MLE Assignment Essay Example for Free

MLE Assignment Essay 1. Ethically, is brain death not as final as cardiac death? Why or why not? Brain death is final. There is no coming back from it, ever. Neurons die, and the brain ceases to function. Permanently. With cardiac death, we can sometimes use medication or electricity to resume heart function. A systole (no electrical activity in the heart) can sometimes be reversed if the underlying cause of the problem can be treated (such as severe electrolyte abnormalities, or severe hypothermia). 2. How does the Prudent Person Rule apply in this case? The prudent rule or reasonable man law dictates that a person act in a manner that is consistent with the skills, logic, resources, and knowledge that an average lay-person may have. In medicine, it would apply to a patient in that they are required to take all steps that are reasonable and prudent to affect a positive outcome in their treatment. In other words, you would be expected to follow doctors orders, do all routine follow up and home therapy, use reasonable judgments and so on. So the answer here is, yes this does apply to the case because this young girl came into the hospital for a simple surgery removing her tonsils, adenoids, and extra sinus tissues. And was shortly determined brain dead after beginning to bleed profusely, and went through cardiac arrest, meaning the serious dysfunction of an organ. 3. In your opinion, could this tragedy have been prevented? If so, how? In this case I really don’t know the specifics of this particular case, because there are so many missing pieces between the pre-op and post-op that I’m unsure of how this actually happened to determine if this tragedy could have been prevented. In some cases the parents have to be completely informed as to the ramifications of a situation before making a final decision.

Stigma Within the Fast Food Industry Essay -- Restaurants Employment Es

When working at a fast food restaurant, more often than not it is accompanied with a stigma. People tend to believe that those who work in fast food restaurants are not capable of anything better. They assume people working at fast food restaurants are slow and uneducated, or they simply look down upon them because these jobs have become known as "dead-end jobs." This so-called "dead-end job" is what people might describe as low-wage labor that employees have a susceptibility to become trapped in. Fast food employee’s face many challenges, morally and socially. High school students take jobs at fast-food restaurants because they are convenient and can work around their schedules. High school students who work in fast food use the money they make toward an education, and most have goals that do not at all include the fast-food world. Why then, does the stigma remain? Perhaps it is because it has been coined as a social prejudice, and people are afraid to disagree. Parents tend to dissuade their working age children from working at fast-food restaurants as the stigma of these jobs creates conflict in their social lives. My background in the fast food industry starts with my first real job. I began working at Wendy’s when I was sixteen years old. I kept to myself for nearly a year. I was working for one thing, and that was to satisfy the customers. After exactly three years, the choice to move on and change was a hard decision to make, my hours were steady, and the managers were pushing me to move up in the chain of power and become a shift manager. I had accumulated three employee of the month awards (employees were only allowed to get it once a year), the title of ACE employee (knowledge of all positions and the skil... ...erve while working in the fast food industry that people not in the industry would not know or understand? 7. Has your perspective been provoked by the stigma related with fast food workers, if so, how? [ii] Questions for non fast food workers. 1. When did you first begin working and where? 2. Have you ever been to a fast food restaurant? 3. How do you feel this job might differ from that of one in a fast food restaurant? 4. Do you feel that fast food restaurants carry a stigma among employees? 5. Have you ever heard or been witness to a situation regarding the moral corruption of fast workers? Works Cited Bennet, Jay. Personal interview. 30 Oct. 2004. Koenecke, Wade. Personal interview. 25 Oct. 2004 Long, Whitney. Personal interview. 25 Oct. 2004 Wright, Sean. Personal interview. 