steer, or half a dozen goats, or a complete set of armor, or ten bushels of wheat." This is the one of the best way that they can show their wealthy.

Finally, Demos exposes that Puritans marriage is not always for love. In fact, there is many great important of love to a marriage. One believes that Puritan women have no right to choosing their own husband. In reality, women only marry if they really find their true love. In a will written by Walter Briggs in 1676 Brigg says "allow my said wife a gentle horse or mare to ride to meeting or any other occasion she may have that Jemy, ye neger, catch it for her." Briggs certainly shows how much love and care for his wife even in the face of death.

The first unusual point that Demos explores is that Puritan show their wealthy by wearing expensive clothing. One would never think that Puritans women show off their clothes because to our new society they look standard. Demos says that women wear a gown that is the outermost garmet. Then under they wore a skirt, a bodice, and waistcoat, doublet, jerkin and cloak, and a linen shirt. The Puritans wear all of these clothes at the same time. They actually wear five layers of clothing. The wealthy they are the more layer of clothing they get and other view them at wealthier people.

Finally, another unusual aspect is that Puritans do not always wear dull color. One would thinks that Puritans always and only wear black and white when they observe from all pictures portrayed in. The actuality is that Puritans also wear shades of orange-brown, red, blue, green, yellow, and purple. The Puritan does not have a wide diversity of colors compare to our society. Black is use to symbolize their self-esteem and formality. Puri-tans do wear black and white on Sundays or other ceremonial occasion. The Puritans in-fluences our culture today. People today they wear black and white for wedding cere-mony, cemetery, and on other occasion.

The Puritans life is view by many images we see. We see people wearing black and white and their life is formal. In reality, Puritans get to wear a range of color that ac-cepts by Puritans society. Some Puritans women are very well educated, and they marry for love. One cannot trust the things one see rather find the facts to believe in it.

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Comparison and contrast of characters in mabel and the horse dealers daughter

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Characters

Like people in real life, fictional characters reveal themselves by how they look,

what they say and how they say it, what they do, as well as how they feel.

This two characters, George and Jack, reveal themselves, in most of the story, by

how they feel. In spite of being different, both men have something in common how

and what they feel towards their own Mabel.

George escapes from Mabel because he doesn't want to marry her. In a similar way,

Jack refuses to accept he is in love with Mabel. But both men end (up) marrying their own Mabel. They feel the same under some circumstances both feel afraid and

nervous. When George, is about to meet Mabel, after seven years, he realizes he is

not prepared to marry her "Then, suddenly, without warning, he was afraid. He had

not seen Mabel for seven years... He felt a terrible sinking in his stomach, and his

knees began to shake. He couldn't do it." And Jack feels that way when he is in the

house with Mabel "He was amazed, bewildered and afraid." "He was afraid, even a

little horrified."

What causes them to behave as they do?

George behaves in such a cowardly way, escaping from her, because he had not

seen Mabel for seven years and that causes him fear and insecurity. That's why he

avoids answering every letter she sends to him, because of the fact that he feels

pressured by Mabel, and because of that he escapes from her.

Jack escapes from Mabel, but in a different way. He escapes from his own feelings

towards Mabel. He has never fallen in love, and that feeling fills him with

nervousness and fear "He had no intention of loving her; his whole will was against

his yielding. It was horrible."

Although, at first, George and Jack have a strong resistance to accept they love their

own Mabel, both end realizing that they are in love with them. It can be seen, when

George is in the club (at the beginning of the story), that he really love his wife

"He's so terribly miserable since his wife went home." "It must be very pleasant for

her to know that her husband loves her as much as that."

At last Jack finally accepts he loves Mabel "And again, from the pain of his breast,

he knew how he loved her. He went and bent to kiss her, gently, passionately, with

his heart's painful kiss." Such is the way he loves her, that he asks her to marry him

"I want you, I want to marry you, we're going to be married, quickly, quickly

tomorrow if I can."

But despite this contradictory feeling, which doesn't allow themselves to

express and admitt what and how they feel, they finally give vent to their emotions,

behaving freely, without any kind of resistance.

