English literature exam paper Essay Example for Free

English literature exam paper Essay †¢How does the writer present her thoughts and feeling about the struggle for identity? †¢How far is the extract similar to and different from your wider reading about the struggle for identity in modern literature? You should consider the writers’ choices of form, structure and language as well as subject matter. Betty Friedan has started her speech with two rhetorical questions, â€Å"Am I saying that women have to be liberated from men? That men are the enemy?† She is encouraging her audience to think about what her feelings are exactly. She quickly answers her own question, â€Å"No.† Within the first two sentences she has already got her audience to think about her views and their response to that. This was a good way to get her audience intrigued about the content of the rest of her speech. Her first paragraph is a basic overview of her feelings on the modern’s women’s movement. This way she can develop her points further in the rest of her speech. Throughout her speech, Friedan uses very negative language to describe men and their actions. For example, forced, suppressed, brutal etc. This shows that she has very negative views towards men and isn’t afraid to share this. She uses this pessimistic language to show how men have been holding back women and their struggle for identity. She says â€Å"men are going to bear the guilty burden of the passive destiny they have forced upon women,† The word forced is quite a harsh and aggressive word and this shows how she feel women have been treated by the other sex. She uses the metaphor of men and women being half human because of certain things holding them aback. For example, â€Å"Men are not allowed to cry.† And â€Å"as women are only half-human, until we can go this next step forward.† This shows that women can’t feel whole or complete until she is equal with men. The metaphor is carried on in the last paragraph but that when women are finally â€Å"allowed to become full people† that the next generations will live in a better wo rld. The word â€Å"allowed† suggest that she feels women are being suppressed by men or another controlling factor. Friedan says in the last paragraph â€Å"relate to each other in terms of all of the possible dimensions of our personalities – male and female, as comrades, as colleagues, as friends, as lovers.† Firstly she shows that they are separate as she disconnects by separating the genders, â€Å"male and female†. However, she then describes both the male and female population together â€Å"as comrades†. The word â€Å"comrades† have military connotations. This shows that men and women could work together in something that is seen as so masculine as the army. She then describes them â€Å"as colleagues†. This follows on from being comrades. If they can work together efficiently together in the military then they can handle working together in everyday jobs as equals. The effect of the whole list is that they are different (different genders) but are equal. She shows the struggle that women face in everyday life, â€Å"hate and jealousy and buried resentment and hypocrisies,† These words all help to show how negatively the way women are being treated is seen. Friedan then goes on to explain what life will be after men have learnt to except that women are people to, â€Å"there will be a whole new sense of love that will make what we call love on Valentine’s Day look very pallid.† There is two ways to look at this. Firstly, Valentine’s Day is meant to be the one day in the year where you show how much you love someone, this can show how much gaining an identity means to the women and what it will do to the world. However, one could argue that Valentine’s Day is only one day a year and so the changes could only be semi permanent. The whole speech from Betty Friedan is all about women’s struggle for identity. In Death of a Salesman, by Arthur Miller, there are subtle hints about the same issue. For example, at the end of Act One Biff and Happy are talking to Willy about getting some money and starting up a business together, Linda is also in the room. Linda tries to speak, â€Å"Maybe things are beginning to –â€Å" and Will ironically interrupts her and says â€Å"Stop interrupting,† Throughout the play Willy is putting Linda down even though she is the only person in the family that is really concerned about Willy’s health. However, we can see that in the play Willy represents the older generations views on women and Biff has the more modern and just outlook on it which represents the younger generation. This is shown again at the end of Act One. Linda starts to speak again and Willy interrupts her as he has done previously however this time Biff tells Willy â€Å"Don’t yell at her pop, will ya?† this shows how the women’s battle for identity has been paying off as the younger generations are starting to accept that this isn’t right. Betty Friedan foreshadows this in her speech when she says â€Å"children be born and brought up with more love and responsibility than today,† this shows what the modern population is going to grow up around. However, in Death of a Salesman we get the impression that Linda is essentially a housewife and is there to look after her family, mainly Willy, and to do domestic jobs around the house. This is fundamentally a typical role of women of the time. However, Betty Friedan seems to be saying that women are being active about changing the oppression that they are under. This difference in attitudes however could be to do with the age of the women and the modernity of them. For example the struggle for identity in the modern era can be different for different people. Because Linda is part of the older, less modern generation she is less likely to want to bring about change whereas Betty Friedan and the women she is talking about have more modern and equal views.

Development of Real Photography

Development of Real Photography Introduction The increasingly mediatised culture we live in today has lead us to be dominated by and dependent upon the production and consumption of images. Notions of objectivity and empiricism in the photographic have long since disappeared, but we still locate our sense of the real in images. This dissertation will use many theories and ideas that discuss the role of photography, postmodernism and the real within todays culture. It will start with a discussion of the reasoning for the initial shift back towards the real. This shift mainly stemmed from postmodernism and the media. Postmodernism dealt with the idea of never ending reference and the fear about postmodern culture was that this never ending reference meant that all grip on reality had disappeared. There was a wish to return to something more stable and basic: the real? Due to advances in technology and developments in photography, the new fast changing everyday image led to our relationships and emotions becoming mediatised. We re -live events and experiences through images, which leads to a loss of the real. We remember the image rather than the event. Photographers started to try and return to the purely descriptive photography from the times before the mass referencing of postmodernism. This dissertation will look at how some of these photographers attempted to represent the real and also at how a few decided to play around with the representation of the real. Ansel Adams, for example, believed in simply trying to create a true representation of the landscape he was photographing. He attempted to show scenery at its most natural and realistic, with no visual manipulation or artifice. Andreas Gursky on the other hand began with this view but soon started changing this representation with digital editing so that it was no longer a true representation. Some photographers began attempting to create purely descriptive photography but could not escape referencing earlier work. Justin Partykas work The East Angli ans, for example cannot be described as anything else but descriptive photography. However, his reference to Robert Franks The Americans in his title, had led him to fall into the postmodernism trap. Can you provide an account without analysis when it comes to photography? This leads onto the main question posed in this dissertation: can we ever (re)find the real? Some would say that even photos that appear to be descriptive cannot escape being subjected to analysis and placed within a context of viewing. Due to postmodernism, we are constantly searching for meaning and analysis in images. Maybe they can never be void of reference and construction? Maybe images can never provide the clear, stable version of reality that we want from them? This constant analysis of images has exhausted our trust and interest in the photograph; there was a need to create images different from the ones we see every day in the media in order to re-find our trust in the image as truth and as art. Older, slower technologies began to re-emerge. The single image produced from these methods of working could bring back the processes of our memory that have been complicated due to the sheer amount of information we get from other technologies. There are a number of strands of pho tography that are concerned with the notion of re-finding the real. What do these methods of photographing have in common? Do any of these strands achieve the stable and basic feeling of certainty that the real exists? Andy Grundbergs phrase the crisis of the real is apt in explaining the context of the real within the photographic; the word crisis inferring both an intense difficulty and a point of departure; a need for immediate change. Defining or attempting to name this period of change is not important, what is important is what it means for photographic practice. Will we continue to be consumed by images, or is there a future beyond the cycle of referencing left by postmodernism?   