Ridley Scot on Bladerunner and Frankenstein Essay Example for Free

Ridley Scot on Bladerunner and Frankenstein Essay Interviewer: Ridley Scot, thank you for taking the time to talk to us about your movie Blade Runner. It is quite an interesting film that raises a lot of issues and certainly makes us as an audience think and question out morality and our values. Ridley Scot: Well any great movie or film should indeed raise awareness to present day issues don’t you think? Interviewer: Indeed they should. And is that what you felt you should do with Bladerunner is raise awareness to the issues that you felt are predominant at the time? In watching Bladerunner I couldn’t help but notice the scope of the issues that you presented to the audience from environmental, personal, and political. The list goes on, so why did you choose to play upon these issues and fears? Ridley Scot: Those are ones that are close to my heart, being raised in a world where I was confronted daily by the fears of others in society in regards to war of nuclear weapons and the effect these would have on the environment and on humanity. I was constantly imagining all of the various scenarios that could arise due to such weapons of mass destruction being used, But also the wonders and fears of space exploration, the search for other life forms and the search for another planet that we as humans could utilise. Well it left me wondering. Why do we need another planet? Is it because of the fear of this one being destroyed due to war or was it just out of greed? Interviewer: So I’m guessing that the reasoning behind the environment in which you chose to stage Bladerunner. The post apocalyptic like environment with dim lighting and long dark shadows being cast, It certainly magnifies the fear of destruction. Not to mention those massive buildings sticking up into the sky and the dirty streets Ridley Scot: ah yes the shadows. The directors and I worked long and hard on creating that feeling of darkness and gloom. I wanted it to feel like the end of the world, and to show the destruction of the environment so what better way to do that than with a dirty city with no trees and little sunshine. Interviewer: In watching that it really becomes evident your fear of the environment being neglected in pursuit of science and greed, much like Mary Shelley, Author of Frankenstein. Many of her issues that she chose to place emphasis on were the battle between nature or science. Do you feel that this may have been partly the reasoning behind your choice in lighting, set and issues raised.. Ridley Scot: In some ways yes. Mary and I do share many of the same ideas and I was inspired by her writing when filming Bladerunner. I guess we both wanted to raise awareness to the issues of our times. I feel the one that we both shared and placed high emphasis on would be science and humanity. Interviewer: The great battle between the two. Do you think it is possible to find a balance between them? Ridley Scot: Whether it is possible or not I’m still not sure but I wanted to point out the dangers in taking one too far and disregarding the other. In Frankenstein the problem is Victors and Walton’s greed and obsession with science, much the same as in my movie. The pursuit of science and technology led to the destruction of the world and the disregard of humans. Interviewer: What do you mean by that? Ridley Scot: The creation of the beings, not quite human yet more human than humans themselves. In the pursuit of science the disregard for humanity, emotions and feelings led to the creation of replicants that were hollow to an extent. They were designed for no purpose other than to serve. Interviewer: Human greed Ridley scot: exactly yet in the pursuit to always reach beyond what has already been accomplished they created Rachel, who had emotions and feelings so human Interviewer: That even Deckard couldn’t tell she wasn’t a replicant. Ridley scot: That was a very important thing to show, how human she was despite being a replicant. What better way to show this than with camera angles? The conventions of film noir that I wanted to utilise here were the close up and zooming of her face in response to questions Deckard asked her and the use of film recording instruments to look into her eyes. We all know eyes are the gateway to the soul. Interviewer: But she is a replicant, they aren’t supposed to be human, contain emotion or have a soul? Ridley scot: Ah you see but I believe a soul does not actually determine humanity, in the end isn’t Rachel more human than many of the humans themselves? Much like the creature in Mary Shelley’s Frankenstein, only she cannot use film to show this Interviewer: No but thankfully being raised in the romantic era and writing with influence of Romanticism Mary wrote with such expressive language, and her literary influences being included into the creatures own readings was brilliant in creating the human emotions within the creature himself. Ridley scot: I was inspired by her descriptive writing. How she could get so much across without pages and pages of dialogue. I felt that if I could do the same with Bladerunner through cinematic techniques then it would be more efficient in getting my messages across to the audience. That’s why in intense scenes, like that of the Death of Zhora there is no dialogue just raw emotions. Interviewer: The raw emotions are evident. The slow motion camera angles as she smashes through the glass is so powerful the pain on her face is evident as she gets shot and it sends shivers down my spine. Ridley Scot: The slow motion in this scene was very important. If it went to fast then the magnitude of the scene would be lost so we slowed it all down and the dark, sad, melodic music to the scene as well to provoke more feelings out of the audience. We chose to use a lot of glass to reflect the magnitude of various colours. All of this at once adds for a vary disjointed fragile environment Interviewer: again more styles and conventions of film noir Ridley scot: Well those conventions really helped to heighten the emotions within this scene, Interviewer: And the camera cuts between the two of them, watching Deckard’s Determination to kill Zhora and Zhora’s determination to survive. Ridley Scot: It certainly makes you question doesn’t it? After this pursuit of science and the disregard for humanity, nature, and the change in beliefs and values in the creation of these replicants who are not supposed to show emotions or feeling- Such important aspects of humanity. who in this scene ends up showing the most humanity? Interviewer: I guess we all have to take a moment to think and reassess our values now don’t we. Thankyou Ridley for taking the time to speak with us about your inspirations and intentions behind Bladerunner, It has been a pleasure.