Please note that this sample paper on comparison and contrast of characters in mabel and the horse dealers daughter 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 comparison and contrast of characters in mabel and the horse dealers daughter, we are here to assist you. Your cheap custom college paper on comparison and contrast of characters in mabel and the horse dealers daughter will be written from scratch, so you do not have to worry about its originality.

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1492: The Conquest of Paradise

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Christopher Columbus (G'rard Depardieu) is a visionary. Hes convinced he can find land following the path of the stars, charting a new route to Asia. There is one problem no one else believes what Columbus proposes. In fact, the Spanish council outwardly mocks his ambitions and they refuse to sponsor his voyage. That is until Columbus finds a way to convince Queen Isabella (Sigourney Weaver) that he knows his voyage will be a success.

After the Queen gives her blessing, Columbus sets sail for Asia. After weeks at sea, he tames a mutiny amongst his unhappy sailors convinced they are lost, showing once again, his power of persuasion. They do find land, not Asia, but the Americas, landing first on San Salvador, named and claimed for Spain. In search of gold, Columbus and his crew, including Mendez (Kevin Dunn) and Pinzon (Tch'ky Karyo), explore many of the islands, building tentative relationships with the indigenous people who find the men more interesting than threatening.

Columbus envisions an idyllic paradise on the shores of his new world. However, despite a glorious return to Spain, he faces problems when he returns to the Americas. As his dream crumbles, both from political in fighting among his men and then from a rebellion by the Carib Indians, Columbus refuses to accept the reality of his situation. Even when hes imprisoned for crimes against the state, he still holds true to his idea of a utopian new world.

The power of G'rard Depardieus performance carries this movie. Hes passionate, angry, determined and vain'the quintessential explorer. Loosely based on the writings of his son, 14 Conquest of Paradise resurrects the image of the explorer and concentrates on telling the story from his perspective

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The Passion of Joan of Arc

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Michael Shiakallis

Engl 15

Mr. Rosenberg

October th, 00

The Passion of Joan of Arc

The influence of cinema is often overlooked due to the entertainment value it possesses. There are very few films that can emotionally and intellectually captivate an audience in this contemporary era due to the inflated emphasis on special effects and revenue. The silent era in cinema was able to accentuate aspects of a film that many sound films following have diluted or dismissed. The Passion of Joan of Arc exhibits this unique accentuation. This film is free from choppy dialogue and overbearing special effects that can be attributed to the simple time period that it is from. The Passion of Joan of Arc enthralls its audience through potent facial expressions, clever symbolism, and a poignant score.

The silent communication that Joan conveys to the audience is full of expressions that a monologue could never do justice to. The audience gets a close up view of Joan's face, and is able to see every hint of emotion, from the mere twitch of an eye, to a curl of a nostril. Before analyzing the expressions themselves, one must first recognize the direction that the camera, which allows the viewer's to be encompassed in the same emotional pool as Joan herself. This extreme close up of Joan's visage allows any viewer to see every facet of her face no matter how insignificant. The audience is aware of Joan's feelings, not through pleads or regrets, but through the quiver of her lower lip and the welling of her eyes. These rather minute actions that her face engages in are the components that this film focuses on in order to create that empathetic stir in the viewer. By interacting all of Joan's emotions through her face and overall demeanor, one cannot help but feel the power of the unspoken word. This unspoken word allows the audience's emotions to be guided by an abstract force rather than direct dialogue. This is something very unique and very commendable because it is virtually absent in all films created today.

In order to reinforce the effectiveness of the absence of dialogue, this film demonstrates a very skillful display of the use of symbolism. There is a particular scene where Joan is confined to her cell for the moment and she sees the shadow of a cross fall upon the floor from the window. As she takes a moment to contemplate, one of her persecutors enters the cell and positions himself over the display of the cross inadvertently. This of course is a message that all of Joan's persecutors are not in God's grace as she is. That particular scene lasts but a mere 0 seconds, and yet it elaborates on the character of Joan and the character of her persecutors. Though this may sound trivial and unimpressive to today's standards, one must consider the time period that this film was conceived in, and the overall relation that this particular scene has to the entire film. Another use of symbolism that the film displays is a skull. This skull is lying on and in the dirt, positioned to where only one eye cavity can be seen. Within this cavity lie dozens of disgusting maggots all contorted and slithering over one another. The skull and maggots here are a symbol for the foreboding death that is to come for Joan. The image of the skull is something that has often been associated with death, but it has never been shot in this way, hence why it is so powerful and influential. It's position, and especially the maggots that infest it, are what make this particular symbol so unique and remarkable.