Can we ever (re)find authenticity, originality and a true form of photography that can direct us to the real? Chapter 1: What caused people to want to return to the real? There are many factors which eventually led to people wanting to return to the real values that were present in art and culture before postmodernism. This chapter will look at what some of these factors are and how they led to the return of the real. It will first deal with postmodernism and how the never ending referencing that was introduced during this time affected photography as an art form, and how the loss of the real that we experienced during the postmodernist era led to a wish to return to something more stable and basic. It will also look at the advances in technology and video that came about at this time, and how these advances changed photographic culture.   It will also explore how our experiences, events, and even our emotions, both on an individual and public scale are heavily mediated, and how as a result of this, it is claimed we have lost any relation to the real. The original shift towards the real came about due to postmodernism. This new form of art focussed on bringing together elements from existing culture, and never making anything new. This new way of working led to photography being used more and more in art. Before, photography had merely been a method of recording and was used mainly in science. Anytime it had been used in art it was considered undeserving and not a true art form.   However, the rise of postmodernism meant that artists were looking for more ways to express themselves. Photography began to be used more and more, and it was becoming a more widely recognised and accepted form of art. As people were using it more and more, new developments in photographic technology were emerging. These new technologies meant that photography became more widely available, and many people who were not considered artists began using it. Photography was now used extensively in art, and in the new postmodern culture. Postmodernism discarded the idea of finding something new and original and instead focussed on recombining elements from existing culture. Nothing new was being created which soon meant that art had become exhausted. The postmodern culture played with signs of never ending reference, where the more you played the less anyone seemed to know what reality it was touching (Bate, 2004a: 31) and we had lost touch with what we thought reality to be (Bate, 2004a: 31). The constant referencing and re-referencing had led to us being absorbed in representation. We no longer knew what reality was, and what it was not. We were lost. The fear about postmodern culture was that there was no longer any anchor to reality at all, and that reality had disappeared into an endless chain of other representations (Bate, 2004a: 31). This never ending reference meant that all grip on reality had disappeared. There was a wish to re turn to something more stable and basic. There was a need for change, for something new to emerge from the endless trail of reference. In this culture, in which reality was discarded in favour of mass intertextual referencing, there was a desire to return to reality. As David Bate says, there was a, wish for a grittier, closer to reality relation through realism (Bate, 2004a: 35). Many people wanted a return to the values of modernism (the straight and pure photograph) to contemporary art photography, this is a return to description, originality and actuality à ¢Ã¢â€š ¬Ã¢â‚¬Å" precisely all the things that were strongly rejected by postmodernism (Bate, 2004a: 33). There were many developments in technology that caused the downfall of postmodernism, along with the introduction of video. Photography was once the only way of stopping time, whereas now a freeze frame can come from any number of sources. Photographs began to be made by pulling them out of existing images; they were now selected from video and film. What had once been the sole privilege and product of the photograph is now equally likely to be the result of a cinema or video freeze-frame (Bate, 2004b: 34). The development of video was leading to photography becoming redundant.   Photography and video was also now becoming more readily available. Due to new appliances such as DVD players and VCRs, anyone could now create a freeze frame from a video. Even cinematic blockbusters can be stilled on domestic appliance devices like DVD and video machines (Bate, 2004b: 34). Victor Burgin discussed the advances in film and video in his essay Possessive, Pensive and Possessed. The int roduction of VCRs, DVD players, and eventually video editing software on personal computers, meant that the order of narrative could now be routinely countermanded (Burgin, 2007: 198) by the audience whenever they wished. This changed photography, as instead of photographs being of an actual event, they were now selections from the way the event had already been interpreted. Newspapers and news channels were no longer using photographers to capture the perfect picture; they were using video and selecting the image from the video. This enabled the news channels to pick the exact expression or look they required to give a biased representation of the person or thing. They could now create a completely false demonstration and force a public collective opinion. David Bate talks about these freeze-frame images in his article After Thought, Part II. He says, The possibility of choosing the right moment in such instances is still dependent upon   a person knowing when to push the button, but this is now in the hands of someone selecting a still from an already produced moving image. The selected decisive moment is chosen from a film or video stream rather than reality itself. Whereas a photograph was supposed to be a rectangle ripped out of time as John Berger had once dramatically put it, today it is more often via the computer that a print is pulled out of some existing image bank. (Bate, 2004a: 34) Images used to be representations of actual lived events à ¢Ã¢â€š ¬Ã¢â‚¬Å" now these images we see in news and the media are much more likely to be representations from the way the event has already been represented. Video had stolen what makes photography special à ¢Ã¢â€š ¬Ã¢â‚¬Å" the decisive moment. Therefore the specificity and specialness of photography had to find itself in some other attribute of photography. New developments in digital imagery mean that we can now see results instantly; there is no waiting in a lab or until the end of your holiday to see your photographs. Advances in technology, such as mobile phones, email, etc. now allow us to see and share images in a fraction of a second. The person sending these images and the person receiving them can now send and expect results instantly. Yet despite the idea that these mobile technologies bring us all closer to each other, we are caught up in a contradiction, since they increasingly mediatise our relationships to one another (Bate, 2004b: 35).   We no longer talk to each other and see each other face to face; we instead communicate through email, mobile text messaging and social networking sites, where we never actually see the other person we are communicating with. This has lead to a loss of the real. As David Bate said, To look at something it has to be kept at a distance (Bate, 2004b: 35). Because of the loss of the real that we experienced during the postmodernist era there is a wish to return to something more stable and basic. New art is now made up of redundant processes that are often older and slower, which makes this new art form different from the images we see in everyday media culture. If analogue photography is becoming technologically redundant or residual to news and advertising industries, the consequences for art are different. New art is often borne of redundant industrial processes, usually older and slower, by finding a new use and aesthetic within the arts and which comes out of its marking a difference from image uses in everyday media culture. (Bate, 2004b: 40) Artists were leaving these new fast technologies that were used in the media in favour of older slower ones. These old, redundant methods were considered more real. The traditional, slower, apparently simpler methods seemed to be more linked to the real as they are different from the images in the media. Some people have called this change and shift in the way that photographs are being constructed a shift towards the real values that were present in modernism, before the rise of postmodernism. As Susan Sontag says, The cult of the future (of faster and faster seeing) alternates with the wish to return to a more artisanal, purer past à ¢Ã¢â€š ¬Ã¢â‚¬Å" when images still had a handmade quality, an aura (Sontag, 1977: 221). But, Hal Foster feels that we have not left postmodernism completely, it has just become normalised. The consequence of this is that we change the way we want reality to be constructed. Hal Foster feels that simply, postmodernism became dÃÆ' ©modÃÆ' ¨ (Foster, 1996: 206). Due to the media, we have become inundated with images and photographs in our everyday life, to the extent that images have become our reality. We no longer separate images from real life, and the two have become blurred. In his book, Comments on the Society of the Spectacle, Guy Debord talks about how developments in photography and the proliferation of mass media images have contributed to what Debord called the society of the