Wilhelm Conrad Rontgen Essay -- biographies bio

Wilhelm Conrad RÃâ€"ntgen 1845 - 1923 Wilhelm Conrad RÃ… ¡ntgen is a German physicist who was born on March 27, 1845 at Lennep in Germany. When he was three years old, his family moved to Apeldoorn in The Netherlands, where he attended a boarding school, the Institute of Martinus Herman van Doorn. While he was attending this school, he was very interested in making mechanical devices. This interest of his followed him through the rest of his life. RÃ… ¡ntgen later entered a technical school at Utrecht. In 1872 in Apeldorn, RÃ… ¡ntgen married Anna Bertha Ludwig of ZÃ… ¸rich. They had no children, but in 1887 they adopted a daughter, Josephine Bertha Ludwig, who was the daughter of AnnaÕs only brother. RÃ… ¡ntgen spent most of his years researching physics, thermology, mechanics, and electricity. Although he made some great discoveries in all these fields, his greatest invention was the discovery of a short-wave ray in 1895, which we know now as X-rays. Some other things he studied were the heats of gasses and fluids, the characteristics of quartz, the modification of the planes of polarized light by electromagnetic influences, the variations in the functions of temperature, the compressibility of water and other fluids, and the event of the spreading of oil drops on water. Throughout his life, RÃ… ¡ntgen received many honors. Even though he was well known for his skills, he remained a modest man who never sought honors or money for his research and projects. For instance, he declined various titles and jobs, and donated money to his university that he received from the Nobel Prize. He also refused to take patents on his work, so that the whole world could benefit from his work. Aside from his modesty and generosity, he did accept honors and... ...ays. After RÃ… ¡ntgen discovered X-rays, all fields of medicine were enhanced. Bones and other organs can be seen without surgery, jobs were enhanced, and germs and some types of cancers could be killed. This discovery has great importance to our lives, and has created amazing advances in a variety of fields. An example case that proves the new viewpoint and usage of these X-rays on the human body and medical sciences, was when a few days after Roentgen's initial public announcement of his discoveries, a doctor in America took X-ray photographs of a person with gunshot wounds in his hands. Before RÃ… ¡ntgenÕs discovery, a surgeon would have to locate the shotgun pellets though exploratory surgery, to find and remove them. Now, with the technology of X-rays, an X-ray can be taken and the shotgun pellets would be found without the process of exploratory surgery.

