a research paper that analyzes either the causes—why an event happens or happened—or the effects of an event—the results of what happens or happened, you must develop relevant reasons and examples, statistics, and opinions from authorities.
Topic: after providing a brief background on the Texas “revolution,” the rise of the concept of “Manifest Destiny,” and the United States annexation of Texas, discuss the causes, views about, and consequences of the United States War with Mexico, 1846-1848. Do not write a detailed account of the battles in Texas or Mexico. Make certain you answer these questions in your essay: Why did the United States go to war in Mexico? What was the importance of the river boundaries? What role did President James Polk’s ambitions play? What instructions did he give the US Army prior to the outbreak of the war? What territory did the United States gain? What did citizens of the United States and Mexico think? How did the war impact the Mexicans?
1. THE VOICOVER
Discuss the use of voiceover in ONE OR MORE of the films screened on the unit. Look closely at the way the voice relates to the images on screen, and the way it sets up a particular relationship with the audience. Is the voice that of the author, a narrator, the film, or the metaphorical ‘voice of god’?
Does this voice shape the meaning of the images, or does it augment them in a way that is more open-ended and suggestive? To what extent is the voiceover objective or subjective? How do you know?
2. THE REAL
Documentary has been described as the “perpetual negotiation between the real event and its representation” (Bruzzi, 2000). Discuss with reference to ONE OR MORE documentaries shown on the unit.
3. AUDIO-VISION
Discuss the relationship between sound and image in ONE OR MORE of the films screened on the unit. Consider examples where one supports the other, where one contradicts the other, and/or where a dialectical relationship exists between the two, thereby creating a ‘third’ audio-visual idea in the mind of the viewer.
4. THE OBSERVATIONAL DOCUMENTARY
Discuss both the ambitions and limitations of the observational documentary mode (Direct Cinema and Cinéma Vérité) in relation to Grey Gardens and/or Chronicle of a Summer.
5. TRUE LIES
Discuss the relationship between truth and fiction in The Thin Blue Line. This should include reference to ‘self-reflexivity’ in documentary filmmaking.
6. STAR TURNS
How does the inclusion of Broomfield’s performative self affect the way we read The Leader, His Driver and the Driver’s Wife?
7. FIRST PERSON SHOOTER
What is achieved aesthetically and politically by giving cameras to the soldiers in The War Tapes? What are the ethical implications of this choice?
8. THE ESSAY AND I
Is there a place for the subjective point of view in documentary filmmaking? How does it function in Sans Soleil [Sunless]? What are its effects?
9. ETHNOGRAPHY AND OTHERS
With reference to one or more films on the module discuss the ambitions and limitations of the ethnographic mode. Define Ethnography. What dangers persist in ethnographic styles of representation? What tactics are employed to circumvent these limitations?
Choose 3 of these Core Readings
Barnouw, E. (1992) Documentary: A History of the Non-Fiction Film, Oxford: Oxford University Press.
Berry, C; Hamilton A; Jayamanne, L (Eds) The Filmmaker and the Prostitute: Dennis O’Rourke’s “Good Woman of Bangkok”. Chicago: University of Illinois Press.
Bruzzi, S. (2000) The New Documentary: A Critical Introduction. London: Routledge.
Bryant, M (1997) Auden and Documentary in the 1930s. London: The University Press of Virginia.
Citron, M. (1998) Home Movies And Other Necessary Fictions. Visible Evidence, Vol. 4. Minneapolis & London: University of Minnesota Press.
Corner, J. (1996) The Art of Record: A Critical Introduction to Documentary. Manchester: Manchester University Press.
Cousins, M. (1996) Imagining Reality. London: Faber and Faber.
Dovey, J. (2000) Freakshow: First Person Media and Factual Television. London: Pluto Press.
Ellis, J C. and McLane, B. (eds.) (2005) A New History of Documentary Film, New York & London: Continuum.
Feldman, S. (1977) “Viewer, Viewing, Viewed: A Critique of Subject-Generated Documentary” in Journal of the University Film Association, Vol. 29: 23-26, 35-36.
Grant, B.K & J Sloniowski (1998) Documenting The Documentary: Close Readings Of Documentary Film And Video. Detroit, M.I., Wayne State University Press.
Hall, J. (1991) “Realism as a Style in Cinema Verite: A Critical Analysis of ‘Primary’”. Cinema Journal, Vol. 30, No. 4, (Summer), pp. 24-50.
Jerslev, Anne (ed.) (2002) Realism and ‘Reality’ in Film and Media. Northern Lights Film and Media Studies Yearbook. Copenhagen: Museum Tusculanum Press.
Lipscomb, J C. (1964) “Cinema-verite”. Film Quarterly, Vol. 18, No. 2 (Winter), pp. 62-63.
Macdonald K. and Cousins M (eds.) (1996) Imagining Reality. London: Faber and Faber.
Margulies. (ed) (2002) Rites of Realism: Essays on Corporeal Cinema. Durham and London, Duke University Press.
Nichols, B. (1991) Representing Reality, Bloomington: Indiana University Press.
_____. (1994) Blurred Boundaries: Questions of Meaning in Contemporary Culture. Bloomington, Ind.:
Indiana University Press.
_____. (2001) Introduction to Documentary. Bloomington, Ind.: Indiana University Press.
Plantinga. C R. (1997) Rhetoric and Representation in Nonfiction Film. Cambridge: Cambridge University Press.
Rabiger, M. (1997) Directing the Documentary. London: Focal Press.
