...Classism and Racism A Narrative Analysis of Paul Haggis’s Film: Crash By: Alexis Couillard Introduction: In 2004, Paul Haggis directed the Oscar winning film crash, a drama about race and class and its effects on those residing in Los Angeles, California. This film paints a vivid picture of the harsh reality that classism has and will always exist and it is intertwined with racism in this film and in our realities. This film promotes racial awareness which is a topic not typically seen on the big screen and it demands a close inspection. Haggis wanted us to understand each character and to see them as real flesh bleeding humans that make mistakes and aren’t perfect. We see different races involved in the film such as African American, Persian, Hispanic, white and several Asians. Each scene intertwines with the next and we find out that all the characters are connected in some way or another. This technique of the characters being connected keeps the viewers on their toes. The audience is not stuck on one story or scene for too long. An idea or event is presented from the perspective of one person or family, and then the same event is expanded on by another characters connection to that particular event. Different ethnic stereotypes and racial prejudices are presented within the film such as the so called “gangbanger” who has tattoos and is Hispanic, and the black man who steals cars Anthony aka “Ludacris”. The director delivers and promotes this awareness but...
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...the main character, who is the father. The story is described through the father’s point-of-view, which can be seen by the big insight the reader is given, on the father’s thoughts and feelings, during the story. The narrator use ‘he’ in relation to the father, which clarifies that it is a 3rd person narrator. The narrative technique contributes to create a personal impression of the father, and creates a relationship between the reader and main character because of the knowledge that readers are given during the story. “For some reason it made him happy, and he hadn’t been happy for a while” The techniques also force the reader to feel compassion for the father, because we know his thoughts and feelings. The readers do not get an insight on the son’s thoughts and feelings, and we do not know what his attitude towards the situation is, therefor it creates a distant relationship between the son and reader. Another narrative technique, that contributes to create distance to the son, it the narrative mode of description. The short story contains many descriptions during their event, and the narrative mode is very observing and describing “When the boy walked back to he car, he swung the door open for him, then reached over and pulled the door shut, and bumped out on the empty road..”. . The short story consists of indirect speech where it appears...
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...N I N G O B J E C T I V E S 10 1. Identify the purpose and structure of narrative writing. 2. Recognize how to write a narrative essay. Rhetorical modes simply mean the ways in which we can effectively communicate through language. This chapter covers nine common rhetorical modes. As you read about these nine modes, keep in mind that the rhetorical mode a writer chooses depends on his or her purpose for writing. Sometimes writers incorporate a variety of modes in one essay. In covering the nine rhetorical modes, this chapter also emphasizes these as a set of tools that will allow you greater flexibility and effectiveness in communicating with your audience and expressing your ideas. rhetorical modes The ways in which we effectively communicate through language. 1.1 The Purpose of Narrative Writing Narration means the art of storytelling, and the purpose of narrative writing is to tell stories. Any time you tell a story to a friend or family member about an event or incident in your day, you engage in a form of narration. In addition, a narrative can be factual or fictional. A factual story is one that is based on, and tries to be faithful to, actual events as they unfolded in real life. A fictional story is a made-up, or imagined, story; the writer of a fictional story can create characters and events as he or she sees fit. However, the big distinction between factual and fictional narratives is based on a writer’s purpose. The writers of factual stories try to recount...
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...activities. They also vigilantly manage their own human capital, endeavoring to give both work and home their due over a period of years, not weeks or days. That's how the 21st century business leaders in our research said they reconcile their professional and personal lives. In this article we draw on five years’ worth of interviews with almost 4,000 executives worldwide, conducted by students at Harvard Business School, and a survey of 82 executives in an HBS leadership course. Deliberate choices don't guarantee complete control. Life sometimes takes over, whether it's a parent's dementia or a teenager's car accident. But many of the executives we've studied men and women alike have sustained their momentum during such challenges while staying connected to their families. Their stories and advice reflect five main themes: defining success for yourself, managing technology, building support networks at work and at home, traveling or relocating selectively, and collaborating with your partner. Defining Success for Yourself When you are leading a major project, you determine early on what a win should look like. The same principle applies to leading a deliberate life: You have to define what success means to...