spectacle. In the spectacular world, images and representations become our reality à ¢Ã¢â€š ¬Ã¢â‚¬Å" everything exists as and for images. Where images refer to one another endlessly, originality and authenticity are abolished. We become consumed by images and messages. Experience, events, and even our emotions, both on an individual and public scale are heavily mediated. As a result of this, it is claimed we have lost any relation to the real; The spectacle has now spread itself to the point where it now permeates all reality. (Debord, 1990: 9) Our real-life experiences become repressed and events take place in a mediated, pseudo-reality. We can no longer distinguish between real memories, and mediated memories. Victor Burgin explores this in his essay Possessive, Pensive and Possessed. He describes a study done in 1977 where people were interviewed about their past experiences. There were a few people in the study who believed that media events or films were in fact their own memories. People became confused and mixed personal history with scenes from films or media productions. As Burgin says, I saw at the cinema would simply become I saw (Burgin, 2007: 200). Burgin explains how these people were remembering scenes from a film instead of real life, and called these memories screen memories;   A screen memory is one which comes to mind in the place of, and in order to conceal, an associated but repressed memory (Burgin, 2007: 201). People were remembering images and scenes from films and the media that were similar to their real memories, but were less painful as there were not actual lived recollections. People were using these to cover up and replace genuine, traumatic memories. In the past, events happened but people just didnt know about them as there was no media. It rarely went beyond those involved. Now because of media we all know about every event, and add these events to our memories, even though we have not actually physically experienced them. We forget our real experiences and replace them with things from the media. Thomas De Zengotita, in his book, Mediated; How the media shape the world around us, describes how our reaction to big events such as the 9/11 disaster is to experience and re-live them through images. He calls this bubble of mediated representations the blob. In the world of the blob, momentous catastrophes such as the 9/11 terrorist attacks are almost poignant enough to burst the bubble, something like that à ¢Ã¢â€š ¬Ã¢â‚¬Å" will feel as if it might be sharp enough, as if it might pierce the membrane and slice the pulp (De Zengotita, 2007: 27). However, not surprisingly, our reaction to such events is to experience and re-live it t hrough images, adding it to our bank of mediated events.   In other words, they become part of the spectacle. Chapter 2: Realism in Landscape Photography This chapter is going to explore how photographers attempt to represent the real, and if you can create a purely descriptive photograph. It will discuss photographers that try to represent the real, and also photographers that play around with the representation of the real, to create something completely different. I will specifically be looking at landscape photography, as this is the area of photography were photographers have really attempted to create authentic representations of the real, to show the landscape. It is also the area of photography that I am particularly interested in. To attempt to show the real in landscape photography, you need to show the scenery at its most natural and realistic, with no visual manipulation or artifice. There is also the argument that no message, meaning or reference may be conveyed at all. Considering it is the view of some people that photographs are analysed and given meaning as soon as they are viewed, is this possible? In this chapter, select works of four photographers will be looked at. It will consider how each photographer has attempted to show the real, either as an exact representation, or by manipulating the representation to give it a different meaning, and will discuss whether they have managed this. The photographers that are going to be observed are Ansel Adams, Andreas Gursky, Doug Aitken and Justin Partyka. Ansel Adams is an environmentalist and photographer who makes landscape photographs to essentially document and record the beauty of nature. Adams love of nature began when he was a child, after having problems fitting in at school and eventually being home taught. He would go for hikes through nature, and this is where his fascination with nature was set in motion. Adams began his photographic career by using the Kodak No. 1 Box Brownie his parents had given him to record his travels through the Yosemite Valley. He soon joined the Sierra club, and held his first solo exhibition at the clubs headquarters in 1928. The work created by Adams is done using a large format camera, so as to capture as much detail as possible. The image I will be looking at is called Mt. Clarence King, Pool, Kings Canyon National Park, California (1925). It is a landscape image taken in Kings Canyon National Park in 1925. The image is a black and white image, of a scene, with large mountains in the background and a pool in the foreground. There is a lot of gravelly earth around the pool and some trees and bushes between the mountains and pool. This image is an authentic representation of the landscape, and is not trying to be anything else. Adams wanted to purely represent the landscape, and this is what he has done. Adams began to pursue straight photography, in which the clarity of the lens was emphasized, and the final print gave no appearance of being manipulated in the camera or the darkroom (www.anseladams.com, 2009). Adams only ever tried to create accurate representations of the landscape.   However, you could argue that the fact that he works in black and white indicates that this image is not a true representation, as the world is not in black and white. This non use of colour is therefore a message, rendering the im ages more than pure description. Andreas Gursky is one of the rare photographers who began attempting to create vast, clear representations of the real, but then moved on to openly digitally manipulating his images. I will be looking at some of his work pre 1990s, as this is before he started to digitally manipulate his images. Gursky was trained and influenced by Hilla and Bernd Becher, who are known for their straight, scientific style of systematically cataloguing industrial machinery and architecture. This may be compared to the similar methodical approach that Gursky has to his own work. Gursky generally photographs landscape in large colour format (although a lot of his work is urban landscape, both interior and exterior). The image I will be examining is Fishermen, MÃÆ' ¼lheim a.d. Ruhr, taken in 1989. This is a landscape image of Gurskys taken in 1989. It is of a river running through the city of MÃÆ' ¼lheim. The river is wide and flat, with trees covering both banks. You can just make out a few small groups of fishermen on the banks of the river, and a bridge in the distance. This is before he used any digital manipulation, and was purely trying to represent the real. Gursky has not attempted to conceal or change anything in this image to give it a meaning or a reference. He has named the image what it is, Fishermen, MÃÆ' ¼lheim a.d. Ruhr, which is simply what is it, fishermen on a river in MÃÆ' ¼lheim, so has not tried to imply meaning through the name of the image. This image is meant to be purely descriptive, and a genuine representation of the real. Other photographers and writers have agreed with this, for example David Bate says What Gursky and Evans both share (with different techniques of course) is an awesome description. The effects of these anecdotal descriptions is primarily to evince reality through the photographic instant of here it is and this is how it is. The picture throws at the audience a defiant description where the accumulation of anecdotal detail actually inhibits the communication of a specific message. (Bate, 2004a; pg 33) Bates view is that the vast amount of detail in the image actually inhibits a message being conveyed by the image. He feels Gurskys plan is to be as authentically descriptive as possible à ¢Ã¢â€š ¬Ã¢â‚¬Å" this is how it is à ¢Ã¢â€š ¬Ã¢â‚¬Å" and not to hide or imply any other meaning or reference. This may have been Gurskys plan, to attempt to create a pure representation of the real, but this does not change how we view images. We still attempt to create a meaning for ourselves, as we no longer feel that sheer description is enough. There must be a referent, a meaning behind the image, and we are constantly looking for it. Gursky was attempting to create a purely descriptive photograph, but we do not see it like that because of the way we now look at and interpret images. Doug Aitken works with a range of material, including photography, sculpture, films, sound, single and multichannel video works and instillations. This essay, however, will just be looking at his photography. Rather than purely representing the real in his images, Aitken plays around with the representation of the image so they are descriptive photographs, but the way they are put together adds a message and reference. Aitken lives and works in Los Angeles, and is one of many new artists to work with the medium of film. Film is Aitkens main medium for his art work although he does work with still images from time to time. The image I am going to be looking at is called New Opposition III. This is an image made up of four different images. Separately, the images could be considered as descriptive attempts at