Outline how legislation, policies and procedures relating to heath Essay Example for Free

Outline how legislation, policies and procedures relating to heath Essay The Health and Safety at work act is a piece of legislation that is responsible for convering all health and safety in britain. However, the health and safety manager at individual establishments are responsible for carrying out the act and making sure everything is in cohearance with the piece of legislation. HASAWA influences health and social care in many different ways such as the protection it now gives to employers and employees, before this piece of legislation was made people had no legal protection whilst they were at work. HASAWA influences health and social as it tells the owner of a business, or establishment, what they need to be doing to make sure they are working in accordance to the legislation. Everyone has the duty to comply with the act, this includes employers, employees, trainees, self employed, manufacturers, suppliers ect. This legislation keeps people safe as it provides people with the instuctions to make their establishments safe for themselves and their employees. HASAWA tells owners to carry out a risk assessment which points out the hazards that need to be changed and/or fixed. An example of legislation influencing a health and care setting is The Manual Handling Operations regualtion. MHOR is always thought to be the last resort, and only if there is a possibility of injury. Legislation tells emplyers and employees how to move and handle things appropriately and when it is and isn’t appropriate to move and handle things. Employers must carry out risk assessments before opening a business to find if there are any faults or dangers to the customers or employees. There must be a health and safety policy written specifically for that setting and someone must be employed to be in charge of health and safety. Everything in the establishment must be insured incase accidents occur. Employees must take responsibility of your own and other peoples health and  safety and not do anything that could cause someones health and safety to be put at risk. This influences the setting as it keeps people working or entering the setting safe and gives them the appropri ate instructions to keep them as safe as possible. It keeps people safe as it provides instructions and regulations that must be followed to keep everyone safe, and if everyone follows these regulations and instructions then their safety and health will be safe. Food Safety Act 1990 The Food Safety Act 1990 is a frame for all food legislation in Britain. Responsibilities for food businesses include: Ensuring you do not include anything in food or remove anything from food making it a hazard to the health of people consuming it. Advertising food in a way that isn’t misleading or false. The food safety act influences health in many different ways, it gives environmental health the right to inspect the quality of food, the place it is prepared and the place it is served and if it is not up to standard they have the power to close the establishment, in extreme cases. Before the establishment is closed down they are served a notice of improvement or be temporaraly closed until the standards are back up. Without the Food Safety Act food would be able to be served to you in any conditon, and if you became ill from that food you could not retain any form of compensation because there is no legislation telling the establishment how to cook, prepare and serve food safely. Employers and employees must make sure food is safe to eat, make sure they don’t add, remove or treat food in a way that makes it harmful to eat, make sure the quality of the food is the same as it is advertised or expected by the customer, Keep track of where the food was bought, if unsafe food is discovered it needs to be recorded and removed and tell people why the food has been recalled. There must be hand wash at all sinks and hands must be washed before touching food, after touching food, after using the toilet, after touching animals, after touching your own skin and hair, after sneezing or coughing and after touching raw food. Reporting of Injuries, Diseases and Dangerous Occurrences Regulations 1995 RIDDOR is the piece of legislation that states all injuries, diseases, illnesses need to be reported to either the health and safety executive or  the local council. RIDDOR is put in place so that health and safety executives can look at where the risks occur and can take steps to prevent them. There are of course only certain injuries and dangerous occuurences that need to be reported, things such as violence at work, gas leaks, injuries that have occured during work or in the work place. RIDDOR also benefits people who have been injured at work and want compensation, health and safety executives follow up on the case and evaluate if the acdicent was because of the employee being put at risk or if they didnt follow procedure. The employers responsibility is to maintain the safety of their employees customers and they have the responsibility to report if an employee or customer has been injured whilst at wor k or in the establishment. Without RIDDOR, injuries caused in the workplace could not be claimed upon and the hazard could not be found and removed, if the hazard isn’t removed then people will be continuously be getting injured. The incidents need to be written in an accident book and should inlude the date and time of injury, the name of the worker, a description of the accident, action taken and the result. Slips, Trips, Falls Slips, trips and falls are the most common causes of major injuries in the work place. Most trips are caused by uneven or un-maintained floors, and slips are usually cased by wet floors. However, slips, trips and falls can be prevented if the right preventions and procedures are put into place and followed. The employers responsibilities are to make sure the floors serface is even and maintained, decreasing the risk of trips, all obstructions in hallways and on floors are removed and stored properly, this also decreases the risk of trips. All spillages should be immediately cleaned up using the appropriate method, usually a cloth or mop, and a wet floor sign should be appointed if needed, this decreases the risk of slips. Staffs responsibilities are to wear safe and sensible footwear which have good grip, and they must also keep their work stations clear and tidy, also both staff and service users have the responsibility to report obstructions and spillages if not recognised. The pol icy put in place ifluences health and care as it prevents the risks of slips, trips and falls, without it there would be no procedures to influence staff to remove the risks, such as obsticles that may cause trips. If staff, employees and the service users don’t follow the policies put in place then the risks of accidents will be raised, and if an accident does occur and they haven’t followed the procedures they were responsible to follow then they can’t claim any form of compensation.