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...1) I believe that although there is no dialogue or actors in this film, there is still a discernable narrative that guides the film. The first shots in the film are entirely of naturally occurring landscapes and phenomenon that occur on Earth. Although no dialogue is ever spoken, the music combined with the scenic nature shots create a sort of “build up” to the next element introduced to the film, humans. The narrative throughout Koyaanisqatsi, seems to be a reflection of the increasing impact that sentient life has on a planet. It is interesting, however, to observe which footage Reggio used to depict this mounting involvement of humans and technology into the plot. At first, I thought Reggio was attempting to make a statement about the harmful impact of environmental pollution caused by man. However, as the film progressed, the footage of technology and man seemed to play an indifferent role towards nature. The footage of factories and vivid time-lapse shots of city skylines at night are not portrayed in a negative light but instead in more of a chaotic one. In my interpretation, this chaos of the human impact on nature and the growing complexity of technology are depicted because that is simply how life has become for modern humans. Life is chaotic and the addition of increasingly intelligent beings trying to make order out of chaos will ultimately be futile. In other words, the very attempt at creating order out of chaos is chaotic in and of itself. The footage of nature...
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...simple and elegantly structured. Students follow the instructions and – bingo! – come up with a piece of original prose. However, it has become so well-liked by teachers that exam boards have commented on its popularity as a piece of GCSE coursework, expressing concern about its ‘very limiting framework’ (Edexcel) and ‘questionable content’ (AQA) (see the AQA A Examiners’ Report for June 2006 and the Edexcel Examiners’ Report for Summer 2007). Here are some ideas to take it further. Try this! Do read the Teacher Notes at the start of the resource – they contain a number of great ideas to spice up the activity and develop learning. Or this! Get students to complete their own paragraph plans for a tense, atmospheric narrative. Use the given plan for ‘The Assassin’ to establish the requirements of a successful plan i.e. simple three-stage plot; few characters; logical, cohesive structure etc. Or this! Display the paragraph from sheet 1 describing the character (beginning ‘He shuffled forward …’) on the board. Get pupils in turn to underline / highlight the most expressive words and phrases (start off by focusing on adjectives and adverbs, then look at verbs and key nouns). Then get everyone to rewrite the paragraph, substituting the words marked to change the tone of the piece completely. Turn it into the opening of a love story, perhaps! Or this! Having looked at sheet 1 with the class, provide them with a version of the sheet which has all...
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...Literature ENG 125 The difference between a poem and a short story starts with the structure but ends in the same way- their meanings and themes to tell the readers aim one thing, to entertain. For poems, the readers gets drawn to it through the different and interesting rhythms used in writing and reading them while for short stories, the characters, the settings and the plot of the story is what makes it interesting for readers. According to literature experts, creating a good plot with interesting settings is not enough for a story to be read but it also needs the reader’s imagination. Every reader can have their own visualization of what they are reading and sometimes, what they see and the way they interpret what they read might be different from the interpretation that the author want them to have. For example, the poem entitled “The Road Not Taken” and the short narratives entitled “A Worn Path” and “Used to Live Here Once” all have the same theme but when read together by different people and asked what do they think of the stories, they might give different descriptions. These stories and poem deal with one thing which is the main character’s journey towards the unknown and how the main character made decisions that will change the course their lives forever and their loved ones. The stories are presented in different ways. For Robert Frost, he presented his poem’s main character through a first person narration and showed...