representing the real. However, the way that Aitken puts them together changes this. If viewed on their own, they would be seen as purely descriptive, real images of landscape. But the way they have been put together suggests something else. They become more like a narrative, showing different places at different times, together; I wanted to find a way to blend together different moments in time, different spaces and different locations (Aitken, : 62). Aitken feels that the images would not work on their own and rely on each other to create their meaning. On their own, they would be nothing. He says The photographs do not work as self-sufficient one-off frames but rely on each other for meaning. The optical tricks that the landscape form when placed together give the impression to the viewer that they are either falling into the centre of the earth or are on top of it looking down as if from the apex of a pyramid (Aitken, :62). The way the images are placed together is obviously very important to the meaning that Aitken is trying to provide. Aitken is using real images in his work, but playing around with the representation so that they are no longer considered real. He purposefully adds a meaning and a message to his images, rather than leaving it to the viewers imagination. This is different from somebody like Gursky, who does not give a message, as the image is just supposed to be an authentic representation. Any meaning given to Gurskys images is given by the viewer, in contrast to Aitkens images where the meaning is given for you. Viewers are now so used to images having a meaning, and that meaning being told to them, that they now look for a meaning in everything. Justin Partyka is a photographer whose work explores the importance of place, culture and identity, and the roles that tradition and landscape play in these themes. He is currently working on three long term projects; The East Anglians, The Carnivalesque of CÃÆ' ¡diz, and Saskatchewan. The project I will be concentrating on is The East Anglians. The work, The East Anglians, is a collection of documentary photographs of rural life in East Anglia. Partyka attempts to create real images, in a documentary style. His photographs are often very straight with no messages or signs. The image I am looking at is one from the East Anglians series, but the title is unknown. This image is of an old barn in East Anglia. As the image is untitled, it suggests that Partyka did not want to imply any meaning at all, not even naming the place or image. The barn is quite old and rusty, and appears to be in a state of disrepair. There is a lot of grass in the foreground in front of the barn, and fields behind it. The photograph is an attempt at a real representation of the scene. However, Partyka has called this series of photographs, The East Anglians. This is a quite obvious reference to Robert Franks, The Americans. Although Partyka has created purely descriptive images, he has referenced other work in his title. Partykas work, although essentially descriptive, cannot deny the presence of such referencing. What we have here is an image that is subjective in narrative, with referencing to earlier photography, and yet undoubtedly descriptive. I see photography as very much a descriptive mediumà ¢Ã¢â€š ¬Ã‚ ¦ but obviously this description is an edited one based on the choices made by the photographer in where they point the camera and when they press the shutter (Partyka, 2009). Partyka has acknowledged that his photographs are descriptive, and that photography is a descriptive medium, but can a photograph ever be a pure representation of the real? As Partyka says, the description of an image is based on the photographers choice of where to point the camera and when to press the shutter, which immediately adds reference to the image. We cant help but look at what a photograph means. Photographs are placed in a context of viewing, and are subjected to analysis and interpretation at the very instance of looking. So, although Partyka has undoubtedly created very descriptive images, the referencing in his title, and the fact that images are analysed as soon as they are placed in a context of viewing, means his photographs are no longer purely descriptive. Can we ever have an account without analysis? It seems that we cannot. Even photographs that are meant to be purely descriptive are analysed and given meaning and reference as soon as they are placed within a context of viewing. This is similar to the Observer Effect popular in current interpretations of Quantum Mechanics.   This theory puts forward the postulate that by merely observing an object, the very nature of the object itself is changed: One of the most bizarre premises of quantum theory, which has long fascinated philosophers and physicists alike, states that by the very act of watching, the observer affects the observed reality (www.sciencedaily.com, 1998). Could it therefore be said that an image may remain purely descriptive as long as it is never viewed, and therefore never interpreted and given meaning? Possibly, but then we also have to discuss whether a photograph is made more than a pure representation when it is taken. When a photographer decides where to po int their camera, when to press the shutter, what to cut out of the image and what to include, it could be said that in that instant the photographer is not making an exact representation of reality, but an edited one. Therefore, it could also be said that we can never provide a purely descriptive representation of the real through photography. Chapter 3: Can we ever get back to the real? This brings us to the question; can we ever get back to the real? Were we even there in the first place?   Does descriptive realism actually exist in photography? This chapter will look at the theories and ideas of many photography theorists, as well as my own, and will attempt to answer these questions, and others. It will use work from various photographers, as well as several essays and books to endeavour to explore the notions of the real in relation to photography and contemporary culture, and to investigate if we can find, or re-find the real. Does descriptive realism exist? We cant help but look at what the photograph signifies and means. Even photographs that appear to be descriptive cannot escape being subjected to analysis and placed within a context of viewing. Everything in an image is symbolic once we begin to interpret it, and this begins at the very instance of looking. This is, as Roland Barthes says, great scorn for the realists who do not see that the photograph is always coded (Barthes, 2000: 88). Photographs can never be void of theoretical underpinnings, and any photographs that do appear to be purely realistic only do so in accord to what we expect a descriptive or realistic image to be like. Debord explains this perfectly in his discussion of theory; what is so droll, however, is that all the books which do analyse this phenomenon, usually to deplore it, cannot but join the spectacle if theyre to get attention (Debord, 1990: 5). Evidently we continue to encounter an endless cycle of referencing, which cannot be traced simply to the accepted beginnings of postmodernism. Photographs are analysed as soon as they are viewed. Perhaps they never were, and never will be void of reference and construction? Maybe they can never provide the clear, stable version of reality that we want from them? Conceptual photography attempts to show the truth by highlighting this dilemma. It attempts to parody the common notions of indexicality and truth in photographic representations, and in doing so, reveals this as the real. In their essay From Presence to Performative: Re-thinking Photographic Indexicality, David Green and Joanna Lowry look at notions of indexicality and truth in photographic representations. They discuss how photographs are indexical not just because light is recorded in an instant on a piece of photosensitive film, but also, because they were taken: the very act of photography, as a kind of performative gesture which points to an event in the world, as a form of designation that draws reality into the image field, is thus itself a form of indexicality. (Green and Lowry, 2003: 48). They discuss how conceptual photography attempts to parody the common notions of indexicality and truth in photographic representations, and in doing so, reveal this as the real: [conceptu al photographs] point to the real while reminding us that photography can never represent it (Green and Lowry, 200

We Must Have the Right to Defend Our Home Essay -- Castle Doctrine, Se

The Castle Doctrine is a bill that was passed which lets you defend yourself with necessary force in your residence if someone is breaking into your home. Criminals like to go after easy targets such as, the elderly, disabled citizens, children, and people who are unarmed. Every citizen has the right to live free and happy, if they are attacked they should be able to defend themselves and their property without being charged as a murderer. The previous state law, if someone unlawfully enters your home or attempts a car-jacking, you are required to first retreat instead of immediately fighting to protect yourself. The trouble is on the home owner to define that an intruder intends to do them bodily harm before the home owner can use appropriate force against them (InfoKwik). Having a gun for personal protection is a constitutional right. When facing an armed criminal an armed citizen levels the playing field. When you are in your own home and someone is breaking in and you see them armed or unarmed, they have no right to be in your home anyway. The castle doctrine, in this ca...

