Analyzing “Who’s Afraid of Virginia Woolf” an Example of the Topic Psychology Essays by

Analyzing â€Å"Who’s Afraid of Virginia Woolf?† The psychoanalytic theory as described by Freud recognizes that neurotic behavior is not accidental or insignificant but instead goal-directed (Fisher abnormal adult behavior. Moreover, Freuds theory of psychoanalysis transformed and modernized our attitudes towards mental illness, culture, sex, and religion (Appignanesi & Zarate, 1992). Need essay sample on "Analyzing Whos Afraid of Virginia Woolf?" topic? We will write a custom essay sample specifically for you Proceed At the core of this theory, which touches on childhood development is the Oedipus complex, which as described by Freud is a boy's close relation to his mother (Fisher, 1985 p. 12). This close relation, which is considered to be the primary love-object, bring about a desire for total union with her. On the other hand, this complex states that a girl, who is likewise emotionally involved to the mother and hence caught up in a "homosexual" desire, commands her libido toward her father (Fisher, 1985). Therefore, this situation creates a triadic relationship in spite of one's sex, with the parent of the similar sex cast in the role of a competitor for the affections of the parent of the opposite sex. Undergraduates Very Often Tell EssayLab specialists: How much do I have to pay someone to write my paper online? Essay writer professionals advise: Buy Papers Online Then, according to Freud (1991) because of the boys fear of being castrated by his father, he will ultimately end his incestuous desire for his mother (p. 314). Hence, the boy is forced to repress this desire and becomes accustomed to the reality principle (Appignanesi s road in the course of the oedipal stage is far more problematic as regarded by Freud. According to this view, when the girl realizes that she is castrated and therefore inferior, the girl turns away from her likewise castrated mother and tries to seduce her father (Stoller, 1992). When this tactic fails, she goes back to the mother and relate with her feminine role. Nevertheless, the girl still resents the penis that she will never have; hence, she instinctively uses instead a longing to have her father's baby. Obviously, this theory demonstrates little insight into femininity and the experience of women (Stoller,1992). Furthermore, this theory also believes that the unconscious is considered to be that part of the mind that stays outside the rather porous and unclear boundaries of consciousness, and is established partly by the repression of that which is excessively painful to linger in consciousness (Fisher & Greenberg,1977). An advantage of this theory is that Freuds concept is different form earlier concepts bout psychoanalytic theory because earlier concepts disregarded behavior and instead searched for a physiological justification of this so-called abnormality (Fisher s view was useful in the sense that by way of looking for the reason behind the supposed abnormal behavioral patterns, the psychoanalyst was provided a new approach for understanding behavior as informative and significant, without renouncing its physiological effects. However, some of the disadvantages of this theory are first, Freuds claims are neither falsifiable nor verifiable (Cioffi, 1998). Next, his theory is founded on an insufficient conceptualization of the experience of women (Cioffi, 1998); and lastly, I think that Freuds theory exaggerates the role of sexuality in human psychological experience and development. The psychoanalytic theory is used in theaters to unravel certain complexities or obscurities of gender relations in plays or dramas. Psychoanalysis is regarded as a usefully tool in decoding the iconography or meaning of the play but it also the end leaves the audience trapped within a repetitive structural unconscious (Mulvey, 1981). Moreover, sexual relations in plays are viewed as re-presenting pre-existing sexual relations in the real world (Mulvey, 1981). The play Whos Afraid of Virginia Wolf? written by Edward Albee (1981) digs up all neurotic fixations with the intention of revealing the motivating psychotic anxieties that neurotic behavior dislodges and contradicts. The objective in writing this essay aboutplay is to reach the core, or to depict the deepest layer of human conflict thereby disclosing how it drives the play by challenging every game, which the characters play in an attempt to run away from it or control it. In staging a play, the formation that develops is consequently a practically psychodrama of aggression as the power that governs the psyche. Hence, as it discloses the language games and reveals the roles, which couples play in maintaining the supposed great institution of marriage, the audience of the play is put through a persistent outbreak or upsurge of anxiety. According to Rabinowitz (1987), this is considered to be the process in which the play captures the audience or the guests and not merely the two actors or characters who find themselves before a live audience. In this play, George and Martha are considered to be a proper match of enormous opposites for the reason that aggression has for each a separate dialectical telos (Trilling, 1975). On the one hand, the objective of aggression for Martha is to remove masks trusting that by means of this process she and George can reclaim human contact. In any case, this is considered to be Marthas claim. On the other hand, aggression for George is regarded as the fulfillment of death-work or the effort to strip off everything, which