You have the rights to their current 3 books, do you shoot each film Essay

You have the rights to their current 3 books, do you shoot each film individually or do you shoot all at once to make certain for continuity Discuss Strength a - Essay Example It is a well known fact that "time is money", and since time is saved in this method of filming the series or several of its movies together, it can be said that money is also saved. Furthermore, it is important to remember that in order to execute and commence the production and work on a movie, it is necessary to assemble the crew, and working on a few movies one after another avoids having to find new crew, or contacting the old movies crew to see if theyre available, or even around. Actors tend to be on the move, whether theyre beginners looking for a break, or famous celebrity actors who film movies all over the world, and may be out of the country, working on another movie. Hence, the availability of the crew and actors is very problematic, and can be avoided by filming several movies together. Moreover, filming a series saves some costs. Equipment, settings and backgrounds, as well as arrangements and payments for locations can all be used for more than one movie, especially if its a trilogy or some other sequel series, which presents a continuing plot. These can reach great amounts of money, and using them for all the movies and all at once would result in a substantial reduction in costs, meaning more profits and fewer expenses. First and foremost, it isnt known in advance whether the movie will succeed or fail. Investing resources in each movie can reach millions of dollars and more, therefore investing in a few movies means risking dozens or hundreds of millions of dollars, and if done, there is no guarantee of success. Should the series fail at the box office, the huge amounts of money poured on producing and executing the film will all be lost. Some claim that if the movie, transformed from a book or a series on television, already has a large fan base, the potential of fans going to watch the movie is greater than the risk of losing the money

Introduction to Psychology Research Paper Example | Topics and Well Written Essays - 500 words

Introduction to Psychology - Research Paper Example It took off as a spark of fantasy, matured over time and suddenly turned to a reality of frustration and hate. Finally it became an obsession which demanded to be fulfilled. The killer found that photos and trophies that were substitute for the thrill of putting an end to life that electrified his very soul. He believed that he was smarter than the cops and could easily outwit them. The element of danger added to his perverted excitement. It was a chilly winter day on January 15th, 1974 the Charlie Otero came home from school only to find his parents and four siblings murdered in the most ghastly fashion. All the victims had their hands and feet bound together and were placed head down Except for his sister Josephine who was hung by her neck from a pipe and was only partially dressed with a sweatshirt and socks. Her little brother Joseph had three hoods placed on his head and was lying face down at the foot of the bed. The purse of Julie Otero was dumped and the father Joseph Otero Sr. missing watch there was no evidence of either a robbery, a struggle of forced entry. The search was on by the Wichita Police Department who investigated and found that the four murders took place between eight and nine in the morning. The conduct of the parents as well as the children was extremely good and invited no enmity which made the murders all the more shocking. Nine months after the murders of the Otero family, in October 1974, and anonymous call was received by the Wichita Eagle’s Don Granger and receive directions to go to the Wichita library and looking into a mechanical engineering text book. Action was taken and they found a letter detailing the murders of the Otero family and promising other victims in the future. He said he was guilty of the murders but can’t stop the monster in his head. His code words are – â€Å"Bind them, torture them, Kill them – BTK and warned that they will see it on the next victim. On April 4th, 1974, his next victim came