Since this film is derived from the silent era, one might infer that the absence of a dialogue or monologue could hinder the film, but the compelling score acts as the language of the film. The powerful notes that are expelled from the tongue of the orchestra direct the solemn mood of this film. During each contemplative moment, the music is very low, almost like a whisper, to indicate that Joan is in a deep state of thought and during heighten points of tension, the music roars in a melody of mixed emotion. The score that plays throughout the film was actually not conceived with the film, but rather, inspired by the film. This unique fact displays the impact that The Passion of Joan of Arc has had to many people in the fine arts genre. The movie is essentially directed and guided by the music, for it is what binds the film and creates a certain fluidity from scene to scene.

The Passion of Joan of Arc exhibits a true understanding of how to emotionally attach the audience to the characters. It is a true display of utilizing the power of facial contortions, symbolism, and the effectiveness to a well-written score. These pieces mesh together to create a dazzling display of sorrow while telling a story. The silent era as a whole, laid the foundations for all the films that are created today, and this particular film is the pinnacle display of properly utilizing specific elements to further amplify the tone and mood of what is being shown.

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The rockinghorse winner verses the wild swans.

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The infatuation of the accumulation of money and wealth of an indulgent and self-righteous society is evident between the years of 100 and 145. This was the era of the Modern Dramatists, which David Herbert Lawrence belonged to. The values of the middle class society in this time were to emulate the upper class, gaining social status and superficial recognition. Lawrence despised these values, which society held, being exposed to them as a child witnessing the disparity of his parents trying to achieve this type of social status, and he shows in the Rocking-Horse Winner, his disgust for these values. Lawrence demonstrates that in a patriarchal society, minds are misguided, obsessed with the accumulation of wealth, and as a result of this, the value of family is discarded which will only lead to self-destruction. The opening of the story gives a fairytale like description of a mother who "could not feel love, no, not for anybody" including for her children. Determined to please his mother, Paul goes on a "mad little journey" to prove his luck and to attain the unattainable, the love of his mother. Elisa from The Wild Swans is also on a quest to achieve the near unattainable, of saving her brothers, demonstrating a strong family value, from the spell cast upon them by their evil stepmother. The Wild Swans was written during the Victorian Era, which was the time when Britain was the richest colonial empire. Like Lawrence, Hans Christian Anderson despised the value of money and wealth, having been brought up in poverty himself, and also found revulsion in the patriarchal system of the church. During the Victorian Era new scientific theories challenged many religious beliefs, which made society reassess their values and lose faith in traditional religious beliefs. Anderson demonstrates, through The Wild Swans, his own Christian ideals that perseverance and a faith in God, with out the interference of the Church, will bring reward.

Family values are shown in both of the texts, but this portrayal is structured in binary opposing ways in each. Anderson's appreciation for the value of family is shown through Elisa's quest to find her long lost brothers. Elisa knows that she will find her brothers and "trusted that God would not leave her." Elisa's perseverance is a true depiction of Anderson's value that dedication and a 'one on one' relationship with God will bring reward. Anderson portrays through the use of similes that Elisa is never alone, as she will always have nature and God on her side. Even the smallest of creatures, like the glow-worms, "falling to the ground like shooting stars" want to help Elisa on her quest, by lighting up the dark and silent night for her. God lets Elisa know that He is watching over her from above when the "branches above her seemed to be drawn aside like a curtain" to allow her to see "God looking down at her, with angels peeping over His shoulders and out from under His arms." Elisa shows the qualities of courage and endurance, when she takes on the task of knitting eleven shirts from the flax of nettles. Anderson uses emotive language as "wept bitterly" and "hopelessly sad" to evoke sympathy for Elisa as she accepts an enormous task. Elisa tortures herself with the blistering and burning of her hands and feet from the nettles she must weave as she feels that she "must attempt it and God will help" her, in order to save her family. A diminished value of family connections is portrayed in the story the Rocking-Horse Winner as opposed to the important role that love between family members has in the Wild Swans. Paul's mother, Hester, feels empty inside because of the lack of wealth and money in her life, and with no wealth, she feels like she has no identity. This emptiness inside is the reason why she cannot love her children with the love, which should be present in every mother, and this is why she lavishes Paul and his sisters with gifts like the "shining modern rocking horse" and a "smart doll's houses", as compensation for her lack of lovingness towards them. The hollow toys are symbolic of what is felt inside by the mother and the children; emptiness. Lawrence has written about the family's state at the beginning of the story with many metaphorical mentions about Hester's and her children's eyes and hearts as they are considered to be the location of a persons soul, which straight away informs that the souls of the characters are cold lonely and empty. Paul takes onboard a mission to "compel her attention", prove to her that he is lucky and with that luck he will satisfy her need for wealth which inturn, will satisfy his need for love from his mother. However this dedication to satisfy his mother's needs jeopardises his relationship with his sisters as they become afraid of him. Therefore Paul becomes more and more isolated from the family as he is trying to save it, which shows Lawrence's belief that an obsession of money and wealth, misleads people into forgetting the true value of family.