28 Oct. 2004 Stigma Within the Fast Food Industry Essay -- Restaurants Employment Es When working at a fast food restaurant, more often than not it is accompanied with a stigma. People tend to believe that those who work in fast food restaurants are not capable of anything better. They assume people working at fast food restaurants are slow and uneducated, or they simply look down upon them because these jobs have become known as "dead-end jobs." This so-called "dead-end job" is what people might describe as low-wage labor that employees have a susceptibility to become trapped in. Fast food employee’s face many challenges, morally and socially. High school students take jobs at fast-food restaurants because they are convenient and can work around their schedules. High school students who work in fast food use the money they make toward an education, and most have goals that do not at all include the fast-food world. Why then, does the stigma remain? Perhaps it is because it has been coined as a social prejudice, and people are afraid to disagree. Parents tend to dissuade their working age children from working at fast-food restaurants as the stigma of these jobs creates conflict in their social lives. My background in the fast food industry starts with my first real job. I began working at Wendy’s when I was sixteen years old. I kept to myself for nearly a year. I was working for one thing, and that was to satisfy the customers. After exactly three years, the choice to move on and change was a hard decision to make, my hours were steady, and the managers were pushing me to move up in the chain of power and become a shift manager. I had accumulated three employee of the month awards (employees were only allowed to get it once a year), the title of ACE employee (knowledge of all positions and the skil... ...erve while working in the fast food industry that people not in the industry would not know or understand? 7. Has your perspective been provoked by the stigma related with fast food workers, if so, how? [ii] Questions for non fast food workers. 1. When did you first begin working and where? 2. Have you ever been to a fast food restaurant? 3. How do you feel this job might differ from that of one in a fast food restaurant? 4. Do you feel that fast food restaurants carry a stigma among employees? 5. Have you ever heard or been witness to a situation regarding the moral corruption of fast workers? Works Cited Bennet, Jay. Personal interview. 30 Oct. 2004. Koenecke, Wade. Personal interview. 25 Oct. 2004 Long, Whitney. Personal interview. 25 Oct. 2004 Wright, Sean. Personal interview. 28 Oct. 2004

History of Cinema Essay

From the very beginning its existence the cinema has created works of art worthy to stand comparison with the masterpieces of painting, music, literature, and theatre. Even more than that, the cinema is irremovably embedded in the whole history of the twentieth century. It has not only shaped but also reflected the reality of the times. The cinema gave also form to the aspirations and dreams of people all over the world. This work will focus on the main historical factors and the conditions surrounding the history of film-making. However, it is also the case that it is simply impossible, in a work of this size, to do justice to all the many individuals, technologies and processes that have played noteworthy roles in the history of cinema. The history is not only interesting in its own right; it can also illuminate with particular clarity how the cinema works as a whole. This work consists of four main parts: the Early times, the Silent Cinema, the Sound Cinema, and the Modern Cinema from 1960 to the modern times. In each part the paper looks at history of the cinema in general. As far as possible this paper will cover each development from a broad international perspective. The Early Cinema From the beginning the cinema developed quickly. What in 1890 had been just a dream had by 1913 grown into a whole industry. First films were just moving snapshots. They were only one minute in length and nearly all consisted of just one shot. By 1905, the films were usually five to ten minutes in length and included changes of site and camera position to create a story or show a theme. Later, in the early 1910s, when the first ‘feature-length’ films appeared, there little by little emerged new techniques for handling complex stories. At this time the process of creating of films had itself grown into a large-scale business. Specialist offices had emerged, exceptionally intended to the making of films. During the 1910s the heart of supply became Los Angeles – Hollywood. The early cinema of from the mid- 1890s to the mid-1910s is often called ‘pre-Hollywood’ cinema. The cinema of this period has also been called pre-classical. Actually the styles of filmmaking common in the early years have never been completely shifted by Hollywood or classical modes, even in America. Many films continued to be pre- or at any rate non-Hollywood in their style for a long time. But it is right to say that much of the cinema development in the years from 1906 or 1907 can be considered as laying the ground for what later became the Hollywood industry. Silent Cinema On the contrary to popular belief, the history of animation did not begin with Walt Disney’s sound film Steamboat Willie in 1928. Before that film there was a popular tradition, a film industry, and a vast number of films – considering nearly 100 of Disney’s (Hayward 234). The general history of the animated film begins with the use of transient trick effects in films around the turn of the century. As several genres emerged (Westerns, chase films, etc. ). During 1906-10, there appeared at