Judicial Review problem question essay

Judicial Review problem question essay Judicial Review problem question (3000 words) Part 1 The first significant area for consideration in this scenario is whether Jack will be granted permission to proceed with his application for judicial review. He is seeking review of a decision by an internal disciplinary tribunal that he be dismissed for unprofessional conduct. The tribunal found unanimously in favour of dismissing Jack. In order to assess whether Jack will be permitted to pursue his claim for review, the nature of jusidical review must briefly be considered. Following the Bowman Report of 2000, in the light of Lord Woolfe’s recommendations for law reform, the regime of judicial review has been altered in certain ways. The 1977 reforms of the procedure did not state expressly that judicial review was an exclusive procedure.[1] It was in the case of O’reilly v Mackman (1983) that the court considered the issue of exclusivity. In this case, the House of Lords held that it would be contrary to public policy to allow an applicant to seek to enforce public l aw rights by way of ordinary action rather than by way of judicial review. In the present instance, then, it must be considered whether the decision of the tribunal is a public or a private law matter. The ruling of the House of Lords in this case means that procedural exclusivity exists in cases of public law. In order to assess whether Jack’s case is one of public law, the common law must be considered in this area. In Cocks v Thanet District Council (1983), the House of Lords held that under the relevant Act in the case, the Housing (Homeless Persons) Act 1977, the housing authorities’ functions were essentially public law functions. These functions included deciding whether they had a duty to house the applicant under the 1977 Act. It was only after this decision had been made, and if it was considered that such a duty did exist, that private rights and obligations would arise. In Roy v Kensington and Chelsea and Westminster Family Practitioner Committee (1992), the House of Lords held that an issue was concerned exclusively with a public right should be determined in judicial review proceedings. This strict application of the exclusivity principle, however, has been superceded by the more liberal approach characterised in the decision of Clark v University of Lincolnshire and Humberside (2000). In his judgement, Lord Woolfe explained the effects of the new Civil Procedure Rules on the rule in O’reilly v Mackman. â€Å"The intention of the CPR is to harmonise procedures as far as possible and to avoid barren procedural disputes which generate satellite litigation.†[2] The important question has become whether failure to follow the correct procedure amounts to abuse of process of court. In the present case, then, the question of whether this matter is properly described as public law or private law is of the utmost significance. As long as Jack can satisfy the court that the functions of the tribunal are public law ones, he will most likely be granted permission to proceed with his claim. This, however, may be difficult. In R v Legal Aid Board, ex p Donn Co (1996), Ognall J stated that ‘there can be no universal test’ for deciding whether a matter is properly described as public law. If the tribunal is a public body, it will have derived its authority from statute or delegated legislation (as opposed to deriving powers from the agreement of those who are subject to the body). Some guidance as to what would constitute a public body was offered by the Court of Appeal in R v Disciplinary Committee of the Jockey Club, ex p Aga Khan (1993). Here it was held that although the Jockey Club regulated a significant national activity, it did not properly constitu te a public body, as it was not mentioned in statute, and its powers were simply over those who agreed to be bound by it. In Jack’s case, however, the tribunal does indeed derive its powers from statute. Furthermore, following R v Panel on Take-overs and Mergers, ex p Datafin plc (1987), the court should look to the nature of the functions the body performs, as well as its origins. The functions of the tribunal will be considered to be public law functions, and so in the light of the doctrine of exclusivity, Jack will be granted permission to proceed with his claim for judicial review. Part 2 There are various grounds that may arise for Jack to pursue his claim for judicial review in the scenario. Firstly, Jack is told by the tribunal that he may not have legal representation present. Furthermore, although he is entitled to have a friend or relative present at the proceedings, this person must not be legally qualified. Is this a breach of protocol? In other words, does Jack have a right to be represented at the Tribunal? It is established at common law that no such right exists. In the case of R v Board of Visitors of HM Prison, the Maze, ex p Hone, the appellants claimed that the Board’s refusal to allow them to be legally represented at the disciplinary proceedings was counter to natural justice. Lord Goff, however, said â€Å"it does not follow that simply because a charge before a disciplinary tribunal †¦ relates to facts which in law constitute a crime, the rules of natural justice require the tribunal to grant legal representation.’ According to this analysis, then, Jack does not necessarily have a right to legal representation. Whether legal representation is granted is a matter, in this instance, for the tribunal to decide. In doing so, it must take into account a number of factors. These include whether there are complex matters of law at issue (which it does not appear there are in this case); and whether Jack is incapable of presenting his own case. If fairness dictated that Jack should be allowed representation for either of these reasons, then of course he should be, but the tribunal appears to have acted within its rights to deny him this representation in the present instance. Lord Denning highlighted this principle in Pett v Greyhound Racing Association (1969): ‘It is not every man who has the ability to defend himself on his own †¦ He may be tongue-tied or nervous, confused or wanting in intelligence.† Jack’s tribunal could make a case for denying Jack representation, and this is not there fore a suitable ground for his claim for judicial review. The second issue relates to the tribunal’s decision to limit Jack’s witnesses to five, as opposed to the ten he originally sought to act as character witnesses. There are two possible avenues which Jack could proceed down with this. The decision can be identified as falling within, perhaps, one of the original categories of grounds for judicial review as set out by Lord Diplock in Council of Civil Service Unions v Minister for the Civil Service (1985). This ground was irrationality, which was likened in that case to the principle of unreasonableness identified in the other key case for judicial review, Associated Provincial Picture Houses Ltd v Wednesbury Corporation (1948). This principle of irrationality applied, in Lord Diplock’s words, to ‘a decision which I so outrageous in its defiance of logic or of accepted moral standards that no sensible person who has applied his mind to the question to be decided would have arrived at it.’