Characteristics and Types of Attention Deficit Hyperactivity Disorder (ADHD) :: ADHD Attention Deficit Hyperactivity Disorder

The Characteristics and Types of Attention Deficit Hyperactivity Disorder (ADHD) Missing Works Cited According to the Centers for Disease Control and Prevention (CDC), about one-half of 1.6 million elementary school-aged children diagnosed with attention deficit/hyperactivity disorder (ADHD) have also been diagnosed with a learning disability (LD) (Brown University Child and Adolescence Behavior Letter, 2001). The American Speech-Language-Hearing Association (1997) stated that ADHD affects 3 to 5 percent of all children, and boys are three times more likely to be affected by the disorder than girls. The cause of ADHD is unknown, and the disorder and its symptoms are chronic and pervasive (www.asha.org). In the Fourth Edition of the Diagnostic and Statistical Manual ADHD is categorized into three subtypes which are ADHD Predominantly Inattention Type, ADHD Predominantly Hyperactivity-Impulsive Type, and ADHD Combined Type. The criteria for the ADHD predominantly inattention type include at least six of the following: Makes careless mistakes in schoolwork, often has difficulty sustaining attention in tasks or play activities, often does not seem to listen when spoke to directly, often does not follow through on instructions and fails to finish schoolwork, often has difficulty organizing tasks and activities, often avoids, dislikes, or engages in tasks that require sustained mental effort, is often easily distracted by external stimuli, and is often forgetful in daily activities. The criteria for ADHD predominantly hyperactivity-impulsive type includes a minimum of six or more of the following: Often fidgets with hands or feet and squirms in seat, often leaves seat in classroom, often runs about or climbs excessively in situations in which it is inappropriate, often has difficulty playing or engaging in leisure activities quietly, is often on the go, often talks excessively, often blurts out answers before the question have been completed, often has difficulty awaiting turn,and often interrupts others. The ADHD combined type demonstrates characterisitics from both subtypes (Camarata & Gibson, 1999). Inattention, hyperactivity, and impulsivity have their effects on speech and language. McGee, Share, Moffitt, Williams, and Silva (1998) research suggested that the presence of a disruptive behavioral disorder is the most common long-term association with reading difficulties (Pisecco, Baker, Silva, & Brooke, 2001). The research examined by Ricco and Jemison (1998) stated that children with both reading disabilities and ADHD may have phonological processing deficits and linguistic deficiencies that are predictive of reading disabilities (Maynard, Tyler, & Arnold, 1999). The same study (1998) by Ricco and Jemison concluded that acquisition and the development of reading skills are affected by language and verbal abilities rather than the presence of an attention deficit.

John Dryden: England’s Controversial and Exceptional Genius

John Dryden was England’s most outstanding and controversial writer for the later part of the seventeenth century, dominating the literary world as a skilled and versatile dramatist, a pioneer of literary criticism, and a respected writer of the Restoration period. With Dryden’s great literary and critical influence on the English society during the Restoration period he has made a name for himself, which will be studied and honored for years to come. John Dryden was born in Northamptonshire, in 1631. His parents were Erasmus Dryden and Mary Pickery. They were both from wealthy and respected families in Northamptonshire. The Drydens were known for wisdom and great tradition all over England and were well-equipped with large estates and vast lands (Ward 5). Dryden’s father, Erasmus, was a justice of the peace during the usurpation, and was the father of fourteen children; four sons, and ten daughters. The sons were John, Erasmus, Henry, and James; the daughters were Agness, Rose, Lucy, Mary, Martha, Elizabeth, Hester, Hannah, Abigail, and France (Kinsley 34). Dryden was also a religious man. He had as much faith in the Lord as he did in his pen. He belonged to the Church of England all his life until converting to Catholicism due to the change of the throne. He was baptized at All Saints Church in Aldwinule, Northamptonshire ten days after his birth (Hopkins 75). Dryden, growing into a young man, began his education in his hometown. There he took the basic classes. He furthered his education at Westminister School in London. Here, he attended school for about twelve hours a day, beginning and ending at six. At Westminister he studied history, geography, and study of the Scripture, plus all the basics. After Westminister he Cunningham 2 attended Cambridge University (Hopkins 14). While attending Cambridge University, he excelled to the top of his class and was a standout student. John Dryden was the greatest and most represented English man of letters of the last quarter of the seventeenth century. From the death of Milton in 1674 to his own in 1700, no other writer can compare with him in versatility and power (Sherwood 39). He was in fact a versatile writer, with his literary works consisted of tragedy, comedy, heroic play, opera, poetry, and satire. Although he did write most of his important original poems to serve some passing political purpose, he made them immortal by his literary genius (Miner 3). John Dryden was the type of man who was always busy with some great project. He would never put full time and concentration into his work. He would quickly finish a project, careless of perfection, and hurry off to begin another, which was not a tempting deal on either the author’s side nor the reader’s side because Dryden lived in a time where there were few well-printed works (Hopkins 1). So much of his work consisted of numerous errors, misprints, and lost pages. Several critics have attempted to revise and correct his work but usually for the worse ( Harth 3). Despite his popularity during the Restoration and even today, little is known about John Dryden except what is in his works. Because he wrote from the beginning through the end of the Restoration period, many literary scholars consider the end of the Restoration period to have occurred with Dryden’s death in 1700 (Miner 2). Surviving Dryden was his wife Lady Elizabeth and there were three sons, to whom he had always been a loving and careful father. John, his oldest son, followed his father in death only three years later in April of 1700. His wife, the â€Å"Widow of a poet,† died shortly after his death in the summer of 1714 at the age of 78 (Bredvold 314). Dryden certainly attained his goal of popularity especially after his death. He became this Cunningham 3 through his â€Å"achievements in verse translations, the first English author to depend for a livelihood directly on the reading public and opening the future of profitable careers for great novelists during the next two centuries† (Frost 17). The Restoration period was a time of great literature and outstanding writers, but, with all the talent in this century, there were also many problems. The Restoration was an angry time in literary history. Writers threw harsh blows at one another, not with fists but with paper and ink. It was an age of plots, oaths, vows and tests: they were woven into the â€Å"fabric of everyday life, and hardly a person in England escaped being touched by them† (Hammond 131). During this time he wrote about what was going on in life activities quite often in his work. At this time there was a major controversy over the conversion from Protestantism to Roman Catholicism. Dryden’s church was in a strange and uncomfortable position. Since the time of the Restoration it had been an underground organization because it was regarded as the enemy of the English monarchy. Some of the members have been accused, and others falsely accused, of setting plots against the crown (Hopkins 85). In 1663, Dryden, â€Å"under the cloud of some personal disgrace,† married Sir Robert Howard’s sister, Lady Elizabeth. The marriage provided no financial advantages or much compatibility for the couple, but Dryden did gain some social status because of her nobility. Because of his social success, Dryden was made a member of the Royal Society that same year. Since he was a non-participating member and did not pay his dues, his membership was later revoked. In 1664, he wrote a poem honoring his brother-in-law, Sir Robert Howard, with whom Dryden remained involved personally and professionally for some time. In 1668, he was Cunningham 4 named Poet Laureate and was offered a share in the Theater Royal’s profits in exchange for his plays. This is where he earned a large portion of his income, and ensured his financial stability for the next several years. However, in 1689 when William and Mary took the throne they replaced John Dryden, a Catholic; and made Thomas Shadwell, a Protestant, the new Poet Laureate (Verrall 6). John Dryden was a poet for about forty years. He was formally known as a â€Å"public poet† because a great amount of his poetry dealt