Renov, M. (ed) (2000) Theorizing Documentary. New York: Routledge
———. (2004) The Subject in Documentary. Minneapolis, MN: University of Minnesota Press.
Rosenthal, A. (1988) New Challenges for Documentary, California: California University Press.
Rothman, W. (1997) Documentary Film Classics, Cambridge: Cambridge University Press.
Ruby, J. (1991) “Speaking For, Speaking About, Speaking With, or Speaking Alongside – An Anthropological and Documentary Dilemma”. Visual Anthropology Review. Fall, Volume 7: Number 2.
http://astro.temple.edu/~ruby/ruby/speaking.html
Russell, C. (1999) Experimental Ethnography: The Work of Film in the Age of Video. Durham, North Carolina: Duke University Press.
Saunders, Dave (2007) Direct Cinema: Observational Documentary And The Politics Of The Sixties.
London: Wallflower Press.
Tobias, M. (ed) (1998) The Search for Reality: The Art of Documentary Film-making, London: Michael Wiese Productions.
Waldman, D. & Walker, J. (1999) Feminism and Documentary, Minnesota: University of Minnesota Press.
Warren C. (ed.) (1996) Beyond Document: Essays on Nonfiction Film. Connecticut, Wesleyan University Press.
Williams, C. (1980) Realism and the Cinema. London: Routledge.
Winston, B. (1995) Claiming The Real: The Documentary Film Revisited, London: BFI.
Filmography
and use these documenteries
30s Britain 1, The GPO Classic Collection, BFI [includes: The City (Elton, 1939), Spare Time (Jennings,
1939), Coal Face (Cavalcanti, 1935), Night Mail (Watt, Wright, 1936)].
Chronicle of a Summer [Chronique D’un été] (Rouch & Morin, 1960, France)
Darwin’s Nightmare (Hubert Sauper, France, 2004)
Grey Gardens (Maysles Brothers, 1975, USA)
The Leader, His Driver and the Driver’s Wife (Broomfield, 1991, UK)
Man on Wire (James Marsh, USA, 2006)
Nanook of the North (Robert Flaherty, 1922, USA)
Sunless [Sans Soleil] (Chris Marker, 1983, France) The Thin Blue Line (Errol Morris, 1988, USA)
The Thin Blue Line (Errol Morris, 1988, USA)
The War Tapes (Deborah Scranton, 2006, USA)
Two Years at Sea (Ben Rivers, 2011, UK)
Zidane: A 21st Century Portrait (Gordon & Parreno, France, 2006)
does lack of finances contribute to depression in single moms more than married moms?
Jean Watson’s theory of human caring in which you describe a personal experience of a patient-nurse interaction. This caring moment will be the basis for this paper. Address the following:
• Define caring moment.
• Describe the background and major concepts of Watson’s theory of human caring.
• Explain how your patient-nurse interaction can be described as a caring moment.
• Explain what you learned about yourself during this interaction.
• Explain how your caring was perceived by the patient.
• Explain what you could do to enhance the caring moment, interaction, or relationship.
• Describe the nursing metaparadigm as it relates to the caring moment or interaction
• Describe how Watson’s carative factors were utilized in the caring moment. Apply a minimum of 4 carative factors.
palestine and israel conflict
“Partial Equilibrium Analysis” and “General Equilibrium” and answer the following question:
A major source of chicken feed in the United States is anchovies, small fishes that can be scooped out of the ocean at low cost. Every 7 years, when the anchovies disappear to spawn, producers must turn to grain, which is more expensive, to feed their chickens. What is likely to happen to the costs of chicken when the anchovies disappear? What are substitutes for chicken? How are the markets for the substitutes affected? Name some complements to chicken. How are the markets for complements affected? How might the allocation of farmland be changed as a result of the disappearance of anchovies?
Step One:
Write a script between a counsellor and a client for a 60min counselling session. The client is a Counselling Student, and the requirement for his studies is that he visits a counsellor to discuss a pertinent topic. The student decides to discuss his new relationship with the counsellor. The difficulty the student is having is that he is new to serious relationships given that he has spent the last ten years living single and carefree.
Step Two:
Write a reflective essay about the above counselling session, following the instructions and marking criteria attached.
Feminist theory compared to a family and it’s function
discuss and analyze creativity as the continuation of, or as a reaction to, an earlier historical art period. You will choose two historical periods from the list below and discuss the relationships between the periods. You should discuss how one period revived or continued the style and characteristics of the other period or how one period originated in reaction to the other period.
The following is a list of historical art periods you can choose from:
• Classical
• Middle ages
• Renaissance
• Mannerism
• Baroque
• Rococo
• Neoclassical
• Romanticism
• Realism
• Impressionism
• Post impressionism
• Cubism
• Dadaism
• Geometric abstraction
• Pop art
• Surrealism
• Harlem Renaissance
Task:
A. Choose two art periods from the list above and write an essay
1. Describe the earlier historical art period, characteristics of the style, and social conditions that may have contributed to the advent of this style.
2. Describe the later historical art period, characteristics of the style, and social conditions that may have contributed to the advent of this style.
3. Analyze the relationship between the historical art periods.
a. Explain similarities or differences between the historical art periods.
b. Explain the purpose for continuing the tradition of the earlier historical art period or deviating from it.
1. Reference at least one specific work of art from each period in your discussion.
2. Explain how the later work relates to the earlier work.
c. Explain the influence the later historical art period had on the art world (i.e., its historical significance).