[3] This was ada pted and mollified somewhat by Lord Cooke in R v Chief Constable of Sussex, ex p International Trader’s Ferry Ltd (1999), who asked ‘whether the decision in question was one which a reasonable authority would reach.’ The problem of proceeding down this avenue, for Jack, is the high standard of proof which Jack must meet in order to be successful in his claim. He would need to show that the decision to limit his witnesses to five would not be reached by any reasonable person. Lord Ackner identified the reason for this high level of proof as being that judicial review is a supervisory process, not an appellate jurisdiction (R v Secretary of State for the Home Department, ex p Brind (1991)). It seems unlikely that Jack would succeed in establishing that this decision on the part of the tribunal was so irrational as to be worthy of judicial review. He would more likely be successful following the second potential avenue in relation to this decision of the tribunal; that of procedural impropriety, which was also one of the original grounds for judicial review identified in the GCHQ Case. This phrase encompasses both the breach of statutorily defined procedural rules, and also the breach of common law rules of natural justice. Jack’s claim in this area will depend in part on the procedural rules set out in the relevant statute governing employment tribunals. If the tribunal has not complied with statutory provisions by limiting Jack’s witnesses to five, it will be considered to have acted ultra vires. In this case, the tribunal has met with its statutory obligation under the Tribunals and Inquiries Act 1992, s10 to give reasons for its decision to limit the number of witnesses to five for each side (‘it would not be administratively expedient to allow the calling of such a large number of witnesses, particular ly as it is the view of the tribunal that many of the witnesses would not provide evidence which would have a material impact upon the outcome of the proceedings’). It is a central principle of natural justice that Jack must be entitled to a fair hearing. It is in this area that Jack has the best chance of securing judicial review of the employment tribunal’s decision. Firstly, in relation to the composition of the panel, Jack has a valid complaint against the inclusion of a member of staff with whom he had a relationship that ended acrimoniously. This instantly raises the possibility of bias in the tribunal panel. English courts have developed two tests for bias, based on reasonable suspicion, and on real likelihood. In R v Gough (1993), however, it was held that the same test should be applicable in all cases of apparent bias. This test is whether there is a real danger of bias. Given the nature of the woman’s previous relationship to Jack, it is fair to suggest that there is a real danger of bias. This, then, according to the Gough test (despite subsequent challenges to that test in cases such as Porter v Magill (2002)), would g ive Jack a strong ground for seeking judicial review. Part 3 The grounds under which Jack might be able to pursue his claim for judicial review have been considered. Purely on the grounds for judicial review, Jack’s best chance of success lies with the danger of bias in the composition of the panel in the tribunal, given that one of his ex-girlfriends is a member of it. Jack might well, however, be able to strengthen his claim by supporting it with Human Rights Act claims. The impact of this will be considered on each of the possible grounds for review outlined above. Firstly, in respect of the decision by the tribunal not to allow Jack to be legally represented, it is possible that although this is not necessarily improper in itself, it may be a breach of Jack’s human rights as encompassed in the European Convention on Human Rights, incorporated into English law by the Human Rights Act 1998. The relevant article of the Convention is Article 6, which guarantees the right to a fair hearing. This entitles Jack, ‘in the determination of his civil rights and obligations †¦ to a fair and public hearing.’[4] Firstly, does this cover tribunals of the sort Jack is involved in? In the case of Ringeisen v Austria (1971), the European Court held that Article 6(1) covers all proceedings whose result affects private rights and obligations. In the present instance, Jack’s right to continue working as a teacher is to be determined by the outcome of the tribunal. It seems then, that his case is at least covered by the Article. The Article only confirms that Jack would have a right to legal representation, however, if he were charged with a criminal offence. ‘Everyone charged with a criminal has the following minimal rights †¦ to defend himself in person or through legal assistance †¦Ã¢â‚¬â„¢[5] This, however, is merely a civil offence, so once again, there is no guarantee that Jack should be granted legal representation under the ECHR. The same Article of the Convention is also applicable, however, to the composition of the tribunal panel as well as the manner in which the tribunal was conducted. Firstly, the Article guarantees the right to a ‘fair and public hearing within a reasonable time by an independent and impartial tribunal†¦Ã¢â‚¬â„¢[6] In the European Court case of Langborger v Sweden (1989), the Court established that ‘even if individuals are technically qualified to address a given issue and even if there is no subjective reason to doubt their personal integrity, it is important that the appearance of objective impartiality and independence is observed.’[7] More specifically, in the case of Sramek v Austria (1984), those adjudicating a particular matter cannot be seen to have a relationship with any of the parties. This case law clearly impacts upon Jack’s case, as the previous relationship he had with the female member of the panel can be seen to breach this principle of f airness and impartiality, despite her assurances that the history had no effect on her judgment. Furthermore, also under Article 6(1), the court or tribunal is required to give reasons for its decisions. Jack’s employment tribunal met this requirement insofar as it gave reasons for its refusal to allow Jack more than five witnesses, but it must also have given reasons for its unanimous decision to dismiss Jack. Perhaps linked to this is Jack’s right under the same Article to a ‘fair hearing’. The fact that Jack noticed one of the panel was falling asleep during his defence hardly seems commensurate with this principle. He could conceivably, then, mount a challenge to the decision of the tribunal based on human rights claims under Article 6 of the ECHR. He would have two substantial avenues of challenge; firstly the impartiality of the tribunal could be called into question due to its inclusion of Jack’s ex-girlfriend. Secondly, the conduct of the tribunal itself, particularly the fact that a member of the panel was falling asleep during Jackâ₠¬â„¢s submission, suggests Jack would have a valid claim for breach of his rights. In this scenario, then, Jack would be able to establish grounds for his claim for judicial review. The tribunal is exercising a quasi-judicial function, and would be