Michael Jackson Essay Example for Free

Michael Jackson Essay Michael Joseph Jackson (August 29, 1958 – June 25, 2009) was an American singer, dancer, entertainer and recording artist. Referred to as the King of Pop, he is recognized as the most successful entertainer of all time, and one of the most influential. His contributions to music, dance and fashion,[1] and a much-publicized personal life, made him a global figure in popular culture for over four decades. Alongside his brothers, Jackson made his debut in 1964 as lead singer and youngest member of The Jackson 5. His solo career began in 1971. His 1982 album Thriller sold more than 110 million copies, and remains the best-selling album ever; while several of his other albums rank among the worlds best-sellers. Jackson is credited with having elevated the music video from mere promotional tool into an art form. His videos for Billie Jean, Beat It and Thriller made him the first African American artist to amass a strong crossover following on MTV. He popularized a number of complicated dance techniques, such as the robot and the moonwalk. His distinctive musical style, vocal style, and choreography continue to transcended generational, racial and cultural boundaries. Michael Jackson was born on August 29, 1958, the eighth of ten children to an African American working-class family, in Gary, Indiana, an industrial suburb of Chicago. His mother, Katherine Esther Scruse, was a devout Jehovahs Witness, and his father, Joseph Walter Joe Jackson, a steel mill worker who performed with an RB band called The Falcons. Jackson had three sisters: Rebbie, La Toya, and Janet, and six brothers: Jackie, Tito, Jermaine, Marlon, Brandon (Marlons twin brother, who died shortly after birth)[7] and Randy.[8] In 1982, Jackson contributed the song Someone In the Dark to the storybook for the film E.T. the Extra-Terrestrial; the record won a Grammy for Best Album for Children.[27] That same year Jackson issued his second Epic album, Thriller, which surprisingly became the most commercially successful album of all time with nearly no promotion. The album remained in the top 10 of the Billboard 200 for 80 consecutive weeks and 37 of those weeks at the peak position. It was the first album to have seven Billboard Hot 100 top 10 singles, including Billie Jean, Beat It, and Wanna Be Startin Somethin.[28] Thriller was certified for 29 million shipments by the RIAA, giving it Double Diamond status in the United States. It is the best-selling album of all time in the United States.[29] It was, and currently remains, the best-selling album of all time, with 110 million copies worldwide. Jacksons popularity would soar further. On March 25, 1983, he performed live on the Motown 25: Yesterday, Today, Forever television special, both with The Jackson 5 and on his own singing Billie Jean. Wearing a distinctive sequined glove, he debuted his signature dance move, the moonwalk, which former Soul Train dancer and Shalamar member, Jeffrey Daniel had taught him 3 years before. His performances during the event were seen by 47 million viewers. On January 27, 1984, Michael and other members of the Jacksons filmed a Pepsi Cola commercial, overseen by executive Philip Dusenberry,[37] at the Shrine Auditorium in Los Angeles. In front of a full house of fans during a simulated concert, pyrotechnics accidentally set Jacksons hair on fire. He suffered second-degree burns to his scalp. Jackson underwent treatment to hide the scars on his scalp, and he also had his third rhinoplasty shortly thereafter.[21] Jackson never recovered from this injury. Jackson died on June 25, 2009 from a drug overdose, amidst preparations for his This Is It concert series. The Los Angeles County Coroner ruled his death a homicide. Wikipedia The Free Encyclopedia. The History of Michael Jackson. [online]. Available http://en.wikipedia.org/wiki/Michael_jackson 2 March 2010. â€Å"Encyclopedia of world Biography†. Suzanne M. Bourgoin. 2nd Detroit: Gale Research, 1998. 17 vols. Student Resource Center – Junior. Gale. Leroy Collins Leon County Public Library. 2 March 2010.