with public issues (Harth 3). The explanation for Dryden’s late development as a poet was due to the simple fact that he had nothing to say. In Dryden’s poems, the descriptions he gave avoided unique, concrete details; he preferred general terms. When he described men and women, he gave his attention to moral qualities, not physical appearance. He usually glorified the lower social class and put the upper social class in a shadow (Sherwood 7). Many of Dryden’s poems were congested with printing errors and misspelled words, although, the reasons for this were not totally his fault. There was not a great printing process during this time and many careless mistakes in printing were caused by neglectful workers (Sargeant 10). John Dryden is a poet who left a firm impression of his character in this world; he is known as a public figure, respected literary critic, popular dramatist, and strong supporter of religion and politics (Salvaggio 13). Dryden’s poetry has been divided into two time periods of his career. The first was during the Restoration period and ended in 1667. He did not write another poem for fourteen years; during this time he was writing plays and critiques. The second period began during the later part of his life and ended in 1681 (Harth 3). Some of Dryden’s more popular poems â€Å"The Cock and the Fox,† â€Å"All For Love,† â€Å"Antony and Cleopatra,† â€Å"Absalom and Achitophal,† and his most famous â€Å"Mac Cunningham 5 Flecknoe. † In the poem â€Å"All For Love,† it portrays the love story between Cleopatra, the breath-taking, beautiful, Queen of the Nile and her lover Antony. He also knew that when writing this poem it would be nothing new to the poetic world (Dryden 14). â€Å"All For Love† is a pale, beautiful play. The theme â€Å"All For Love† was meant to be that â€Å"punishment inexorably follows vice and illicit love. Actually, the motivation of the play is a conflict between reason and passion, and it is this conflict that makes â€Å"All For Love† truly representative of the Restoration Period and the battle of ideas that settled beneath† (Dryden 25). The greatest of his poems was â€Å"Absalom and Achitophel. † He wrote this while he was Poet Laureate, the national poet of a country (Hopkins 5). In this poem he described a political predicament that is described by characters from the Bible. He uses a vast amount of symbolism in the story. â€Å"Absalom and Architophel† represents his lifelong affinity for seeing the present in terms of the past (Miner 15). One of his most famous poems is â€Å"Mac Flecknoe. † He destroys Thomas Shadwell by taking very crude and harsh blows on the man. However, Dryden refers to Shadwell’s appearance to only imply that he is fat: â€Å"A Ton of Man in thy Large bulk is writ, but sure tho’rt but a kildrekin of wit† (Sherwood 7). There is nobody of English criticism that is more alive, that brings readers more directly into contact with literature, than John Dryden. One can never predict what will arise with Dryden’s criticism, but it will be far more promising than any other (Mc Henry 25). John Dryden is known as â€Å"the father of English Criticism† (Osborn 136). But, other studies and opinions show that his critical writings are known to quite often derivative, self-contradictory, rambling, inexact, at times over-specialized, and at others too sweeping (Hopkins 137). Cunningham 6 Dryden’s earliest critical essay was written in 1664, about his first verse play, The Rival Ladies. From this date until his death in 1700, Dryden scarcely passed a year without writing a preface, an essay, a discourse, a literary biography or some piece of criticism (Osborn 179). His criticism has not been viewed in the correct ways in some cases. It has often been praised for its minor virtues, and too little admired for its major ones. â€Å"His criticism is great in contrast as well as in style† (Hammond 179). John Dryden’s critical qualities are handsome ones, preferable to most. He has confidence in his basic assumptions and more gracefully within his tradition. Another great strength of his, is that he plays example against theory and theory against example; Dryden also possesses many more admiring qualities (Hammond 5). As a well-respected critic as he is Dryden has a habit of telling what he is thinking at the time of composition. His prefaces and prologues have the quality of studio talk in which the artist speaks of what he has tried to do and how he has done better, or worse, than others. He gives his views at the time, he may have different views at other times that are more educated, but he gives the views which engage him at the moment (McHenry 39). Criticism of Dryden in the half-century following his death is sparse, and contributions from the major men of letters are disappointingly casual and undeveloped. However, most likely the best criticism of Dryden during the period after his demise comes from â€Å"Dennis, Congerer, and Garth. † There is passion as well as admiration in Dennis’s remarks for Dryden’s poetry (Bredvold 14). He is a critic more than a theorist, meaning he judges poetry thoughtfully by talking incomparably well about the poetry. However, he also likes to think and to speak of his thinking to explore and mediate literary principles. John Dryden wrote with ease and at times carelessly, but he knew where he stood (Hammond 1). Cunningham 7 His poetry was often seen as a pure, rich, metrical energy, and formally proper to the genre. â€Å"It is throughout its whole range, alive with a special kind of feeling† (Osborn 181). John Dryden was engaged in literary controversy his entire literary career and life. He feuded with famous writers such as Sir Robert Howard, Thomas Shadwell, Andrew Marvell, Thomas Rymar, and many others. Shadwell was the most unfortunate foe of them all. If he had never quarreled with Dryden he would not have been known today as one of the four great comic playwrights of the Restoration period (Dryden 1). Shadwell’s and Dryden’s literary quarrel developed by the means of critical comments in prologues, epilogues, prefaces, and dedications written between 1668 and 1678. Dryden’s â€Å"Mac Flecknoe† was a major issue in the dispute between Dryden and Shadwell (Dryden 4). In â€Å"Mac Flecknoe,† Shadwell’s memory is kept alive, but has also been branded forever as horrible writer and a disgrace to the history of English writers. â€Å"Mac Flecknoe† is Dryden’s most delightful poem. It reveals Dryden’s great writing talents as poet and satirist. As he accuses Shadwell of â€Å"borrowing† from other authors. He also indicted Shadwell of â€Å"consistently stealing,† but the charges were also greatly exaggerated. However, Dryden admitted that he was guilty of â€Å"borrowing† from other authors, but he also mentioned that Charles II said that he wished those incriminated for stealing would steal plays like Dryden’s (Dryden 18). At some point Shadwell had got on good terms with Dryden, good enough at least for Dryden to provide the prologue to one of Shadwell’s plays. It might have been the prologue the others, but still it served as a prologue to one of Shadwell’s. They had to have developed some sort of friendship or came to know each other. Then something happened and the time for reconciliation had passed. In the same year in which he wrote that prologue for Shadwell he also wrote â€Å"Mac Flecknoe† to put an Cunningham 8 end to the feuding, and Shadwell became the â€Å"unforgiven butt of his ridicule† (McHenry 47). Dryden was an exceptional author that just did not make as big as others. His literary reputation suffers greatly from the simple fact that not many know of him. He is the man who wrote â€Å"Absalom and Architophel,† â€Å"Mac Flecknoe,† and who precedes Pope. He wrote not only great satirical, but great love poems, great political poems, and great religious poems. Beyond those poems he wrote many great passages of poetry. He wrote an astounding amount of good poetry, probably more than any other poet in the language except Shakespeare and Milton (Hammond 67). The English author John Dryden called himself Neander, the â€Å"new man,† in his Essay of Dramatic Poesy, and implied that he was a spokesman for the concerns of his generation and the embodiment of it’s tastes. He achieved a prominence that supported his claim. Dryden excelled in comedy, heroic tragedy, verse satire, translation, and literary criticism; genres that his contemporaries and later readers have defined as representative of the Restoration period. John Dryden’s lasting legacy will be defined by his unequaled, excellent criticisms of literature and his outstanding poetry. He developed the model for modern English prose style and set the tone for 18th century English poetry. His memorable works helped influence much of the writings that come from England to this day. Translations are another major reason why people will remember Dryden. He took authors from previous eras works and interpreted them into something superior and moved them to a greatness previously believed unattainable. His considerable accomplishments assured Dryden’s place in literary history and, through their influence on such writers as Alexander Pope, determined the course of literary history for the next generation.