properly categorised as a public law function. As such, judicial review is the proper way to proceed to challenge its decisions. In terms of actual grounds for review, Jack’s best chances lie with the composition of the panel. The inclusion of his ex-girlfriend, despite the panel’s claim to the contrary, could be seen to have an adverse effect on the impartiality of the panel. Again, the falling asleep of one of the panel’s members during Jack’s presentation also gives ground for judicial review due to procedural impropriety. It seems the panel has acted within its rights to deny legal representation to Jack. Nor is this legal representation guaranteed under human rights legislation, as this is clearly a civil matter, while the ECHR only guarantees legal representation in criminal cases. Again , in the context of the Human Rights Act 1998, Jack’s best chances of mounting a strong case for breach of his rights lies in the composition of the panel and the conduct of the hearing. These seem to have constituted potential breaches of Article 6 of the ECHR. BIBLIOGRAPHY Statutes Civil Procedure Rules 1999 European Convention on Human Rights Housing (Homeless Persons) Act 1977 Human Rights Act 1998 Tribunals and Inquiries Act 1992 Cases Associated Provincial Picture Houses Ltd v Wednesbury Corporation [1948] 1 KB 223 Clark v University of Lincolnshire and Humberside [2000] 3 All ER 752 Cocks v Thanet District Council [1983] 2 AC 286 Council of Civil Service Unions v Minister for the Civil Service [1985] AC 374 Langborger v Sweden (1989) O’reilly v Mackman [1983] 2 AC 237 Pett v Greyhound Racing Association [1969] 1 QB 125 Porter v Magill [2001] UKHL 67 R v Board of Visitors of HM Prison, the Maze, ex p Hone [1988] AC 379 R v Chief Constable of Sussex, ex p International Trader’s Ferry Ltd [1999] 2 AC 418 R v Disciplinary Committee of the Jockey Club, ex p Aga Khan [1993] 2 All ER 853 R v Gough [1993] AC 646 R v Legal Aid Board, ex p Donn Co [1996] 3 All ER 1 R v Panel on Take-overs and Mergers, ex p Datafin plc [1987] QB 815 R v Secretary of State for the Home Department, ex p Brind [1991] 1 AC 696 Ringeisen v Austria (1971) Roy v Kensington and Chelsea and Westminster Family Practitioner Committee [1992] 1 AC 624 Sramek v Austria (1984) Secondary sources Gomien, D. (2005) Short Guide to the European Convention on Human Rights (Strasbourg: Council of Europe) Leyland, P., and Woods, T. (2002) Textbook on Administrative Law, 4th Edition (Oxford: OUP) Parpworth, N. (2004) Constitutional and Administrative Law, 3rd Edition (London: LexisNexis) Footnotes [1] See, for example, Parpworth, N. (2004) Constitutional and Administrative Law, 3rd Edition (London: LexisNexis), p264 [2] Quoted in Parpworth, p270 [3] Quoted ibid, p309 [4] European Convention on Human Rights, Article 6(1) [5] Ibid, Article 6(3)(c) [6] Ibid, Article 6(1) [7] Quoted in Gomien, D. (2005) Short Guide to the European Convention on Human Rights (Strasbourg: Council of Europe), p56

Collection of Film Review Examples

Collection of Film Review Examples Shane Meadows is known to make movies about his own experiences. This is England is no exception. The idea for the movie came from the director s childhood, and it is the most personal film Shane Meadows has made so far, as he said himself. In an interview at the British Film Institutes Southbank theatre in April, Meadows talked about his upbringing. Yeah, every moment of joy in my life usually stunk of sadness. Every time I was just about to get somewhere someone stuck a dart up my arse. Thats how I remember growing up in Uttoxeter. When things were at their shittest, people seemed to be at their best and when things were at their best, people seemed to be at their worst The film starts with a sequence of clips, introducing the viewer to England in 1983. When watching the intro, I got the feeling I am about to see some kind of documentary, due to the footage being shown. The mise en scene is outstanding in this piece C to be perfectly honest, I was silly enough to believe it was actually shot in 1983 in the beginning, which makes me extremely embarrassed. The careful casting, costumes, sets and props makes it hard to believe the film was actually shot in 2006, which makes the story much more believable and easier to get into. The piece is put together extremely well and the soundtrack comprises of the hits from the eighties, which sets the mood perfectly. The main character is alone in the beginning C he doesnt really have friends, he is being bullied at school, he gets in a fight with a boy, who makes fun of his dead father. Although the movie talks about some really serious issues like gang culture and racism, lack of jobs and immigration, it still manages to make you smile, like the bit when Shaun comes back home to his mother and complains about his trousers. This way not only are you amused and it takes off the depressing mood in the movie, but it also feels more real, less movie-like. The movie is a typical coming-of-age sort of piece, where the main protagonist changes and matures as the story unfolds. His story basically starts when he crosses paths with skinheads and discovers belonging to a group makes things easier. They go out hunting together, and this comes from a real story of the director s childhood. The group he joins is relatively harmless C compared to what lies ahead. The good days don t last long C soon enough, Combo comes back from prison and steps up as the leader of the group. There is a feeling of tension building and although we see Shaun developing attachment to Combo, who is now like the father figure the boy never had, there is a strong feeling something will go seriously wrong. Soon everything goes from a group of youngsters, fooling around, to Shaun attending a National Front meeting. For me, a person, who isn t too political, this movie is also educating C seeing what life and politics were like in 1983. In the movie we see Shaun becoming a man in a very short period of time. A very important scene in This is England is when Shaun gets his cross tattoo. The director, Shane Meadows, has the exact same tattoo on the same finger. This marks Shaun, as a worthy member of the Skinheads, who agrees to stay in the group for the rest of his life. Although Shaun is now Combos protegee   and receives his undivided attention, we see that his relationship is starting to become dangerous and Combo is a bad influence on the young boy. Silly hunting games that Shaun used to play with the previous skinhead group turn into real acts of violence in Combo s. It must be noted that the performance by Stephen Graham, who plays Combo, is simply astonishing C when the group robs the shop, the intimidation and hatred he created were so real and believable, for one moment there I got into the action so much, I was scared for the shop owner s life, only to realize it s just an actor. In my opinion, Combo is just as important as Shaun, because the complexity of Combo s character is what drives the story. One second he is talking to Milky with respect and treating him like a brother, the other, he bursts out and beats him to death, which shows Shaun the real face of his beloved idol, when the latter unleashes his fury even upon his close friends. The piece ends