The Style Of Quentin Tarantino Film Studies Essay

The Style Of Quentin Tarantino Film Studies Essay   Quentin Tarantino has his own distinctive style that mirrors his quirky vision of the universe. From the early Reservoir Dogs   to the stylish Pulp Fiction, Tarantino has challenged both viewers and the movie industry to look at the medium in a new way. His 2009 effort, the ultra-violent war film Inglorious Basterds, is a solid hit and every bit a Tarantino film. This paper discusses the film in general as well as its cinematography and editing. Discussion            Tarantino is a   director known for his love of film in general. He is knowledgeable about the medium and enjoys paying homage to it by sometimes filming scenes in a way that resembles works by other directors; or by putting a great many pop references in his film. This makes his films very hip, but it can also date them. However, because this film is set in a specific time and place-occupied France in 1944-these are quibbles.            Tarantino is also known for telling several stories simultaneously and bringing the threads together at the last moment to make a coherent whole. This is the structure of Pulp Fiction, in which three separate stories are told out of order: characters that are killed in one story show up later in the film, because that part of their story hasnt been told yet. At times its best to just sit back and let Tarantino do his thing and sort it out later.            Inglourious Basterds is just such a film: there are possibly three stories running simultaneously: the story of the Nazi Colonel Hans Landa and his hunt for Jews (Christoph Waltz); the Basterds themselves, led by Lt. Aldo Raine (Brad Pitt); and the Jewish girl Shoshanna Dreyfuss (Mà ©lanie Laurent), who works in the cinema that will be the setting for the films explosive (literally) climax. Critics are singling out Waltzs diabolical, cruel, witty, charming and perverse Colonel Landa as the best thing in the film; he won the Oscar as Best Supporting Actor for his work, along with almost every other award its possible for an actor to receive. That raises some unpleasant questions: Waltzs character is the representative of possibly the most despicable regime ever to disgrace humanity, so what does that say about audiences who find him attractive and funny? Landa becomes a sort of guilty pleasure, as well as an object lesson in the fact that evil can sometimes wear a very attractive face: There is nothing more disturbing than finding something commendable in a character you want so badly to condemn (Meadows).            The film is simple: Raines group of commandos has been dropped into occupied France with only one object: to kill Nazis. They do so, often with a baseball bat or other suitably unpleasant means, and scalp them (Tarantino). They also have a penchant for carving swastikas into their victims foreheads and their gruesome tactics have unsettled Nazi officers all the way up to Hitler.            The film has surprised   some audiences by its length and others because for a war film, it is surprisingly non-violent; the violence is extreme and gruesome but sparse and contained within a few set pieces. The rest of the film contains a lot of dialogue, which is a hallmark of Tarantinos work. He is in love with dialogue; he likes to explore human relationships and does so by letting his character literally speaks for themselves. People who complain that theres no enough action in the film seem to be missing the point. Berardinelli notes that the long dialogue scenes are merely priming the pump for the action that follows: With every sentence, the tension mounts. Tarantino uses these sequences to prime the audience, teasing them until the suspense is nearly unbearable, then releasing it in one explosive burst. The films editing includes title cards that identify each scene, an old fashioned technique that some critics like while others denigrate. Its the same technique that silent films pioneered, and it has the effect of making the film feel very literary, almost as if the audience has to read it like a book rather than watching it.            The cinematographer on the film is Robert Richardson, who was director of photography for Tarantino on both Kill Bill films; he has also worked on films like The Aviator and A Few Good Men as well as The Horse Whisperer, Casino and Snow Falling on Cedars   (MacGregor). If these films have anything in common, its that they have nothing in common, but in each case Richardson has brought to life their [the directors] most grandiose aspirations in a way that is unrivaled and incomparable (Ebenezer).            