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...4 Unit 1 Journal 1: Personal Narrative 4 Unit 1 Journal 1: Personal Narrative Handout 6 Unit 1 Journal 2: Civic Narrative 9 Unit 1 Journal 2: Civic Narrative Handout 11 Unit 1 Assignment 1: What Would You Do? 12 Unit 2 Journal 1: Personal Narrative 13 Unit 2 Journal 1: Personal Narrative Handout 15 Unit 2 Journal 2: Civic Narrative 19 Unit 2 Journal 2: Civic Narrative Handout 20 Unit 2 Journal 3: Article Response 22 Unit 2 Assignment 1: What Would You Do? 23 Unit 2 Assignment 2: Declaration of Independence and Public Safety 25 Unit 3 Journal 1: Car Commercials 26 Unit 3 Journal 2: Personal Narrative 27 Unit 3 Journal 2: Personal Narrative Handout 28 Unit 3 Journal 3: Civic Narrative 31 Unit 3 Journal 3: Civic Narrative Handout 32 Unit 3 Journal 4: Taste vs. Judgment 34 Unit 3 Presentation 1: What Would You Do? 35 Unit 3 Assignment 1: Habits That Hinder Thinking 36 Unit 4 Journal 1: Invention Exercise 37 Unit 4 Journal 1: SWOT Analysis Template 38 Unit 4 Journal 2: Personal Narrative 39 Unit 4 Journal 2: Personal Narrative Handout 41 Unit 4 Journal 3: Civic Narrative 43 Unit 4 Journal 3: Civic Narrative Handout 44 Unit 4 Assignment 1: What Would You Do? 46 Unit 4 Assignment 2: Invention White Paper 47 Unit 5 Journal 1: Personal Narrative 48 Unit 5 Journal 1: Personal Narrative Handout 49 Unit 5 Journal 2: Civic Narrative 51 Unit 5 Journal 2: Civic Narrative Handout 53 Unit 5 Assignment 1: What Would You Do? 55 Unit...
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...alternative filmsMainstream films can best be defined as commercial films that are made by major entertainment studios or companies that are owned by international media conglomerates. Because of better financing, these films can afford more expensive actors, wide releases, and are sold at popular retail stores. This has become known as the studio system. Films made by major studios or companies that are not owned by a media conglomerate but are distributed by a company owned by a media conglomerate (see Lucasfilm) are also considered to be mainstream and are often referred to as mainstream independent films. Companies that are completely independent, such as Lionsgate, also produce mainstream films, from a cultural standpoint, but independent of the studio system. The alternative to mainstream films are sub genre films that appeal to a certain audience, such as African American films. Low budget films, art films, and experimental films are often the starting point for entertainers who wish to enter into the mainstream circuit or a sub genre circuit. Mainstream films are targeted for all cultures and audiences, with the dominating culture and audience being the primary marketing focus, while sub genre films are marketed towards only one specific culture and audience. Mainstream films often recruit talent from all film genres and backgrounds. Alternative media are media (newspapers, radio, television, magazines, movies, Internet, etc.) which provide alternative information to the...
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...Csikszentmihalyi, and Richard Carlson, I identify two types of experience in user–product interactions: satisfying experiences and rich experiences. A satisfying experience is a process–driven act that is performed in a successful manner. A rich experience has a sense of immersive continuity and interaction, which may be made up of a series of satisfying experiences. Based on this definition, I identify a set of design principles with which to create products that evoke rich experiences. These principles are intended to encourage designers to think about how to create user–product interactions that suggest values and communicate meanings that enrich the quality of life. Narrative plays a key role in these design principles. Our series of life experiences form a narrative; the values that designers impart in an object form a narrative which is elaborated...
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...Janet E. Dickinson & Susanna Curtin a a School of Tourism, Bournemouth University , Fern Barrow, Poole , BH12 5BB , United Kingdom b School of Business and Economics, Linnaeus University , Kalmar , Sweden Published online: 25 Jan 2013. To cite this article: Julia F. Hibbert , Janet E. Dickinson & Susanna Curtin (2013) Understanding the influence of interpersonal relationships on identity and tourism travel, Anatolia: An International Journal of Tourism and Hospitality Research, 24:1, 30-39, DOI: 10.1080/13032917.2012.762313 To link to this article: http://dx.doi.org/10.1080/13032917.2012.762313 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses,...