with a reference to 400 blows , which is another coming-of-age film. The main character Shaun runs to the sea, which is considered to be a symbol of freedom and throws the England flag into the water, freeing himself and making clear that he is not coming back to the group. The last shot, exactly like in 400 blows , is him, looking up at the camera, making a connection with a viewer. After all, this is exactly what Shane Meadows intended to do in the first place. Pierrot Le Fou by Jean-Luc Godard Jean-Luc Godard Jean-Luc Godard always said that he doesn t really plan his movies too carefully, and he does not intentionally leave any secret messages in them. It is all up to the viewer, to make what he or she wants of it. After watching it I think Pierrot Le Fou is one of those films that you either hate or love and it is definitely not for everyone C the plot here can be confusing sometimes and the main characters hard to understand. Also, there are references to Vietnam War, which I didn t even notice and thought it was another random element of the main characters fooling around. The movie is about Ferdinand and Marianne, a complicated couple who decide to run away together. They find each other, two misfits, and realize they want to isolate themselves from the fake reality they live in. This is really well portrayed in the beginning of the movie. We see Ferdinand in a party, which looks a lot like a parody for TV commercials. The guests are talking about different products in such manner you would expect to find in a commercial. The effect of it all being fake and distant to Ferdinand is also strengthened with experimental lighting. I think one of the most brilliant scenes in the movie is at the same party, when Ferdinand meets a movie director and talks about cinema with him. This is obviously self-referential, but it was also brilliant to observe the misconnection between the two of them, because of the language barrier. The funny thing is, when Ferdinand asks the American director what is cinema, although the woman translates the sentence completely wrong, asking about his movie, not cinema in general, his answer, in my opinion, is exactly right. It is a battleground. It is love. Hate. Action. Violence and death. One word C emotions. This conversation, that might not leave a big impression on the others, left me in awe of the script-writing for Pierrot Le Fou . Another thing that I realized is the lighting changing, when he moves on from the TV-ad conversation to the American director. It goes from red, which is usually considered a colour of danger, alarm, awareness to green, which is soothing, nature-like. It is another way of the director showing that Ferdinand is very interested and comfortable talking about the arts. The colour scheme in Pierrot le Fou is very important; I would say that at some points the colours even tell the story better than the action. I noticed two leading colours, which represent the main characters C red and blue. Blue is Ferdinand s colour C he is often shot next to the blue sky, or the sea, he drives a blue car and even paints his face blue, before committing suicide. I think the blue also represents his character, quite calm, relaxed, and even cold sometimes. Red, on the other hand, is the complete opposite and it is the colour of Marianne C she drives a red car, wears red clothes, and is simply a vivid, energetic character. Another important colour in the film is yellow, which is represents jealousy and betrayal. Toward the end of the movie, we see the exchange of the colours C Ferdinand s head, wrapped in a red scarf, when being tortured; symbolizing the fact that it s all happening because of his relationship with Marianne. Also, the couple exchanging cars and Ferdinand starting to wear a bright red shirt. When Ferdinand and Marianne separate, after Marianne taking the briefcase with her, we notice yellow flowers in the background. When Ferdinand approaches the dock, where Marianne is leaving on a boat, with her new lover, on his way there, red and yellow are dominating in the background. Ferdinand reaches the dock, where a single yellow barrel is standing, as he watches the woman he loves running away with another man. The next shot of him is approaching a man sitting the ground, singing. We now see yellow taking over, as it is seen, as Ferdinand walks with his head down. When he is on the boat, in the front there is a big yellow box, as if it was telling us that jealousy is driving him to the island. Ferdinand is walking through a field and singing Do you love me at the same time as he passes yellow flowers. The yellow starts to dominate again, as he approaches and shoots Marianne. The climax of this is Ferdinand s suicide, when he is wearing the red shirt, painting his face blue, and wrapping himself with red and yellow dynamite, which represents Marianne s betrayal. Pierrot Le Fou is definitely now one of my favourite films of all time, and has so many different sides to it, that to decode the whole piece would take me an eternity, but I guess that is one of the reasons why I fell in love with it. Meshes of the Afternoon by Maya Deren Although I am not a big fan of surrealism, Maya Deren s film had much more meaning to me, than Dali s and Bunuel s work. Meshes of the Afternoon , in my opinion, was less random, more carefully set and the symbols carefully picked to convey a message. It s a movie about a woman s state of mind, her dream world and her reality mixing together in the end. This film, just like many surrealism films, is an experience C you cannot watch it like you would watch a drama or a comedy. You could call it brain exercise, if you wish. Throughout the film there are a lot of symbols and the randomness at first might seem pointless, but the production is made really carefully. The film starts with a flower, put in the middle of the road by a long female hand. We instantly realize this is not going to be an ordinary movie C both time and space are distorted C the hand comes from nowhere, and suddenly disappears. The flower, of course, symbolizes beauty, love and femininity. Soon after this we see a woman picking up the flower, which indicates it is a piece about her and her place, as a woman. The fact we do not see the main character s face, creates tension and curiosity about her intentions. As she tries to open the door, she loses the key and it falls all the way down the stairs. To me the key probably symbolizes answers, freedom and solutions. She enters the house and sees things scattered all over the place C newspapers, a knife and a telephone. Once again, I can only interpret it in my own way C a knife is an obvious danger, also a possible symbol of a phallus. A telephone is probably a representation of the main character s connection, in this case C with herself. When she goes upstairs, she sees a window open, which also can be interpreted as a symbol of freedom and escape. She notices a record player working, but not making any noise. I cannot really explain why, but to me the record player symbolizes her own life C it is playing, but there is no music, no purpose, so she turns it off. Maya Deren keeps jumping from one place to another C just like it would be in a dream. As we see the world through her