In this film, numerous critics have pointed to the scene which introduces Colonel Landa as a perfect example of Richardsons gifted cinematography; he works magic with the lighting and framing here as he does throughout the film (MacGregor). In this scene, Landa is questioning dairy farmer Perrier LaPadite, who is suspected of harboring Jews; as he continues to question the farmer, the camera circles the table moving closer and closer, as if it is tying up the farmer in invisible cords (MacGregor). When Landa orders his men to shoot through the floor, killing the Jews he knows are hidden there, its almost a relief because the tension is so high its unbearable. This is Richardsons skill; and it is on display throughout the film. The structure of the scene of course is Tarantinos; it is his direction. But Richardson has the skill to shoot it the way Tarantino wants it shot, so that it brings his vision to life. Richardsons use of color is extraordinary; for instance, in the scene where Landa comes to the farmhouse, the day is beautiful, clear and sunny; the sky is blue and birds are singing. And into the midst of this idyllic scene comes a monster. The juxtaposition of Landa with the beauty of his surroundings, especially as he then orders the murder of the hidden Jews, is brilliant. It reminds viewers that things are not what they seem, and that the potential for violence is ever-present. It can be argued that the United States today is one of the most violent societies on earth, but the threat of drive-bys, gang wars and shootings cannot compare to the terror of living under the Nazi occupation, where punishment for the slightest infraction was swift and brutal. When Landa pops up in the middle of the idyll ic scene, the day is ruined. Much of the rest of the cinematography is muted, sometimes suggesting old newsreels with washed out colors. This could indicate the age of Europe, or the draining effect of war; it makes Europe, which is beautiful, cold and harsh, in keeping with the mission the Basterds have undertaken. The New York Times also mentions the cinematography, though it is less complimentary than most to the movie overall. Dargis writes that whether or not a viewer likes the film has a lot to do with whether he or she can just groove on Tarantinos cinematic style, which includes his exuberant framing  and staging, his swooping crane shots, postmodern flourishes (Samuel L. Jackson in voice-over explaining the combustibility of nitrate prints) and gorgeously saturated colors, one velvety red in particular (Dargis). With regard to the films much-discussed opening scene in the farmhouse, Dargis calls it a marvel of choreographed camera movement and tightly coordinated performances. When the scene moves ins ide the building, Tarantino provides another homage: à ¢Ã¢â€š ¬Ã‚ ¦the German soldiers outside are positioned within one of the windows, a shot that recalls the framing of an image in Monte Hellmans 1971 cult classic, Two-Lane Blacktop' (Dargis). Tarantino also gives a nod to a great Hollywood character actor of the 1950s, Aldo Ray, by naming his main character Also Raine; Also Rays widow served as a casting director on this film (Dargis). (For a delightful look at Aldo Ray, look at Were No Angels the original starring Ray, Humphrey Bogart and Peter Ustinov as three Devils Island escapees who are neither as tough nor as evil as they pretend to be.) As for the rest of the film, however, Dargis is less enthusiastic. She notes that the film is actually five set pieces, each organized around specific bits of business and conversations that increasingly converge (Dargis). The first chapter introduced Colonel Landa; the second brings in the Basterds while the third brings Shoshanna together with Joseph Gobbels (Dargis). The fourth chapter deals with the plot to kill Hitler and the final chapter is the destruction of the fire and the death of many of the characters (Dargis). While all this works, Dargis has trouble with Tarantinos use of slow dialogue scenes and she is particularly disquieted by Colonel Landa, whom she describes as charming and seductive (Dargis). A man who is the tool of a regime as repellant as National Socialism should have none of these qualities. And yet Landa has no equal in the film; he owns it, and that makes for some uneasy viewing (Dargis). Conclusion            Inglourious Basterds would be uncharacteristic for any other director but for Tarantino its merely the latest in a string of films that glorify brutality and make heroes out of the most unlikely people: hit men and Nazi colonels. Its also full of Tarantino trademarks: long dialogue scenes that lead up to shot, explosive action sequences; homage to other films; and a never-ending river of blood. He has also, as usual, played with film itself, using title cards that hark back to the days of silent films, and (mercifully!) having his German characters speak German, his Italians speak Italian, his Frenchmen speak French and so on. This means he has also subtitled some of the scenes, but again, this is a director who truly seems to love playing with the medium and all its capabilities. Whether a viewer will enjoy the film or not particular when it contains scenes of soldiers being beaten to death with a baseball bat and other horrific violence probably depends on whet her or not he or she is a Tarantino fan. If so, theyll know what to expect; if not, it can be a bit much. But all in all, the film has proven to be a solid success and another hit for a quirky filmmaker who breaks all the rules.