New York Stock Exchange

New York Stock Exchange Regulation is strictly dedicated to strengthening market integrity and investor protection. All, the directors in the NYSE Regulation's board of directors is comprised of a majority of directors unaffiliated with any other NYSE board. As a result, NYSE Regulation is independent in its decision-making. The organization consists of three  divisions: Market Surveillance, Enforcement, and Listed Company Compliance.  Ã‚  NYSE Regulation protects investors by enforcing marketplace rules and federal securities laws. NYSE Regulation also ensures that companies listed on the NYSE and on NYSE Arca meet our financial and corporate-governance listing standards. The NYSE Regulation Board has the following committees: (1) the Human Resources and Compensation Committee;   (2) the Nominating and Governance Committee; and (3) the Committee for Review. The Human Resources and Compensation Committee is appointed by the Board and is charged with duties relating to NYSE Regulation’s human resources policies and procedures, employee benefit plans, compensation and disclosure. The NYSE Regulation Board of Directors is  comprised of three  NYSE Euronext  directors, six  otherwise unaffiliated with NYSE Euronext, and  the NYSE Regulation Chief Executive Officer. The CEO  of NYSE Regulation has primary responsibility for the regulatory oversight of the U.S. market  subsidiaries within NYSE Euronext and reports solely to the NYSE Regulation board of directors.  The Regulation Board oversees all compensation decisions for Regulation employees and the nomination of directors to the Board of Regulation.   When it comes to disciplinary actions, the decisions of NYSE Regulation and its Board of Directors are final, although subject to appeal to the SEC. NYSE Regulation  performs regulatory responsibilities for the New York Stock Exchange and NYSE Arca.   It is comprised of  a  Market Surveillance division that monitors trading activities and investigates  trading abuses  by member organizations on the Floor and  away from the Exchange, an  Enforcement division  that investigates and prosecutes related  disciplinary actions, and a  Listed Company Compliance division that ensures that companies listed on NYSE and on NYSE Arca meet their financial and corporate governance listing standards. Market Surveillance is the division responsible for monitoring trading activities on the Floor and trading â€Å"upstairs† by member firms, both on a real-time basis and after the fact. Enforcement cases include: books and records deficiencies,supervisory violations,misconduct on the trading floor,insider trading,market manipulation, and other abusive trading practices. The trading of securities in the U.S. is subject to vigorous regulation. The principal laws governing trading  are the  Securities Act of 1933 (â€Å"the 1933 Act†) and the  Securities Exchange Act of 1934 (â€Å"1934 Act†). NYSE rules apply to  NYSE member organizations, as well as past and present  representatives, and are designed to protect investors and foster fair dealings with customers. Federal Reserve Board Rules   apply to the entire banking sector for the regulation of borrowing and lending requirements.   Individual states in the U.S. have their own state securities laws.   Any offering of securities in the U.S. must be made in accordance with state as well as federal regulations. Whether Dick Grasso's compensation was â€Å"reasonable† is a matter of opinion. There are some former directors who still declare adamantly that he deserved all he was paid. Most of the world probably thinks differently. He got a payout of $139.5 million in retirement compensation and other benefits. According to insiders Grassos ran the NYSE like a private fiefdom. Mr. Grasso's friends and allies on the board contributed a lot to the NYSE but the same lot became a symbol of corporate governance gone bad when it was revealed that those same people doled out his big pay package. The SEC has found that during Mr. Grasso's reign, specialists repeatedly traded for their own benefit in the place of customers who were ready to trade at the same price. This spurt of questionable trading may have cost investors at least $155 million, according to the SEC staff. That said, it would be a mistake to understate Mr. Grasso's contributions to the NYSE. His imperious style helped hold together the exchange's many, often-bickering, constituencies. Thanks to his spending on additional technology, the NYSE easily handled the high volume and volatility of the recent bull and bear markets, no small task. But in the end it is pertinent to mention that NYSE was a non-profit organization and under no circumstance the Chairman can be considered as a CEO of a big multi national. His primary duty was to protect the national interest and was entitled to get the best compansation comparable to a higher government official and not the huge retirement package that he got. REFERENCE 1.  Ã‚  Ã‚  Ã‚  Ã‚   http://www.nyse.com/regulation/1089235621148.html 2.  Ã‚  Ã‚  Ã‚  Ã‚   http://www.mindfully.org/Industry/2003/Grasso-NYSE-Deep-Trouble30dec03.htm         

Editing and Montage as a Design Tool in Architecture

In this universe we experience retrieve with that imagine the past nowadays and the hereafter. similarly topographic point and juncture, mind and infinite are non outside of each other they both fuse into each other to organize a remarkable experience, merely movie helps us see all of this more clearly than anything else, as it can in no clip takes us back in the yesteryear, likewise in to the hereafter and it besides portions the experiences of present twenty-four hours modern-day universe. movie besides allows a passageway into another universe every bit good transporting its audiences into infinites and environment that makes us experience more existent than anything we experience in our mundane life. the audiences allows themselves to be absorbed by the narrative it offers and they temporarily becomes the portion of that narrative. both architecture and film offer a delicate connexion of physiological and experiential factors. both art signifiers defines human interaction through different facets of life and gives different position for better apprehension of our universe. merely like the architecture is more than merely kick white walls and columns, likewise movie has a batch to offer than showing emended images on a clean white screen. â€Å" Architecture exists, like film, in the dimension of clip and motion. One conceives and reads a edifice in footings of sequences. To raise a edifice is to foretell and seek effects of contrast and linkage Through which one passes†¦ † Jhon novel Film and architecture are two distinguishable professions, but as we explore the both Fieldss both art signifiers have given a batch to each other and their cooperation day of the months back, of all time since the first moving image was introduced in the late eighteenth century, in which images of mundane metropolis life were shown to the audience. the cooperation of the two professions has growing together of all time since as both professions portions a immense common land the coaction has growing questionably until now non merely in the part of the advancement of different thoughts, ideas and visions belonging to different decennaries of this century likewise the usage representation techniques of film has helped to heighten the designers imaginativeness. all through their transcendency movie and architecture strengthen their connexion by larning different rational, nonliteral and practical devices from one and other in order to beef up their ain system of apprehension. â€Å"Although film and architecture are distant humanistic disciplines, dynamic and inactive severally ; their complex relationship gives life to each other. Sharing a common regard for the parallel procedures involved in bring forthing their plants, the Godheads behind these two looks have an apprehension that one will ever profit the other † ( 1 ) there are many parallel procedure in the devising and designing of the movie which is really much related with the designing and representation procedure of architecture, both professions requires the survey of both in order to take the benefit. â€Å" there are movies which can non be a success without an designer working at the background planing existent life sets. which are meant to look perfect in every facet ( doing everything about the movie world based ) † ( 2 ) peculiarly merely as the film depicts life over a large white level surface, likewise the presentation of architecture both in the design procedure and the certification uses the same procedure. each profession has looked into each other in order to derive advantage, both signifiers use similar techniques in their specific design procedure merely as architecture can non be done without paper, theoretical accounts, pulling likewise movie requires all these techniques for its devising in the design procedure. Prof.Francis Penz speaks of this confederation Architects can surely larn from the filmmaker’s ability to stand for and travel through infinites. They can besides larn from the trade and aesthetic of studio-made characteristics where film makers have brought a peculiar vision to bear upon the sets and the architecture in which the histrions move. Architects may profit to understand that their 