eyes, she turns her head and finds herself in a whole different room. This is all done to disrupt any feeling of order and continuity. When she falls asleep, in her dreams, we see the cloaked figure for the first time. After seeing the whole movie I can only interpret it as the symbol of death, the Grim Reaper. This creature has a mirror for a face and it makes me wonder whether the main character is following it, because she is desperate to look at the mirror and see her true self. The cloaked figure is moving really slowly and the main character is running, but she cannot get even close to catching up with it. This represents her conflicted persona and the difficult state her mind is in. When she comes back to the house once again, the knife is now on the stairway, in her way, indicating that it is unavoidable that she uses it. After this we have a sequence of shots, which adds to the feeling of a dream C slow motion of her footsteps, tilted camera angles as she climbs up the stairs. Once again, the feeling of continuity is disrupted, as she enters the room through the window. The main character discovers the telephone and the knife on the bed, which creates a feeling of unavoidable danger. She goes back to the window and it seems like there is no gravity, a quite common dream that probably most of us have. The main character now looks down and sees herself sleeping in the armchair, with the record player by her side and turns it off again. The circle begins again, as she approaches the window and sees herself running. This creates a feeling of her being trapped in a vicious circle, with no chance to change it. She then opens her mouth and takes out the key, which to me symbolizes coming up with a solution to her suffering. The cloaked figure is now in the house and we get the feeling that death is coming for the main character. When the cloaked figure disappears, the main character finds the knife again, but this time she doesn t look scared at all C she looks like is now at peace with the fact she is about to die. The key appears in her mouth again and transforms into a knife, which clearly symbolizes that death in the answer. The three representations of the main character now gather around a table and play a bizarre surrealistic game, where they find out who will have to be the killer. The chosen one is now wearing strange glasses, which to me feels like a symbol of her, not seeing clearly. I found it quite fascinating, when the killer walks towards the sleeping woman and the surroundings change with each step C it starts out with a beach, then she steps on grass, then sidewalk and then finally C onto the carpet in the house. This, I think, represents the journey you have to make, when deciding to kill yourself. It is probably the hardest thing you could ever do and the steps represent exactly that. As the main character wakes up, the killer in the dream turns into her lover in reality, but we see the symbols from the dream around the room and the two start to mix together. The main character s lover is acting exactly like the cloaked figure and we realize the main character is blaming all her problems on him. As she breaks the mirror that appears to be her lover s face, we see the sea behind it, which is widely interpreted as a symbol of freedom. When her lover enters the house, we see the main character covered in mirror shards, dead. The mirror represents finally breaking free. All about my mother by Pedro Almodovar To Bette Davis, Gena Rowlands, Romy Schneider to all actresses who have played actresses, to all women who act, to all men who act and become women, to all the people who want to be mothers. To my mother. Dedication, All About My Mother, 1999 Pedro Almodovar is one of the most successful and well known Spanish directors of all time. He is famous for his movies, where he tries to explore the nature of being a woman. His movies, although quite complicated, almost always have a big international success and are being shown in cinemas all over the world. You could say this one is a chick-flick for the more intellectual woman. All about my mother is another film about women suffering, with many characters and different stories, intertwining and showing different sides of womanhood. It is also worth mentioning that almost all the cast is female in this piece. This particular film declares that to be a woman you do not have to be born one, so we get characters like Lola and Agrado, who are transvestites. Almodovar always liked complicated stories and although he tries to make it as real as possible, the lives of the characters sometimes seem so dark, it made me question whether there is actually too much drama involved. The film begins with mother and a son, Esteban and Manuela. I got the impression in the beginning that the story will revolve around Esteban, his wish to become a writer and the story he began to write about his mother. This illusion was soon shattered, when Esteban died after being hit by a car. The shot of him, lying on the ground for me was probably the most impressive shot in the film C the camera takes Esteban s POV and spins around, before falling to the ground. We see his mother approaching Esteban is slow motion, her coat red, the colour of blood and taking the camera, Esteban s head, into her palms. As she screams and lets go, the camera slowly moves back to the ground. This way of showing the tragedy that happened adds to the drama so much more than a normal two-shot ever would. Manuela, who works as a transplant coordinator, is the one who has to give the consent to donor her boy s heart this time. Searching for some kind of closure, she secretly follows the recipient after the operation. This crushes her completely and she decides to go to Barcelona, where she used to live with the boy s father, who is a mystery to the viewer so far. The focus from then on turns to the main character s relationships with other women she meets, her road to self-discovery and opening up once again. The different characters is what makes this movie interesting to watch. Although for the most part, it focuses on Manuela, we get a good glimpse at the lives of other women that surround her. This film, although so complicated and melodramatic, resembles real life as well C it makes us cry and laugh with the women who are in it. Manuela, who loses her son, discovers she can deal with her grief helping others C she becomes a personal assistant to actress Huma, who is going through an emotional crisis, rescues Agrado from an enraged client and helps pregnant nun Rosa through her pregnancy. Film references are very important in this piece as well C it begins with the mother and son watching All about Eve , which resembles the film s name and gives Esteban the idea how to call his work. Another significant film that is constantly brought up is A streetcar named desire . The main character, Manuela once played Stella in a drama group, when she was younger and this piece holds a special meaning to her, since she also met Esteban s father there, who played Kowalski. After so many years, due to the original actress not being able to perform, Manuela has to play Stella s part once again. This, for me, is a key point in the story, when the main character lets