Shakespeare Sonnet 116

William Shakespeare’s Sonnet 116 found on page 1182 of The Norton Anthology of English Literature: Volume1B: The Sixteenth Century, The Early Seventeenth Centry, 2nd edition(New York: W. W. Nortion, 2000) is one of his most famous sonnets to conquer the subject of love. While there is much debate concerning the tone of this sonnet, Shakespeare’s words speak of transcendent love not very commonly considered in popular poetry at the time. He used the Petrarchan sonnet style in Old English popular around the time but certainly added a new twist of his own genius.In theme Shakespeare had unique perceptions and experiences in his portrayal of love. The introduction of a young boy as the object of his affections and subject of sonnets 1-126 was perhaps not a common subject for other poets. Sonnet 116 falls into the section of sonnets of the boy, yet it does not quite fit the mold of the rest of his sonnets. In the sequence the surrounding, the sonnets highlight loves’ more deceptive qualities such as unfaithfulness and betrayal. The fallibility and physical matters pertaining to love are no longer considered in Sonnet 116, and a truer sort of transcendent and unconditional love emerges.Unlike the popularized Petrarchan form of an octet followed by a sestet, Shakespeare’s 14 line sonnets are divided into three Sicilian quatrains and a couplet. The quatrains develop the metaphor and a couplet at the end that becomes a commentary. The masculine rhyme scheme follows the pattern ababcdcdefefgg and the meter is in the traditional iambic pentameter (10 syllables per line). The ideas flow and create a sense of urgency in this piece as phrasing does no clearly begin and end with each line.The idea in first line that flows right into the next and there is a fluttering of accents. This creates a rapid delivery of words carried by the iambic feet. There is repetition in the alliteration with words such as â€Å"alters† and â€Å"alterationâ₠¬  or â€Å"remover† and â€Å"remove†. This also adds to the poems sense of flow and purposefulness. Each quatrain begins a new metaphor and the images are also strengthened in the following quatrains. The more dramatic volta of the sonnet begins with the final two lines with commentary that in this case does bring us to an ultimate conclusion.Much is said in this sonnet using somewhat simple rather than flattering diction and most of the words are monosyllables. The sonnet opens speaking of true love between two people. The Imagery begins with the marriage alter itself. This creates a very Christian vision of man and wife. The love spoken of is â€Å"of true minds† and therefore a spiritual partnership rather than physical union. In the second line with â€Å"admit impediments† he calls to mind the words used in the Marriage ceremony from The Book of Common Prayer.The mention of the word â€Å"alter† twice in the second line strengthens this ima ge as well. The â€Å"marriage of true minds† becomes the subject which can be interpreted in differing ways leaving us with a somewhat vague impression. True love itself becomes without â€Å"impediments† and is free and clear of the need for any â€Å"alterations†. This idea of love’s constancy and reliability is continued in the following quatrain with the images of love as a lighthouse, â€Å"ever-fixed mark† and guiding â€Å"star to every wandring bark†.The images of time, death and the compass speak of a constancy and reliability that love shall outlast. Shakespeare’s frequent references to time in his sonnets tend to bring careful consideration death and the threat of time itself. In Sonnet 116 however love is not threatened by any such thing, as it â€Å"bears it out, even to the edge of doom† in line 14 just before the Volta. In the final quatrain imagery connected with time and death’s† bending sickleâ⠂¬ , which calculates as well with â€Å"his brief hours and weeks† though time still is not bound by such restraints.There is some irony in the mention of the possibility of the poem not existing with the open ended commentary â€Å"I have never writ† In the final couplet the existence of the poetry itself is called into question although the poet’s certainty of the truth of his words becomes evident creating a sense of irony and an open ended conclusion. Love itself is the subject of the metaphor in this quintessential sonnet, in particular unconditional eternal love. The emotional union of marriage and the love of God are in comparison here. Frequently in Sonnet 116 true love appears as what it can outlast and simply what it is not.The common trope of love as a guiding lighthouse or star is included in the second quatrain. We see a ship lost at sea, challenged by a tempest that it outlasts, as a metaphor for this undying and resilient love. Its image as an à ¢â‚¬Å"ever fixed mark† marks