shields us from the emptiness. Therefore, Trilling (1975) said that the difference between George and Martha could be considered as the difference between one who oedipalizes disagreements or arguments with the intention of protecting against a deeper failure and one who dramatizes the deeper psychotic anxieties that oedipalization supersedes and renounces. For instance, George goes for the crypt whereas Martha stays at the meat of things. During the course of the play, the subject of psychosexual identity is put in a perspective even more militant or revolutionary than the one Tennessee Williams established in Streetcar (Little,1981). Martha regards violence as a turn-on, and twice early in the first act she appears to be eager to let it all soften in love play; however, George declines to kiss her and hence Martha shortly says she only wishes for "blue games for the guests" (Albee, 1981 p. 59). Hence, it can be observed in the play that Georges desire inverts Marthas, and that aggression does not prepare for sex, and that sex breakdowns prior to the greater pleasure of aggression. In relation to the psychoanalytic theory and as his autobiographical narrative illustrates, George is intensely aware that on the deepest psychic register we are all possibly by now dead. This means that our oedipal games are efforts to conceal that fact (Searles, 1960). Nevertheless, if the psyche is to know the truth concerning itself, it should be put through the psychotic anxieties that comprise the so-called fear of Virginia Woolf. Hence, for George, the goal of aggression is to create a regression that is not governed by the ego. This power or driving force provides George his dual roles, which are his identity as embassy of death and his power as truth-teller. Hence, in this paper, it is my attempt to show that Georges agency is a force that pushes the play on the way to awareness, which uproots every illusion. Personally, I think that the efforts of analysts to invalidate George's work and release the anxiety he sets free by way of decreasing his agency to a neurotic motive is not the answer to the danger he causes but rather a defense mechanism which itself fails within the play beneath the contemptuous assessment he focuses upon it. Even if George might carry out the right act for the wrong motive, that does not revoke the psychologically revelatory condition of the results. According to Trillling (1975), George is that psychological power which puts into effect psychosis as the essential beginning to any understanding or restoration of the self. Thus, as death-work, George creates a phylogenetic regression that strips away all intrapsychic formations that saves us from Munch's howl (Searles, 1960). One will observe that the drama in which George and Martha are connected is a progressive exposure and deterioration into the crypt. Hence, it is wrong for a person to view it merely as a recurring thrust and counterthrust of oedipalizations because every endeavor Martha makes to replicate that process exposes deeper disorders. Little (1981) said that it is as if the oedipal were an enormous camouflage, a hoped-for finish. Therefore, its collapse, by way of its own means, is the proper source of drama. In connection with the psychoanalytic theory, for a person to understand this process, it is vital or imperative not to over interpret the initial structure that conflicts take, because one will overlook Albee's skill or ability at dramatizing the unconscious of the characters of his play. I believe that this is particularly the situation with George. In Act 1 of the play, George causes plot volatilities that he and the play merely gradually catch up with (Albee, 1981). Trilling (1975) said that one of the ingenious magnificence in this play is that George and Martha make use of every available prop to initiate new games that will change the terms of the previous drama. This means that both of them continues redefining the theatrical space, yet in a constant manner, since every redefinition continues and makes an clear term of conflict what was subtext frequently by intense denial in the earlier movement. One will observe that as the conversion of the theatrical space proceeds, a scene of insult turns out to be a scene of seduction that then happens to be a scene of mutual betrayal, and so forth, until one will ultimately reach a scene of ritual murder with the identity of the victim thoroughly overdetermined. Therefore, I was able to realize that to be able to truly comprehend the psychodynamics of the play, it is critical to evade premature interpretation of motives and character for the reason that the depth psychology of every agent is exactly what the play's movement will disclose. So, why is the psychoanalytic theory shown in a play, which is considered to be an academic setting? According to Rabinowitz (1987), a play regarding unconscious envy and the anxiety it dislodges could barely find a better environment. Rabinowitz (1987) claimed that academe is the fortunate place of that drama and of its arduous and exhausting denial. He further said that in the academe, people are considered to be very petty since the stakes are extremely small. The positive aspect of this condition is that small stakes can happen to be the Hegelian battle for absolute esteem. Therefore, academe is first and foremost a battlefield of genuine psychic needs and disorders pursued by way of a continuous play of surface texts. In this play, I think that Albee considers the idea of Aristotle that structure is the soul of tragedy (Telford, 1965). Hence, Albee