go and releases her pain. I found it interesting, because by acting, and pretending to be somebody else, she could finally be herself and cry out loud. The colour scheme in the movie is quite controversial and has been criticized numerous times for overshadowing the actual story. Just like in Pierrot Le Fou we see red, blue and yellow dominating, but the two movies are so different, it makes you wonder whether the colour scheme is appropriate in All about my mother . In my opinion, the colours are completely suitable and well thought out, because in a way they represent the colourful life and characters of the women in the film and by losing the colours the film would lose a bit of it s soul as well. Overall, I enjoyed watching All about my mother C Pedro Almodovar is one of the directors who really tries to understand women and what it s like to be one. I found the film really emotional and touching, Almodovar knows how to create a bond between a character and a viewer, so you end up really involved with the story and the destinies that these women have as well as getting to know individuals like Agrado and Lola who to some viewers might be a mystery and really hard to understand. The 400 Blows by Francois Truffaut The 400 Blows is a very important film, which started the French New Wave. It introduced another level of cinematic experience through cinematography, acting and much more naturalistic look and feel to the movie, which, for today s viewer, might be really hard to imagine. The camera in The 400 Blows moves around much more freely and more smoothly, and besides recording, starts to tell the story with it s movement as well. Different angles and camera positions are introduced. Antoine Doinel seems like an ordinary boy, who seems to get in trouble wherever he goes, his teacher constantly punishes him for the slightest mischief, his mother disregards him as simply being a waste of space and the beginning of his teenage years is proving to be a real hassle for young Antoine. He soon finds out his mother is having an affair, but we can see the boy is not bothered at all C he is much more concerned whether he ll get in trouble for skipping school. Later that day when his father comes back home and announces that the mother won t be joining them for dinner, it seems that Antoine is hoping that she will never come back, when he asks the father if she has left for good. This establishes the fact that the relationship between Antoine and his mother is less than perfect. For myself, it was hard to watch how the adults treat Antoine; it seems there is nobody at all, when it comes to adults, who understand him. He sleeps on his tiny bed, lonely, disposable, like the trash he has to take out every night. Although Antoine is disregarded as hopeless and simply ungifted he, as many children of his age, is simply starting to question the system and the fact he does not perform well in class certainly does not mean he is not capable. This film serves parents who find it hard to understand their children, because we get a glimpse of how hard it sometimes is to be a teenager C parents seem to forget it. It is much like a documentary in a sense that we observe Antoine, an ordinary boy and his transformation to a young man, as well as the work of camera being hand-held. For a short time in the movie, seems like the family has come back together and Antoine does not feel isolated anymore, but after failing yet another paper in class, he runs away once again and stays with his friend. I think one of the most important scenes in the film, since it represents French New Wave, is the scene where small children are watching Little Red Riding Hood . Their expressions, reactions to the play are so genuine and lack that over the top acting, that the viewers who sat in the cinema theatre, watching the movie in 1959 should have been fascinated. And they were, since the cinema was never the same again. The main actor s Jean-Pierre Leaud s performance in the scene where Antoine is being questioned by the psychologist once again brings me back to think of this film as a documentary C the acting is extremely believable and it is hard to tell yourself that it is a character, not a real person in front of you. The most famous scene of the film, of course, is the scene where Antoine runs away from the Juvenile Detention Centre. There are two extremely long tracking shots, that break the conventions of cinema and stay with the subject for much longer than usual, but this is exactly what fascinates the viewer. His run symbolizes his long and constant search for freedom, and his desperate wish to be acknowledged. His last look at the camera to me looked like he was thinking And what do I do now..? This last shot has been widely interpreted, but to me it feels like he has reached the sea, but he cannot escape from himself. When watching this film, I thought about how lucky I was to have a childhood, and that many kids grow up all too soon. My mother used to say that you can tell if a person was loved, when they were little. This all applies to Antoine C he grows up too soon, due to the time he lives in, his parents not caring enough, the educating system failing to acknowledge his efforts to study and him wanting to be noticed, even if it s for misbehaving. Even to this day, The 400 Blows is a remarkable film, which has and still is influencing many directors.

Acid Rain :: Free Essay Writer

The Effects of Acid Rain on Lakes and Trees Acid rain has long been argued by society’s most formidable minds. It indirectly destroys ecosystems that surround forests and lakes (Taylor, 26). People need to make decisions dealing with the destruction of nature and the role acid rain plays in it. Acid rain destroys millions of forests and lakes (Taylor, 26 ). Studies show that acid rain is one of the largest contributing factors in the death of forests and lakes. Acid rain indirectly kills millions of acres of forestland each decade. In the 1960s, people found that acid rain fall was unhealthy and damaging to forests (Baines, 20). Acid rain does not kill the trees directly. Acid rain makes the tree weaken and poisons it with toxic substances that are slowly released from the soil (EPA). When the trees weaken from the acid, it has a harder time fighting off adversaries such as fungi, diseases, and frost so subsequently it dies. Around the 1970s the acid rain dilemma got worse, the acid rain has put trees in danger and now they are starting to die off. The effects of acid rain on a tree is shown if it has less foliage, yellow spots and produces many cones (Baines, 22). Secondly, acid rain damages the trees through the soil by releasing metals that harm them even further (Lucas, 72). Acid rain makes the trees lose their leaves, so when the trees try to regrow their leaves, buds come instead, this process is called a panic shoot (M. 15). Large land areas which used to be covered with forests are now gone, dead or dying (Baines, 21). Around the 1980’s more than half   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Kotto 2 of the trees in Germany had signs of acid rain damage (Edmonds, 14). Now it is known that acid rain is one of the biggest contributing factors in the death and deterioration of nature.   Ã‚  Ã‚  Ã‚  Ã‚  Lakes support thousands of species of marine life, that’s why it’s a shame that they are constantly being poisoned by acid rain. Scientists have studied the effects on acid rain in lakes for several decades (Lucas, 49). Scientist use their observations to determine whether lakes are acidous or not. People can tell if there is acid rain in a lake if the water is clean and crystal clear, but with hardly no life in it (Baines, 16).The acid rain can enter the lakes by way of snow, rain,