3-dimensional representations are a ‘natural set’ for the geographic expedition of infinites in motion, which may assist to look at one’s work in a less inactive manner. Similarly, the manners of representation used by architecture pupils, as mentioned above, utilizing drawings, physical theoretical accounts and more peculiarly computing machine lifes, may represent an interesting starting point for the movie industry ( 3 ) hence many film makers take aid from designers for the flawlessness of their unrealistic edifice signifier to convey life and world in those constructions. Similarly the designers besides take benefit from the architecture of movie by acquiring inspired from the futuristic attack of movies, apart from this the techniques used in the film such as collage, redacting, semblance, illuming, motion in infinite have ever been demand of the architecture in assorted design procedure of about every edifice. likewise merely as the designers takes control of upon every facet of the edifice design a movie manager acts as important component is planing of a movie. With the release of city in the late 1920s wholly changed the position how people related movie and architecture and it made the connexion between the two Fieldss stronger than of all time before. the release of the movie brought about a new civilization in Germany of excessively big sized hoardings as it became a new manner in Germans movie industry, which was in the procedure of following American criterion in Berlin entirely adding about 20 film theatres each with a 1000 seats to its stock of 380 film theatres. Bringing images of screen into the street these tremendous advertizements narrowed the spread between movie and world and merged for an instant movie and architecture. The release of the movie besides gave rise to the argument about the hereafter of Berlin as the film reveals the modern-day captivation with a edifice type that stood at the centre of the widespread about the hereafter of German metropoliss. â€Å" Metropolis was rich in the subterraneous content that, like contraband cross the boundary lines of consciousness without being questioned † ( 4 ) The movie was a success as it addressed issues of urban hapless and societal agitation, pros and cons of the usage of technolog, generational struggles and delivering power of the faiths. cities shown and depicted overdone version of dark American streets with a construct of cardinal tower that had played such an of import portion in recent treatments and that represented the most conservative and modern-day attack to skyscraper design and town planning in Germany. it was this film which made a immense impact on urbanist motions in other movies as good where the function of monumentality and the function of skyscraper continued. Both movie and architecture have many similar elements in their devising, if we talk about architecture it is the infinites which are required to be organized in a coveted mode to accomplish a peculiar design where as in movie devising images are organized in a certain mode. in the instance of movie doing it undergo the process of three stages, the expressive portion of thenarrative, the spacial usage of mise en scene and the important portion of montage/editing. brian vocalist the manager of movie X-men, the usual suspects provinces â€Å" has stated about the formal procedure that â€Å"a movie is designed three times in production ; at first on paper, 2nd at the set and 3rd in the editing/montage room.† ( 5 ) likewise movie shaper micheal explains the 3 phase procedure of movie devising â€Å" 1. Always, under any fortunes, write and convey a book to your shoots. a book or screenplay is written program of the movie in your imaginativeness. it includes duologues as good the scenes, what the histrions do, the particular effects, the music and so on ( The narration ) 2.storyboards/ mise en scene are a great manner to visualise your shootings and set some construction in your a narrative board is series of illustration or images displayed in a sequence to give others an thought of how the scene will look 3. production and post-production ( collage ) which means you shoot movie along with the dramatis personae and crew. Post-production is the most fun portion its fundamentally consists of redacting of movie and adding effects † ( 6 ) Narrative in movie devising: – narration in the movie devising is the portion which describes the basic thought of the narrative, it describes assorted impressions that the movie brings with its ego it is one of the BASIC of the movie, narrative besides depicts the chief subject of a movie and around which the narrative of the movie is revolves. in the devising of the movie the narrative is merely an fanciful conceptual procedure and it aids to construct up the primary phases of movie design. mise en scene/story board: – It is the procedure in which the existent visual image of each scenes takes topographic point, it is the representation of the necessities of the movie such as puting up the narrative and presenting it to the audiences in this the objects with in the frame are operated through compositional criterions, the elments which can change or help the mise en scene can be the lighting, colour, back land scene, camera angles and the placement of the characters. Editing, Montage/ production: – this is the most indispensable portion in the devising of the movie as it is what completes the movie by the procedure of cutting and gluing and it forms a relationship between the shootings if we compare these techniques to architecture it can be deduced that to a certain grade all of these movie devising procedures are used in architecture every bit good, it is known that visual image or development of fanciful edifices, the work and patterns of designers can be influenced from these movie devising procedures. In add-on to illustration techniques of cinematic techniques such as narrative, semblance, motion, editing/montage, narrative board, cut, illuming have besides been used for the demands of architecture as the constituent of design. harmonizing to Gallic designer Jhon Novel says that his undertakings are really much influenced by the filmic techniques, harmonizing to him disclosures made by movie managers are as something that architects do themselves in planing their edifices. Apart from jhon novel if we by and large look at different plants of architecture it can be analyzed that both art forms uses similar techniques in their development procedure. these techni ques people use in architecture consciously but many people have been utilizing these techniques unconsciously somehow or the other.NARRATIVE AS DESIGN TOOL IN ARCHITECTUREJewsih museum by Denial LibiskindIn Jewish museum Berlin Deinal libiskind uses the art of storytelling through architectural linguistic communication and edifice signifier, the garden of expatriate, the three axes of the German-Jewish experience and the nothingnesss together these pieces form a ocular and spacial linguistic communication the Jewish museum depicts history of events to the visitant while every infinite unfolds itself and organize a narrative by picturing series of events which took topographic point in Berlin ‘s past history.EDITING/MONTAGE AS A DESIGN TOOL IN ARCHITECTURECollages of Ludwig Mies Van Der RoheMies is celebrated as a maestro builder, with his attending to detail and keep proportions taking to consummate and surprisingly poetic constructions. His axioms are quoted in schools: â₠¬Å"God is in the details† and, of class, â€Å"Less is more.† But he was every bit consummate in two dimensions, as the presently running MoMA exhibition â€Å" Cut ‘n’ Paste: From Architectural Assemblage to Collage City † brought to our attending. The exhibition showcases works from the well-known collagists Archigram, OMA, and Superstudio, but besides includes several montages by Mies—collages seldom seen in academic or retrospective treatments of the architect’s work. It is easy to state that the montages are Mies’s work at a glimpse ; their understatedness, their restrained yet powerful work of art, draws the oculus. Many of the montages are toneless, mostly made up of whitespace ; line-drawn position grids define the fields of floor and ceiling, while two, or possibly three, dividers block positions out of plate-glass Windowss. Many of these dividers are adorned with patterned marble or modernist pictures by Kandinsky or â€Å"Guernica† by Picasso. The culmination—Mies at his wildest—is a montage for a Chicago convention hall, in which the walls are a deep green marble decorated by province seals, the ceiling is a deep steel grid with an American flag draping down, and which features crowds of people cut from newspapers. Bibliography1.griger, Murray.Space in Time: Filming Architecture.199. 2.TIM BERGFELDER, SUE HARRIS, SARAH STREET.FILM ARCHITECTURE AND THE TRANSNATIONAL.s.l. : Amsterdam Uniiversiity Press. 3.penz, Frances.architecture and film.s.l. : Academy Editions, 1994. 4.kracauer, siegfried.from calgiri to hitler: a psychological history of German movie.s.l. : Princeton university imperativeness. 5.vocalist, brian. 6.micheal.eastern visible radiations productions’ short movie web log.The Three Stages of Filmmaking.[ Online ] eastern visible radiations production. [ Cited: November 29, 2013. ] http: //easternlights.wordpress.com/2008/08/11/the-three-stages-of-filmmaking/ .