follows this concept and makes method of it. Therefore, the play follows the dialectical interrelationship of the four structures of marriage and two alternatives that comprise modern marriage and then stages the movement due to which these structures go by in their long night's journey into emptiness. Consequently, every time a couple is exhibited, their conflict includes both the force of the past, which are the parents and the likelihood of the future, which is the child caught in the staging of their oblivious struggles that are aggravated the moment another couple emerges. Albees play considers these four structures follows them through staging the two alternatives whereby couples can be connected with their conflicts and struggles, whether aggressively or actively, as with George and Martha, or submissively and by evasion as with Nick and Honey. Trilling (1975) maintained that the secret in so doing disclosed is the absence of difference. She also said that the plot of the play is the compliance of these structures and choices to the drama of aggression/regression as an irreversible procedure due to which the truth outs, leaving the dramatis personae stripped of all illusions regarding themselves and their roles. In clonclusion, I believe that through his play, Albee has performed the best game in town, which is to get or capture the guests or audiences. And if we relate it to psychoanalytic theory, audiences or guests are captured best when they are aware about it least or deny it most vigorously. As what Rabinowitz (1987) said, great plays aspire to occupy dwelling in the Unconscious, considered as the place where nothing sits still. This means that when the conscious mind fights back that internalization, it simply reifies the nondialectical aspect of its agency, by this means creating by reflex an Unconscious that is more passionate in its operations, on account of the repudiation to identify all the means in which we dance to its tune. Rabinowizt (1987) asserted that the greatest play and the most demanding analytic practice could not change that reality. References Albee, E. (1981). Who's Afraid of Virginia Woolf? New York: Atheneum. Appignanesi, R & Zarate, O. (1992). Freud for Beginners. Icon.. Cioffi, F. (1998). Freud and the Question of Pseudoscience. Open Court Publishing Company. Fisher, S. (1985). The Scientific Credibility of Freud's Theories and Therapy. Columbia University Press. Fisher S., and R. Greenberg. (1977). The Scientific Credibility of Freuds Theories and Therapy. New York: Basic Books. Freud, S. (1924). The dissolution of the Oedipus complex. In A. Richards, (Ed.). The Penguin Freud Library Volume 7. On Sexuality. Three Essays on the Theory of Sexuality and Other Works. Sigmund Freud. (1991, pp. 314-322). Australia: Penguin Books. Little, M. (1981). Transference Neurosis and Transference Psychosis. New York: Jacob Aronson. Mulvey, L. (1981). Visual and Other Pleasures, Theories of Representation and Difference. ed.Teresa de Lauretis. Bloomington: Indiana University Press. Rabinowitz, P. (1987). Before Reading: Narrative Conventions and the Politics of Interpretation. Ithaca, N.Y.: Cornell University Press. Searles, H. (1960). The Nonhuman Environment in Normal Development and in Schizophrenia. New York: International Universities Press. Stoller, R. (1992). "Presentations of Gender." Yale University Press. Telford, K. (1965). Aristotle's Poetics: Translation and Analysis. Chicago: University Press of America. Trilling, Diana. "The Riddle of Albee's Virginia Woolf," in Edward Albee: A Collection of Critical Essays, ed. C. W. E. Bigsby (Englewood Cliffs, N.J.: Prentice Hall, 1975).

Chinese Three Mafia essays

Chinese Three Mafia essays I. The Chinese mafia began in order to overthrow the Han dynasty. A. The group started by helping the people fight against mistreatments sone by the government. B. The group operates on a simple hierarchy system that has been used for hundreds of years. C. After the end of the Qing Dynasty, the groups became split on what to do. I. Triads came to America during the late 1800s A. Tom Lee was the founder of one of Americas first Triad groups. B. Mock Duck created a second group which started war between the two factions. C. Technology has helped the Triads become more efficient criminals. I. In modern times, the triads have broadened their business to include prostitution, imigration, money laundering, opium A. Illegal immigrants are often shipped here under poor conditions B. Woman are forced to either work prostitution or even become a slave house wife. IV. The Chinese mafia is currently a powerful force that holds dire consequences for those who cross them. A. Businesses that have the words tong or society can be suspect of having triad ties. B. Triads often hide as corporations to conceal their identities. C. Agencies from all over the world are trying to stop triads illegal actions. V. Overall the group preys on the weak and should be avoided. The Chinese Mafia or Triads as they are commonly referred as, is one of the oldest and most powerful organizations in the world. Since 200 years before Christ, it has been controlling everything from business to the individual, yet it masquerades as an organization for the people. For the past few decade's agencies have been trying to battle the organized crime syndicate, but little ground has been made. The Triads have gone through many changes as time has progressed. First starting as a rebellion, a crime ring, and now a powerful force that has many agencies trying to track its every move. In the beginning...