The Divine Secrets Of The Ya Ya Sisterhood Essay examples -- essays re

Rebecca Wells paints a picture of the various roles that women often must encounter in their lives: mother, daughter, friend. As said by Charlotte Observer "She [Wells] speaks eloquently to what it means to be a mother, a daughter, a wife-and somehow, at last, a person." Wells uses a captivating style to create a simple plot, memorable symbolism and a reoccurring theme of friendship. The Divine Secrets of the Ya-Ya Sisterhood teaches about the importance of giving and receiving love and finding joy in everyday life. The simplistic plot of the novel and the overall theme of love allows the author to span the lives of the main characters. The reader sees the span of the life of two of the main characters, Sidda and her mother Vivi, as they struggle to love each other based on their own childhood experiences. The reader also sees our two main characters in parallel encountering love and affairs of the heart; yet the most powerful love throughout the book is the love of four friends who stick together through the good and the bad. Vivi loves the Ya-Ya’s; as adolescents they are looking for love and someone to look up to. Vivi didn’t know how to love Sidda because Vivi’s mother didn’t know how to love her; therefore, Sidda doesn’t know how to love Connor because she has never experienced love and is now afraid to be in love. The simplicity of the novel is that everyone is always looking to be loved. The simplicity is that in real life people are always searching to be loved, or finding love. Near the beginning of the novel when the ya-ya’s are in their adolescence as young girls, going through the normal obstacles of childhood- fighting with their parents, getting into mischief, smoking and breaking curfew- they realize that by sticking together they can get through anything. They formalize this bond with a ceremony early on, "I am a member of the royal and true tribe of the Ya-Ya’s†¦I do solemnly swear to be loyal sister Ya-Ya’s, and to love and look out for them, and never forsake them through thick and thin, until I take my last human breath" (Wells 71). Wells shows the reader that the inability to show love can be passed down through generations: Sidda expresses to Connor why she is afraid to marry him, "She [Vivi] didn’t know how to love me, so I don’t know how to love you" (Wells 284). Sidda is saying that her mother couldn’t ... ...and that it really was their friendship that guided them through their whole life. And that together they really were all one. "I see lightness and ease. I see suffering somewhere in my mother’s [Vivi] eyes, but also I feel the camaraderie, laughter, friendship" (Wells 313). The Ya-Ya’s are very much at ease giving love to each other. That is what helped them to sustain their friendship for so long and helped them throughout their lives to love each other. Through the lives of five extraordinary women: Sidda, Vivi, Caro, Necie and Teensy, Wells uses a captivating style to create a simple plot. Memorable symbolism and the reoccurring themes of friendship and love in the novel The Divine Secrets of the Ya-Ya Sisterhood. Wells shows the reader that love and friendship, even in the smallest form, can sustain through tragedy and triumph-the bonds of the Ya-Ya’s. Works Cited Primary Source: Wells, Rebecca. The Divine Secrets of the Ya-Ya Sisterhood. New York New York: Harper Collins Publishers, 1996. Secondary Source: Wells, Rebecca. The Divine Secrets of the Ya-Ya Sisterhood. New York New York: Harper Collins Publishers, 1996.

Interpretations with Shakespearean Drama Essay

As the director of this precise production, my idea and vision for the 21st century version of â€Å"The Seven Ages of Man† is to a certain extent, altered. There is a merely different scene, so I want to set it where it rather emulates the poem. Though it cannot befuddle the audience’s attention away from the speaker and poem. However, I do want the scene to be conspicuous and speak for itself. Generally, movie producers choose prevalent places for precise movies, for example, California, New York, Atlanta etc†¦ I chose to go a different route for this movie. I chose to do this scene in the mountains of Colorado, during the fall. Furthermore, I cannot disdain the character because he or she is a vital aspect to the movie. No doubt the person I choose for this movie is Denzel Washington. I have a vast amount of confidence in him that he is a prodigious person to play the part. This 21st century movie will be similar in specific ways, for example, the mood in this movie will be the exact same as in the second video on page four in the lesson. I want it to start the same way as well with Denzel having his arm on a tree and speaking the poem with an infuriated tone. Also, there will be a guy holding a war knife looking miffed and discerning about what ensued. The only difference will be is that there will not be anyone standing expect for Denzel and that there will not be a light for him to touch and the girl will not be touching her hair. Generally speaking, my new advised version of this play is awesome!

Literary Analysis- All Summer in a Day

Jeremy Olsen Mrs. Harvan Art of Writing 12 April 2010 All Summer in a Day Most children grow up not knowing how the world works around them. They don’t understand why people are different from one other and they react differently to with jealousy or cruelty when someone is not like they are. In All Summer in a Day, by Ray Bradbury, the children are jealous and angry with Margot because she has experienced things in life they have not, so the kids treat her unfairly because of it. From the beginning of the story the kids never liked Margot and treated her cruelly. When she starts to tell the kids in her class how the sun is â€Å"like a fire in a stove† (Bradbury 1) she is cut off by a boy and told â€Å"you’re lying you don’t remember† (2). Another instance when she is treated horribly by the kids is when she is told to â€Å"speak when spoken to†¦Ã¢â‚¬  (3) by one of the boys in the class. When the time comes close to when the sun was going to come out the kids in the class say â€Å"Hey let’s put her in the closet before teacher comes back† (4) and all Margot could say was no. After they put her in the closet the sun came out and they all ran outside and forgot her until one of the kids says â€Å"she’s still in the closet where we locked her. †(5) this shows how unimportant she is to the kids and also how the kids can just go on after possibly ruining the girls life. At the end of the story when the kids realize they left Margot in the closet one of the girls says â€Å"well? † to the boy who put her in there and he didn’t even have a response because he felt horrible about what he did.