the same time films made all or mostly by the animation technique. Since most films were a single reel. There was little programmatic difference between the animated films and others. But the multi-reel film trend developed after around 1912. Animated films retained their one-reel-or-less length. Until the First World War, animation was a completely international phenomenon. However, after about 1915 the producers in the United States began to control the world market. In a quarter of a century, the silent cinema created a tradition of film comedy. The cinema arrived at the end of a century that had witnessed a rich development of popular comedy. Later, the new proletarian audiences of the great cities of Europe and America found their own theatre in music hall, variety, and musical comedy. With these popular audiences, comedy became constant demand. When life was bad, laughter was a comfort; when it was good, they wanted to enjoy themselves just the same. Famous comedy mime troupes of the music halls, like the Martinettis, the Ravels, the Hanlon- Lees, and Fred Karno’s Speechless Comedians, can be seen as direct predecessors of one-reel slapstick films. Karno, in fact, was to train two of the greatest film comedians, Charlie Chaplin and Stan Laurel (Hayward 56- 58). The term ‘documentary’ did not become popular use until the late 1920s and 1930s. In the beginning it was applied to various kinds of ‘creative’ non-fiction screen practice in the post-First World War, classical cinema era. Originating films in the category have typically comprised Robert Flah erty ‘s Nanook of the North ( 1922), various Soviet films of the 1920s such as Dziga Vertov’s The Man with the Movie Camera (Chelovek s kinoapparatom, 1929), Walter Ruttmann’s 11Berlin: Symphony of a City (Berlin: die Sinfonie der GroBstadt, 1927), and John Grierson’s Drifters ( 1929) (Cook 89). Early documentarians used the magic lantern to create complex and often sophisticated programs out of a succession of projected photographic images. The images were accompanied by a live narration, with an occasional use of music and sound effects. By the turn of the century, films were gradually replacing slides. This in turn gave rise to the new terminology. The documentary tradition preceded film and has continued into the era of television and video. In this way it was redefined in the light of technological innovations, as well as in the context of shifting social and cultural forces. British films of the period were often quite sophisticated, particularly in the comic and actuality fields. Narrative editing, too, was often innovative. Sound Cinema The development from silent to sound cinema marks a period of revolution in the history of cinema. The revolution 4can be easily dated from 6 October 1927, with the New York premiere of Warner Bros. ‘ The Jazz Singer in which Al Jolson pronounces the immortal line ‘You ain’t heard nothin’ yet’ with more or less perfect synchronization between his lips in the film and his voice recorded in parallel on a disc (Hjort 90). Filmmakers began to use innovative sound technology that produced panic in cinema industry. In the same time it encouraged experiments and hopes too. While it decreased popularity of Hollywood’s films for several years, it stimulated a rebirth of national film production all over the world. This period in the history of cinema has specific features that make it unique in comparison with the years before and after. The coming of sound itself, and its world-wide implications is the first look. Then the focus is on the world of the studios, how the system operated – particularly in Hollywood – and how different aspects of the cinema were combined together during the studio period. The studios were not entirely free to make films simply for the market. The system also encountered problems of how to regulate itself to take account of political, social, and moral concern. While other countries experienced political censorship of varying degrees of severity, the Hollywood cinema suffered relatively little interference from central government. The Hollywood was instead faced with carefully orchestrated demands for a moral clean-up and the risk of intervention by local censor boards (Neale 78-79). Along with spoken dialogue, the major innovation of the sound cinema was synchronized music. The art of musical illustration that was used during the silent period was changed by the synchronized music. A considerable difference was, certainly, that filmmakers began to use music as a part of the fictional world. For instance, music could now be introduced when the film showed an orchestra or an actor performing a song. Then, sound film would use music not only to the picture, but to dialogue as well. Music became pure background. Composition, performance, and recording were all subject to studio control, and the production of musical tracks of high quality can be counted one of the greatest achievements of the system. Outside Hollywood music tracks were often less polished. But directors were more often free to work with composers