Critical Paper of Let's (Not) Get Physicals Essay

Critical Paper of Let's (Not) Get Physicals - Essay Example For example, she seems to shift blame for the situation to doctors and patients and leaves out key players such as the government and insurance companies. Rosenthal attempts to convince people on the need of not having physicals, especially when the checkups become recommended by doctors and then get approved by insurance companies. Rosenthal, at the beginning of her article, states that she completed medical training in late eighties. This may validate her ability to make distinguishing arguments for or against some medical checkup procedures. As such, she argues that various health tests are irrelevant and sometimes harmful to the patient. Her article reflects on tests that yield false positives on the first instance, therefore, facilitating the need for further tests. An example of convincingly harmful procedures includes X-rays which expose patients to radiation and over time can lead to health complications. Other medical tests such as blood screenings are intrusive and unnecess ary. For instance, the United States Preventive Services Task Force does not recommend antigen specific blood screening to identify prostate cancer. Nonetheless, close to 80% of urologists still think it is necessary. Rosenthal cites studies by the Canadian government task force in 1979 that provide evidence on the irrelevance of the standard head-to-toe annual physical. The results from these studies show that the tests a) do not yield efficient diagnosis or results and b) may expose patients to harmful, intrusive procedures. However, the author does not clearly articulate whose fault it is that the tests are not accurate. Furthermore, Rosenthal’s thesis mentions potential harm to the patient, but she seems to fail in outlining the clear dangers of engaging in medical checkups. In her article, Rosenthal speaks of how some procedures are pointless and need to be wiped out from the medical practice. In addition, she insists of some laboratory tests being useless as moreso end up giving false positives hence hindering diagnosis of the real diseases. Furthermore, she continues by mentioning the pointless nature of screening tests as some do not have any influence on the progression of a disease in illnesses that do not have effective treatment. She goes further to give an example of how CT scan can be harmful to a patient through the radiation that it emits, though medical personnel still use it. She emphasizes that there are quite a number of procedures and tests used in diagnosis and screening of certain diseases, but in real sense, also contribute in causing harm to that given patient. Moreover, Americans spend well over 300 billion dollars on unnecessary tests or treatment each year. Rosenthal also quotes Dr. Ateev Mehrotra, assistant professor at the University of Pittsburgh School of Medicine, who estimates that unneeded blood tests alone consume close to 325 million dollars a year. The excessive amounts of money spent on medical checkups reflect on the agenda of most doctors and hospitals. Rosenthal reports that doctors and hospitals prefer that patients spend more during medical visits because this is a sure way of making a profit. Another contributor to the inflating cost of healthcare is insurance. This article claims that medical insurance ends up paying large portions of bills for patients with coverage. This economic stimulus is dangerous

Chemical Castration of Pedophiles Essay Example | Topics and Well Written Essays - 19000 words

Chemical Castration of Pedophiles - Essay Example The author assumes that the most seriously sexuÐ °lly deviÐ °nt individuÐ °ls Ð °re now to be held in psychiÐ °tric hospitÐ °ls or speciÐ °l fÐ °cilities for the treÐ °tment of their sexuÐ °l deviÐ °tion. It is these individuÐ °ls who need to be treÐ °ted using Ð ° chemicÐ °l Ð °pproÐ °ch in Ð °ddition to cognitive behÐ °viouriÐ °l therÐ °py. At the end of the study the author comes to conclusions and gives his recommendations. ChemicÐ °l cÐ °strÐ °tion therÐ °py is Ð °n effective tool in reducing the overwhelming libido of the sexuÐ °lly motivÐ °ted non-violent pedophile. The goÐ °l of treÐ °tment is not ultimÐ °tely to chÐ °nge the sexuÐ °l preference of the pedophile, but rÐ °ther to blunt his erectile cÐ °pÐ °bility Ð °nd sexuÐ °l drive so he no longer poses Ð ° probÐ °ble threÐ °t to potentiÐ °l child victims. It is cleÐ °r thÐ °t child victimizÐ °tion hÐ °s reÐ °ched epidemic proportions in this country, Ð °lthough lessening in re ported numbers in recent yeÐ °rs. For this reÐ °son, stÐ °tes need to look to chemicÐ °l cÐ °strÐ °tion therÐ °py Ð °s Ð ° viÐ °ble Ð °lternÐ °tive to lengthy incÐ °rcerÐ °tion Ð °nd Ð ° step in the treÐ °tment of the biochemicÐ °l cÐ °uses of the pedophiles sexuÐ °l deviÐ °ncy—his unusuÐ °lly high sex drive Ð °nd corresponding levels of testosterone. LegislÐ °tures need to be cognizÐ °nt thÐ °t Ð °lleviÐ °ting the sexuÐ °lly motivÐ °ted criminÐ °l pedophile from his unusuÐ °lly high levels of testosterone might be the most humÐ °ne form of treÐ °tment. In doing so, stÐ °tes need to be respectful of the bÐ °sic fundÐ °mentÐ °l rights of the sexuÐ °l offender. The protection of the child victim should not leÐ °d to the victimizÐ °tion of the pedophiliÐ °c sex offender.