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...Andre Paraiso English 12 Period 5 Personal Narrative Essay 25 November 2015 The Greatest Man That’s Ever Lived Michael Jordan, Michael Jackson, LeBron James, Kobe Bryant, Ronald Reagan. These are just some of the few men considered to be the greatest man that’s ever lived. When I think of the greatest man that ever lived I don’t think of those names. I think about my grandfather, Roberto Littaua, but I called him Lolo Bob. He died ten years ago, January 29, 2005, from a brain tumor in the Philippines. That was a tragedy for my family and I, especially for me because I was still young, and I could have done so much more with him. A memory I remember was how he would smile whenever he saw me at my happiest times like one Christmas day when I was playing with a new toy I got, as he sat in his rocking chair, and just smiled. If I recall clearly, the toy I was playing with was a Redbox Semi-Truck Goodyear toy that would carry 40 cars, with 20 cars on each side of the truck. I would drag the truck around, and even grab the cars off the truck. Lolo Bob didn’t really say much because he was not much of a talker, but I remember clearly how he looked like. He was dark skinned, bald headed, but often had a wig on, and roughly 5’10”. That was a good time to live through. So what is the other memory I remember? Well that’s simple. The time when he had taught my brother and I how to play basketball. Basketball is a big thing that runs on both sides of my parents’ family. First, it...
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...in the history of the medium as well as being internationally recognizable throughout his life. This paper delves into his earlier works, concentrating on his narrative elements such as the MacGuffin technique, the likeable antagonist, the innocent man or woman whom is falsely accused or misunderstood, and the act of balancing suspense and tragedy with humor and comedy. From a stylistic standpoint the paper conveys Hitchcock’s profound use of atmosphere and landscape, song as a suspense device, landscape of crowd caricatures, and point-of-view technique. Looking at The 39 Steps (1935), The Lady Vanishes (1938), Saboteur (1940), and Shadow of a Doubt (1943) we can see the styles and techniques these precursors pioneered and why they were implemented into Hitchcock’s greatest works in the coming decades. We take our first look at Hitchcock’s famed narrative technique, the MacGuffin. The MacGuffin was a plot device used by Hitchcock to hold the tension of the story without actually having any relevance to the plot itself. It was a gimmick that had the sole purpose of adding suspense to whatever situation the hero or heroine might have been in by motivating the characters to start the story. They do not know what it is but they will do anything to uncover its mystery, thus pushing the action and drama of the narrative forward. The initial use of this technique was in one of his earlier British films of the 1930’s, The 39 Steps. The character Mr. Memory had a set of secret...
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...majority of the novel takes place in the car where the danger and the son sit and talk and discuss how far they will achieve it or not. For the son's point of view, it is not a disaster, whether they reach it or not, but in the father's heart, it is different. But getting through the text hints that there is a reason to believe that this incident has happened something cruel. In the text do you get as a reader to know that the father in the past have lost a son, and that he has gone to therapy. You may be able to call it his earlier life when this occurred. Through the short story will be told that the father has got a new wife, and thus also a new child. Although he is married, and "happy" there are still some different traits that makes you as a reader, becomes aware that he is not happy. It will be told in the short story, to his father's new wife is very similar to his previous wife. This can be a symbol of unrequited love and need. I believe that his new wife is a symbol of his old wife. He would like to have the Lady, which he lost, and the closest he comes to this is to get a corresponding wife who looks just like him. Through the course of action, we see that the son tells his father that it is not the big problem that they come too late. Which, of course, is perfectly normal. But on the other hand, will be the father by saying that they will reach it, and he obviously should not come too late. I believe, therefore, that this trip in your car is a form of...
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...STUDIES IN PROFESSIONAL LIFE AND WORK Mike Hayler University of Brighton, UK Autoethnography, Self-Narrative and Teacher Education examines the professional life and work of teacher educators. In adopting an autoethnographic and life-history approach, Mike Hayler develops a theoretically informed discussion of how the professional identity of teacher educators is both formed and represented by narratives of experience. The book draws upon analytic autoethnography and life-history methods to explore the ways in which teacher educators construct and develop their conceptions and practice by engaging with memory through narrative, in order to negotiate some of the ambivalences and uncertainties of their work. The author’s own story of learning, embedded within the text, was shared with other teacher-educators, who following interviews wrote self-narratives around themes which emerged from discussion. The focus for analysis develops from how professional identity and pedagogy are influenced by changing perceptions and self-narratives of life and work experiences, and how this may influence professional culture, content and practice in this area. Autoethnography, Self-Narrative and Teacher Education Autoethnography, Self-Narrative and Teacher Education STUDIES IN PROFESSIONAL LIFE AND WORK The book includes an evaluation of how using this approach has allowed the author to investigate both the subject and method of the research with implications for ...
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