the common them of love’s reliability. This also is an account of love’s incalculable worth who’s â€Å"worth’s unknown although its’ height be taken†. Throughout the sonnet , images of calculations of things such as time space distance and worth are mentioned, yet love transcends all calculation. Love’s transcendent qualities rise above the metaphor’s hemselves making this a very powerful sonnet. The unconventional love spoken of can perhaps lend itself the subversive tone in Sonnet 116. Opening with â€Å" Let me not to the marriage of true minds† could take on a very different meaning without immediate continuation to the next line â€Å"admit impediments. † It could perhaps also mean â€Å" let me not† to this Christian ideal of marriage . This possibility creates a questionable tone. Which makes sense, when we consider how the love Shakespeare was speaking of, did not fit into the Elizabethan concept of what was acceptable.The use of â€Å"Oh no! † in line 3 as an exclamation, following the mention of admitting â€Å"impediments† suggest his forcefulness in defending his ideas of love of, perhaps as well as his love of the boy which would itself be an impediment. The rejection of this type of love in Elizabethan times gives the poet the chance to speak of the nature of love itself as transcendent and eternal. The love that extends itself beyond these sorts of physical matters is not without its challenges. This gloomy tone expressed the sometimes cold language.The feelings evoked by the threats of â€Å"tempests† and â€Å"the edge of doom† (judgment day) and all the â€Å"alterations† of time does not allow the idea of desperation to totally subside. A somewhat distant and unpleasant tone comes even from the comparison of love to a star. It becomes a remote image, somewhat self-contained who’s true â₠¬Å"worth’s unknown†. The fact that love cannot be comprehended however does not diminish its powers. There is irony in the final commentary as well. The improbability of error in Shakespeare’s poetry is proven by the existence of the poetry itself. Yet this is still left up to question.The possibility also exists that â€Å"no man ever loved† in the this way as well. In this way the poem becomes a subject of metaphor just as love itself. The somewhat subversive tone is carried out through conclusion. Sonnet 116 goes beyond the Petrarchan dilemma of unrequited passionate love and considers the possibility of true loves eternal nature. It also goes beyond conventional as a poem concerning the sacrament of marriage and the love of god while being directed to a young man. Although it utilizes common tropes and simple language his unique passion and cleverness developed a fresh perspective.His use of phrasing an punctuation creates a dramatic tone of voice. His concern with what love is not becomes definition by restraint. Irony is layered throughout. The images and metaphors weave a tight tapestry and fluttering accents and alliteration and run-ons create a lyrical expressiveness. Shakespeare quite flawlessly recreates this revolutionary idea of love in the form of a sonnet. Its wide popularity may be a testament to nature of its form. Sources The Norton Anthology of English Literature: Volume1B: The Sixteenth Century, The Early Seventeenth Centry, 2nd edition(New York: W. W. Nortion, 2000)

China - 2760 Words

------------------------------------------------- Generations of Chinese leadership From Wikipedia, the free encyclopedia Peoples Republic of China | | This article is part of the series: Politics and government of China | Ideology[show] | Constitution[show] | Communist Party[show] | Legislature[show] | Executive[show] | United Front[show] | Military[show] | Judiciary[show] | Propaganda[show] | Law[show] | Other issues[show] | * Other countries * Atlas Politics portal | * v * t * e | | This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2013) |†¦show more content†¦Thus, the first generation, from 1949 to 1976, consisted of Mao Zedong as core, along with Zhou Enlai, Liu Shaoqi, Zhu De, Chen Yun, Peng Dehuai, and later Lin Biao and the Gang of Four (neither Lin nor the Gang are today considered by official discourse to be part of this generation because of political antagonism resulting from the Cultural Revolution). These were the leaders that founded the Peoples Republic of China after the Communist victory in the Chinese Civil War. They were born between 1886 and 1907, although the Gang of Four were a distinct subgroup born 1914 to 1935. Most were born before the demise of the Qing Dynasty (not including the Gang) and thus lived to see both the birth and, on the mainland, the end of theRepublic of China. One charact eristic of these leaders were that they tended to be both political and military leaders. 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