Elisa has a pure belief that God will be with her always, no matter what time or where she is. This is a reflection of Anderson's belief that one doesn't have to go through the church to be close to God. The bitter character of the Archbishop in the story is a negative reflection of the church in Victorian times. During these times the church was a patriarchal system, with members of the church being looked upon as a majestic figure, treated like royalty, not a person following God's calling to serve the people, but for self benefit. Elisa is young innocent child who is a good Christian and says her prayers regularly. Anderson used Elisa's undressing and bathing in a clear pool of water to symbolise the Christian way of baptising, reinforcing Elisa's noble and everlasting relationship with God, while she was miserable and missing her brothers. It was only when the Archbishop came into Elisa's life when things started to go wrong for her. The Archbishop's oppressive nature was able to turn the King, who had fallen in love with Elisa, and the people of the public, who had earlier rejoiced their new queen, against Elisa. This is a reflection of the way in which the members of the church were making the people turn their backs on their belief of God by what the members were preaching. This is an example of the sort of patriarchal system, which Anderson despises. Paul believes that his rocking horse will take him to where he wants to go; to "where the luck is". Paul's faith in his rocking horse is as strong as Elisa's faith in God. Paul's "mad little journeys" are symbolic of the spiritual path, which he must take to find fulfilment. Both Paul and his partner Basset take their horse races "serious as church" and often talk about them in a "secret, religious voice".

Paul's obsession with the winning races is overwhelming and consumes his soul. Whenever Paul begins his "mechanical gallops" his eyes "blaze with a sort of madness" and with an "uncanny cold fire in them". His eyes are mirroring his soul, consumed with the cold and desire to accumulate wealth in order for his mother to live the life which she wants; conforming to the expectations of the patriarchal society in which they live in. Hester, the mother of Paul, was passionately concerned about the image she portrayed to her friends. She always appeared to be "such a good mother" who "adores her children and was obsessed with materialistic commodities to prove that she is an important member of society and worthy of the "social position, which they had to keep up." The misguided value put onto wealth by Hester reflects the materialistic concerns of the twentieth century society, which Lawrence is aware of and feels uneasy about. Behind the front, put up by Hester, the house in which they lived "became haunted by the unspoken phrase There must be more money!" Lawrence uses personification in a curious way to demonstrate how prominent the need for money was if "The big doll, sitting so pink and smirking in her new pram, could hear it quite plainly, and seemed to be smirking all the more self-consciously because of it" To stop the whispering in the house and to satisfy his craving for love from his mother, Paul tries to fill the financial void in her life. After secretly giving his mother money to pay off all debts, he is disappointed that his mother only thought his gift was "quite moderately nice" and the voices in the house "trilled and screamed in a sort of ecstasy." After this the recurrent description of Paul's "mad journeys" intensify, giving more and more insight as the story progresses. These descriptions makes the reader aware of things heard and felt, and the mechanisms of the rocking horse become audible and Paul's rides can be imagined which makes his madness and isolation from the family evident. "It was a soundless noise, yet rushing and powerful. Something huge, in violent hushed motion." The patriarchal society which That's mother wanted to belong to kill her son with the sacrilegious effort he put out to satisfy her insatiable greed.

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