Wings of desire. Analysis of the Film Essay Example | Topics and Well Written Essays - 750 words

Wings of desire. Analysis of the Film - Essay Example Each and every city has a history. Human nature is characterized by dynamism and this is reflected on all what surrounds man. Berlin is a no such exception city as it can be read from two dimensions, i.e. visible and invisible. In the film, â€Å"Wings of Desire†, a number of features, which will be discussed later in this paper, prove to be imminent. Art being a reflection of the society, â€Å"Wings of Desire† is a reflection of the life style and depiction of the Berlin city. This city is interesting and has had a capability of combining all the factors that mould a modern city having elements of the past that shape its future. Whether this city is purely real, hyperreal or surreal or may be purely an invisible depends on the spatial history it presents and the different landmarks which show themselves. The wings of desire present two dimensions of the Berlin. Visible Dimension Berlin City can be viewed from the visible dimension. When you visit this city as the film shows you are in a position to see the wall that separates the East and the West of Germany. For many years, this wall has been a real depiction of where this city has come from. It harbors a rich history and this film presents the wall as a site for memory. The wall goes round the City. When people saw the wall, because it was brought down after the shooting of â€Å"wings of desire†, they would have a recap of what happened to their country leading to the separation of East and West Germany. The essence of reality is more felt when the meditation of the history with which this wall carries is effected by first sight this historic feature. For this reason, this wall acting like a landmark feature that was passed on from generation to generation then the sets Berlin city to have the characteristics of realism. A real city has its history attached to the available landmarks that might be manmade or natural and this is something which Berlin clearly presents through the wall. Berlin City has features that tend to embrace idealism. This is a visible dimension whereby subliminal regime is created. Berlin City has special functions for the bridges whereby symbolism and rich history is embedded on them. The bridges link and act as frontiers. It is this feature that makes them very ideal for writing history on them that when people pass by, they can have a look at it. Often the streets, as depicted in this film, have few people with stereotypes of metropolis taking a lead. In addition, the houses together with the streets happen to be anonymous and this presents a rather hard to puzzle situation. The canals clearly confirm that this city is a real metropolitan centre giving life to the surreal ideologies. The ideologies of hyperreal cities bring in the power of imaginations and through the imaginations decisions can be made. A perspective is drawn and Berlin has created search a setting for the world to see. Though luftschutzbunker is a standing remnant of th e effects of World War II, it offers a moment of reflection. A thought of today are imaginatively shifted to try to figure out how yesterday would have been if it were today. This can be described as fiction, something that can only happen in movies and films and this is what basically entails hyperreal cities. The library preserves information. As a visual phenomenon of the Berlin City, it has been distinguished for memory purposes. Not that the Homer does not have the information he really ought to know but rather chooses to opt for memory so as to exploit the excellence which comes along. As depicted, in the film, the library is the place believed to offer angels’ gathering point and excellence is much emphasized. Memory refreshment is the key goal. Invisible Dimension For Berlin, features of invisible dimension are eminent. History has proven that, whatever is seen can communicate more if a little of thoughts are engaged. This is the situation which confronts anybody whol e

Classical hollywood systems

Classical hollywood systems ABSTRACT: The main objective of this course work is to provide various similarities and differences in the classical Hollywood systems. The classical version of the Hollywood studio systems are roughly between 1910 and 1960. Though its the longest period to evaluate, the films between 1930 and 1949 are considered. There are huge number of studios are present in the Hollywood cinema where only few studios exist from the beginning. The two major film studios are UNIVERSAL STUDIOS and WARNER BROTHERS. In this project, these 2 studios are analyzed in detail. In particular their studio systems, similarities and differences in their style of film making. WARNER BROTHERS: Warner bros studios were found by four brothers harry warner, Albert warner, Sam warner and jack warner. The four brothers were Jews emigrated from Poland. They started the business by having a own projector. The projector was used for the exhibition business. The first theater was opened in Pennsylvania in 1903. In the initial stage, they begin to produce