Essay --

En este papel voy hablar de la historia del narcotrà ¡fico y del mal que le ha traà ­do al mundo. La guerra contra el narcotrà ¡fico, o lucha contra la delincuencia organizada en Mà ©xico, es un conflicto interno que enfrenta el estado Mexicano contra las bandas que controlan diversas actividades ilegales, principalmente el trà ¡fico ilegal de drogas. Desde 2006, cuando comenzà ³ la intervencià ³n del ejà ©rcito Mexicano, el objetivo principal del gobierno ha sido la de acabar con la violencia relacionada con las drogas. Ademà ¡s, el gobierno Mexicano ha afirmado que su objetivo principal es el desmantelamiento de los poderosos carteles de la droga, en lugar de en prevenir el trà ¡fico de drogas, que se deja a los funcionarios de los Estados Unidos. Aunque los cà ¡rteles Mexicanos de la droga, o las organizaciones de trà ¡fico de drogas, han existido desde hace varias dà ©cadas, se han vuelto mà ¡s poderosos desde la desaparicià ³n de los carteles de Cali y Medellà ­n en Colombia en la dà ©cada de 1990. Carteles de la droga mexicanos dominan ahora el mercado mayorista de drogas ilà ­citas, y en 2007 controlaban el 90% de la cocaà ­na que entra a Estados Unidos. Las detenciones de los principales là ­deres de los cà ¡rteles, en particular en los cà ¡rteles de Tijuana y del Golfo, ha provocado un aumento de la violencia del narcotrà ¡fico como los cà ¡rteles luchan por el control de las rutas de trà ¡fico hacia los Estados Unidos. Los analistas estiman que los ingresos al por mayor de la venta de drogas ilà ­citas van de $ 13.6 mil millones a $ 49.4 mil millones al aà ±o. Al final de la administracià ³n de Felipe Calderà ³n (2006-2012), la cifra oficial de muertos de la guerra contra las drogas de Mà ©xico fue de al menos 60.000, aunque las cuentas no confirmadas establecen la tasa de homici... ...tado en la zona desde 1980. En las dà ©cadas anteriores a este periodo, el consumo no se generalizà ³, no mas principalmente entre personas de nivel socioeconà ³mico alto, los intelectuales y los artistas. Los cargamentos de droga se retrasan en las ciudades fronterizas de Mà ©xico antes de la entrega a los EE.UU., lo que ha contribuido probablemente a las altas tasas de consumo local de drogas. A pesar del hecho de que los cà ¡rteles Mexicanos de la droga y sus proveedores Colombianos generan, lavar y retirar $18000 millones a 39 millones de dà ³lares de los Estados Unidos cada aà ±o, los EE.UU. y los gobiernos Mexicanos han sido criticados por su falta de voluntad o la lenta respuesta para hacer frente a los diversos cà ¡rteles operaciones financieras, incluyendo el lavado de dinero. Los carteles no mas ponen en peligro a su paà ­s y les train mucho mal que no le conviene a Mà ©xico.