some ordinary movies to bag success. Getting successful response from the people warner brothers started thinking differently with sound, color and style. The movies produced before are soundless motion pictures. This sound movies was the idea gave by the youngest Sam warner. Initially the request was not been accepted by harry. But to produce movie at different area, the request was acknowledged. Screen play was the division which was concentrated more by the warner brothers. Their ultimate goal was to explicate the art of screenplay in classical Hollywood cinema. Warner brothers divided the studio system into various tasks such as directing, sound, cinematography, art direction, story acquisition and editing. The screenplay was further divided into discrete tasks such as synopsis, treatment continuing, shooting script conclusion. These categories are evenly distributed among three writers while a writer can easily concentrate on a particular field. 1930 to 1950 is the golden period for warner brothers. Because they categorized the motion pictures into various genres. Such as Crime Gangster Horror-detective-murder Comedy Womens films Western Musical War Social drama Prestige movies. To illustrate important variations in narrative form each and every category was chosen. The gangster movies were produced based on the social problems. The myth of success was the first influence defined America as an open classless society. The second influence was the boss politics and the third influence was prohibition. Some example for the successful gangster movies are 1931-Little Caesar 1931-Public enemy 1932- Scarface 1933- Blondie Johnson. Considering the first category, James Cagney dominated the genre during 1930s. In the second category dark streets, bars, clubs, penthouse apartments and some stations are shown as a genres vital part. The third category shows the gangster as a modern city man and holds most of the parts on his own. The myth of the G-Man is the movie which enforces the stiffer production code. This major turn back is considered to be the second cycle of gangster pictures. In 1936, bullets or ballots shows the same gangster movie but shown in a different context such as the hero joins the gang and works as an undercover and destroys the gang. As far as social dramas, the black fury was the first movie which has been released in the year 1935. This movie reveals the dramatized labor and industrial unrest. Basically social dramas fells into three categories. They are social consciousness, yellow journalism and working mens movies. The social dramas as a production strategy was eclipsed by problems of greater concern during the 1940s as America entered World War II. The next genre is musical movies. Warner brothers produced all kind of movies in a certain time span. The first musical movie was produced in 1926. Jazz singer was the first musical movie which was directed by Alan Crosland. In 1928, the singing fool was created by warner brothers. As a variation of the gangsters genre, warner brothers potentially find a perfect formula as crime movies. Warner uses the same stars as gangster movies as well as crime movies. Among crime movies, prison pictures are very popular. The first groups of prison movies were produced during 1930s and 1933s. The second group of crime movies in 1936. Alcatraz Island in a movie with more action sequences and was a good tough movie. The next important genre was war movies in which warner brothers concentrated more because of spirit. From 1915 to 1970 warner brothers created more and more war movies which virtually shows the American fighting as determined, brave and successful. After the first world war, the war genre enters the outbreak of hostilities in Europe. These movies depicts Tolerance to intolerance Progressivism to reaction Pacifism to militarism. During the interval between the two world wars, warner started producing patriotic movies with admiration. UNIVERSAL STUDIOS: The toughest competition for warner brothers during their production is universal studios. Universal pictures concentrated on a very few genre movies such as Womens movies Detective movies Horror movies Western movies. Though womens movies are consigned to a very minor status and not all the studios took risk in producing such movies. This genre movies was mostly produced between 1935 and 1950. These years gave more womens movies in which all credit goes to universal studios. The womens films antecedents are found at melodrama and these genres were not developed until 1920s. The genre appeared to be different in various studios. In 1940, universal studios decide to develop some noir womens film. This second phase was considered to be an amalgamation of the personal taste of universal pictures. Some elements sustains womens films. They are Flashback sequences Cynical themes Voice over narration Realistic action Lighting techniques and Expressionistic camera. Universal studios now have the thought about horror movies. Dracula and Frankenstein were the movies which attains a greater success during thirties. Then the company begins to unleash the mummies and werewolves. These horror movies begin to