Law :: essays research papers

Anyone who works in the legal business knows that communication is both verbal and non-verbal and we also know that the verbal element–that is, the spoken word taken alone–is an extremely unreliable story-teller. This is why all lawyers should know how to interpret a second language. The second language I’m going to talk about is the non-verbal language. First, the non-verbal language creates better communication skills, needed by a lawyer. Second, the non-verbal language would greatly benefit international lawyers. Finally, understanding the non-verbal language will have an impact on future career growth. First, the non-verbal language creates better communication skills, needed by a lawyer. Witnesses are not always believed despite their credentials and their command of the facts. In some instances, witnesses are believed despite their little mistakes about the same facts. Jury decisions turn on an obscure point either overlooked or understated in the case all because of an insufficient or incomplete understanding of non-verbal communication. In the diverse world of lawyers, the unreliability of the spoken word plays out in cases that are won and lost, which ultimately has an effect on the decision making to the trial judge or jury. Second, the non-verbal language would greatly benefit international lawyers. Understanding the non-verbal language prepares international lawyers who have to litigate in other countries. It also provides the lawyers the necessary tools to prepare a witness, by knowing the different cultures, customs, and courtesies. Lawyers might not be able to fully understand the verbal language of their witness, but can use their tools of the non-verbal language to coach their witness. Also, the non-verbal language will help a lawyer during the jury selection process. The lawyer’s ability to analyze the non-verbal language while questioning the potential jurors, benefits the lawyer and the client. Finally, understanding the non-verbal language will have an impact on future career growth. A number of lawyers become judges, and most judges have first been lawyers. In fact, Federal and State judges usually are required to be lawyers. Understanding non-verbal language helps a lawyer transition to a position as a judge and applies the non-verbal skills to listen to testimony and make rulings. Also, a majority of Senators and Representatives are previous lawyers. Senators and Representatives are elected by the people, which means, the ability to communicate non-verbally benefits any lawyer wanting to become a politician. The ability to understand non-verbal language opens up a variety of opportunities for career growth as a lawyer.

Effects of a Strong or Weak Philippine Peso Currency Essay

Two conflicting stories came out of a national paper this week. One announced that exporters are badly hurt by the appreciating peso while the other states that the Bangko Sentral ng Pilipinas (BSP) claims that the surging currency is beneficial to the Philippine economy. Those stories seem to tell the Filipinos that we cannot have our cake and eat it too. Whenever there is a good effect, there is a corresponding draw back. Let us take the first statement. There are two types of exporters. One is who imports raw materials, processes it and exports the finished product. The other is one who buys or produces the raw material locally, processes it and exports the result. In the first case, we export only labor. In the second, we export labor and raw material converted by labor into finished product. When the peso is weak, more pesos are spent to buy raw materials. The product is sold to earn a strong dollar. Then labor is paid in weak peso. When the peso is strong, there will be less pesos spent acquiring raw material. Then the finished product is sold earning weak dollars. There will be more dollars needed to pay labor in strong pesos. What exporters are afraid of is our finished product will be less competitive in the world market if a strong peso raises production costs. Labor costs will rise because there will be more dollars to be converted to pesos to be spent for labor. What will be affected are the export processing zones. Finished products will be less competitive in the world market. Profits will dive and factories may close. On the other hand, the quality of the peso in the world market is raised. We will need less pesos to service our external debt in dollars. There will be more investors coming because they can earn more than when the peso is weak. Philippine economy will be stronger. There will be more investors coming because the strong peso earned will compensate their efforts. The BSP argues that the peso surge is but temporary. Market forces will eventually force the peso to seek its level. Overseas workers are the ones responsible for the strong peso. When remittances slow down the peso will depreciate. There is a tendency for the overseas workers to live permanently in the place where they work if the government of the country will allow. The sad part of the business is that even if the peso appreciates, it is never felt locally. Local prices will remain the same. Take for example oil products. If the world market for liquid petroleum gas rises, our local prices rise along with it. If it falls the peso price for Liquified Petroleum Gas (LPG) will remain the same. Even if the peso appreciates, there is still no roll back in LPG prices. There must be something wrong with our economics. Perhaps we would be much thankful that the peso appreciates. We are an importing country. Since birth we have been conditioned to believe that anything imported is excellent. Imported wines, whiskeys, cigarettes, chocolates, perfumes and cars are better appreciated than local products. With the appreciating pesos, plus the General Agreement on Trade and Tariff all imported luxuries will now be within the reach of the locals. The incoming dollars will go out again. Our overseas workers will have to stay longer if not forever just to keep our economy afloat. While economy is on the rise, we do not institute measures to keep it up. Our economic planners must pull their acts together. We still are not aware how the strong peso affects the small and medium enterprises. If there is any benefit from the surging currency, the influence must be felt locally in any way otherwise the natives will never be able to benefit from the situation. Is the surging peso beneficial or detrimental?