haunt the people. This encourages directors and the universal studio to create various monsters based movies with completely different thought. Mystery of the wax museum was a sequel and it is a modern horror film. During these productions, some original stories are planned to make as a movie. These kind of plans gave some good movies to Hollywood cinema which are even perfect in the present technical world. During the thirties, detective movies did some good service to not only film producers and the audiences as well. Sherlock Holmes did the job to universal pictures whereas the thin man series for MGM. Sherlock Holmes becomes a model for all directors for making a detective movie. Aiming at juvenile audiences, universal pictures produces a lot of Nancy drew and torchy blane movies. Nearly nine movies were represented by torchy blane who stars with Glenda Farrell. On the other hand, the Nancy drew series were starred by Bonita Granville which was adopted from a novel of Carolyn Keene. There are four movies in this series and all were directed by the same person William Clemens. Murder movies are the next front line genre which attains success because of the thrilling and mystery sequences present in the movie. Western movies are the most richest and enduring genre in Hollywood. It consists of a heroic story with some visual elements and narrative formats. The only genre whose life span is long is the western movies. Even though the genre face a strong set back due to the lack of technical factors. SIMILARITIES: We have discussed about various genres and movies in the previous sections. Those films are produced in two different studios and they possess different qualities. Now let us discuss the common factors that these studios possess and how these factors made them common. Filmmakers developed formal methods that made shooting relatively quick and easy: Shoot whatever scenes are most economical to shoot at a given time (shoot out of Sequence when necessary) Cover any given sequence from as many different angles as possible and with multiple Takes of each angle to give the producer and editor a lot of material to choose from Edit the material to create linear continuity, cut on movement, and keep eyeliners matched (Maintaining the direction a person is gazing from one shot to another). Among various genres, both universal studios and warner brothers pictures use some common genre movies. War, musical, women, western, horror is some of the common genres. Cross cutting is a vital device used for continuity style. This technique was used by both the studios. The main objective of this technique is to increase the tension during narration. Meanwhile is a simple narrative technique which is literary equivalent to cross cutting. The cross cutting technique used for the story line at the time of introducing two leading characters in a movie and intriguing way. The next common aspect is point of view shot. In this technique, editing is important device used by filmmakers to create good audience identification with the film characters. It replaces the audience in place of main character in the movie. This technique is common for the horror genre in which the director often places the viewer within the viewing position of the monster. The next similarity will be cinematography. The key feature in this technique is three point lighting. These classical studios are the good example of three point lighting. In order to light the subject, key, fill and back lights are used. Three point lighting scheme is the commonly used lighting scheme and it helps us to enable and understand how lighting gives good effect on ones perception of a character. The key light is used as a common source of illumination. Even though another light will be needed. So in order to cover the areas of darkness and to soften the shadows, the key light contains cast. It is called as fill light which is a secondary source. The combination of key and fill light should be supplemented further. The back light which is the third source provides necessary depth and placed above and behind the subject. High key and low key lighting are the common divisions of the lighting techniques. These are some similarities between the two studios. DIFFERENCES: The two studios namely warner brothers and universal pictures had some similarities. But they possess some differences too. Some common differences are Setting Props Costume, Hair and Make-Up Movement, Positioning and Performance Lighting and Cinematography. Settings are mostly backgrounds but they are integral to atmosphere creation and narration building in a movie. In some rare cases, a location or building can be considered as a character in the movie itself. Props are the objects which can be viewed within the movie world. it also forms some integral part in the action of the film. It also carries some symbolic meaning. Costume and makeup plays a vital role in a scene because it can provide immediate sense and their status in the movie. They also give an instant idea of what period that the film is set. Movement, performance and positioning of characters within a frame is important for both characterization and narration in a film. Positioning can be utilized as an indicator for people relationships. Performance includes the expression coming from the actors face and body language. The feelings and emotions can be identified through performance. These are some common factors that these film makers differs in their way and let us see some more technical factors in which they differ while making movie. Camera framing: There are 3 key areas in camera framing. They are shot type, camera positioning and camera angle. Shot type refers to the positioning and distance between the camera and its subject. Camera positioning indicates the presence of the camera. High angle and low angle are the two camera angles. Camera movement: panning, crane, tilting, zooming and tracking are the divisions in camera movement. In panning, cameras move from side to side. Crane is used for lifting cameras which will be mounted on it. Tilting makes camera move up and down from fixed axis. These are the key areas in which both the studios differs in film making. CONCLUSION: After discussing about various factors, it is clear that not all the aspects are same for all the studios. Warner brothers involved in many film productions in different genres. But the universal studios produce few genre movies. This essay clearly gives the information about the key principles in film making and their efforts to bring their thoughts to screen. Later on, we discussed about the similar facts that these two studios possess. There is some technical differences in implementing them. REFERENCES: http://docs.google.com/viewer?a=vq=cache:ySBtrN746HQJ:www.digitalfilmarchive.net/clda/moving_image_arts/film_lesson_plans/documents/ALLlessonplans.pdf+classic+hollywood+cinema+stylehl=engl=ukpid=blsrcid=ADGEESjPLijkM8_RBqQ3o0l7ZexF-Rq7DNB1dhjvn37r0ijZPrIS7rDvR1ljfjXEb9CDnHfZXo4bE8MqmUEj9Ivk6b-yaV-Y2YnQuVm_CXNQRiB-ALlq9FwyIPdC-qS4CaJPHVh2Cj7msig=AHIEtbSCneArhSdp0RNFHyFA0YZt9B8Kqg http://en.wikipedia.org/wiki/Universal_Studios http://microformguides.gale.com/Data/Introductions/20560FM.htm http://www.filmreference.com/encyclopedia/Criticism-Ideology/Genre-THE-CLASSIC-STUDIO-SYSTEM.html http://en.wikipedia.org/wiki/Classical_Hollywood_cinema http://www.fathom.com/course/10701053/index.html http://screen.oxfordjournals.org/cgi/pdf_extract/27/6/74 http://www.uoregon.edu/~jlesage/Juliafolder/CLASSICALNARRATION.HTML http://knol.google.com/k/classical-hollywood-cinema-film-style-analysis-of-the-crowd# http://www.umsl.edu/~gradyf/film/classhollnarr.htm

The Gym Essay -- Descriptive Essay Examples

The gym where I train and workout, the Dubuque Martial Arts Group, is a place where I know who I am. It is a place I can go to escape my problems for a while and release some stress. It's not the actual physical building, but rather the events that have occurred there over the years. It's where I have formed some of my closest friendships. It is the place I have invested years of hard work for many of my accomplishments. To some it may seem odd that a place associated with sweat, blood and physical pain mean so much to someone. However, in my eyes it's almost like a second home. Â   A certain familiarity is developed over time that makes it home. Sitting here I can vividly picture being there. I drive my car into the pot-hole filled parking lot off the highway and park in the same spot I always have, people just seem to know that's my spot. Walking around to the back I open the brown door and enter. The familiar damp smell of sweat still pierces my nose when I walk into the hallway even after all these years. The rhythmic beating of the speedbag and clanging of the punching bag hanging from the ceiling echo through the hall. When I walk into the gym I see our instructor Dean with his long dreads sitting at his desk talking on the phone. It sounds as if he is trying to set up some fights for us. I turn my head to the left and see everyone doing their own thing. Chris is kicking the stuffing out of the heavy bag, he thinks he's such a bad-ass. Mitch and Don are goofing around as if they were fifteen, even though they're almost forty. Stretching out is Cara, she's the only female fighter but I wouldn't mess with her. Â   I head to the locker room to change my clothes. In the locker room are Dan and Jason. I say hello an... ...ng side of it tend to invest much more time and effort into what we do there. Therefore we spend a lot more time together than with any of the others. A unique bond forms between us. We are almost like a family. We know what each of us goes through while we are there. We all know what it feels like to work ourselves to exhaustion night after night in preparation for a fight. We know the dread of waking up before the suns up to run. We know the feeling of stepping into the ring in front of a thousand pairs of eyes looking only at you. We know what it feels like to look across the ring and stare into the eyes of a man who would like nothing better than to knock you out cold. We know the adrenaline rush followed by the ring of the bell. Only we feel the pride accompanied when our hand is raised in victory, or the disappointment of having it left hanging in defeat. Â