of their own choice, and Sergei Prokofiev’s music for Eisen stein ‘s Alexander Nevsky (1938) provides an interesting contrast to two classic Warner Bros. scores of the same period – Erich Korngold’s The Adventures of Robin Hood (1938) and Max Steiner’s Casablanca (1943). Modern Cinema  The most significant change in world cinema since 1945 was that produced by the breakdown of the Hollywood studio system and of its competitors and imitators elsewhere. By the early 1960s the Hollywood system was in severe disarray. Declining audiences and a series of costly flops left the major studios on the verge of bankruptcy or open to hostile take-over. While the studios experienced difficulties, new enterprises such as American International Pictures emerged. These companied made low-budget movies that were intended for the new youth and drive-in markets. Many new genres came into being. One of such innovations was the road movie. It proved to be influential not only on more mainstream American films but throughout the world. The mainstream itself was forced to innovate, drawing inspiration both from the down-market competition and from the new cinemas emerging in Europe. In Europe the most important single event was the sudden explosion on to the scene of the French New Wave – the Nouvelle Vague – with first features by Claude Chabrol, Francois Truffaut, Jean-Luc Godard, and Alain Resnais following each other in quick succession in 1958 and 1959 (Hjort 123). The New Wave had been briefly preceded in Britain by the ‘Free Cinema’ movement, and was followed by the ‘Young German Cinema’ which announced its existence in the Oberhausen Manifesto of 1962 and went on to renovate the lackluster West German cinema later in the decade. In Italy the change was less sudden but none the less significant, with the creation of Federico Fellini’s La dolce vita and Michelangelo Antonioni’s L’avventura in 1960. It was beginning of a new art cinema. Changes in the 1960s were not confined to Europe. The Cuban Revolution in 1959 gave an impetus to the growth of new cinemas throughout Latin America, notably in Brazil (Cook 45). In Japan the studio system which had nurtured the work of the great masters such as Mizoguchi and Ozu was also in crisis, and in the changed situation allowed for the entry on to the world stage of directors like Nagisa Oshima, who was to play a role in Japanese cinema similar to that of Godard in France. The new cinemas greatly extended the boundaries of film art. They brought new audiences into the cinema, for whom films assumed an unprecedented cultural importance. Throughout the 1960s and into the 1970s the cinema spoke more directly to these mainly young audiences than did any of the more traditional art forms. But outside Italy, France and England the innovate cinema with the new realities was not popular. Because of the limits on the size of the audience, the new cinema had to be low-budget or propped up by subsidy (sometimes both) in order to survive (Guneratne 67). The ‘new’ period in Hollywood cinema begins from the 1975 release of Steven Spielberg’s Jaws. The film signaled the birth of a new, younger generation of Hollywood directors. Born mainly in the 1940s, they both studied the films of classical Hollywood and were influenced by the filmmakers of world cinema. George Lucas and Steven Spielberg made blockbusters with classic principles. One of the most famous filmmaker in the 1980s has been Woody Allen. Allen has made famous films, such as Interiors (1978) and Stardust Memories (1980). Conclusion There exists recognition of the fact that from the beginning the cinema has developed in remarkably similar ways all over the world. But it is also recognized that from the end of the First World War onwards, one film industry – the American – has played a main role in the creation of world’s cinema. However, many nations have created their own, culturally identifiable, genre films that proved extremely popular during the 1970s and 1980s. In India, for instance, a remarkable 250 film-making companies, using more than 60 studios, continued to produce 700 feature films a year throughout the 1980s (Kindem 23). The central government encouraged the making of Indian films by requiring all commercial cinemas to screen at least one Indian film per show. A star system, much like Hollywood’s of the 1930s and 1940s, is strong in all parts of the world. Indeed Indian stars working on several productions at the same time can become enormously wealthy. The nations survived mainly by learning from Hollywood cinema. At the same time Europe produced a product that corresponded to needs that Hollywood cinema could not supply. Asian countries have been strong producers of film. Hong Kong, a country of only 5 million people, produces more films than Hollywood. In the 1990s Hong Kong’s citizens watched Hollywood and native productions in about equal numbers. In the 1980s Hong Kong martial arts films were distributed world-wide in large numbers. With broadcasting systems combined with the rise of satellite-distributed services Hollywood penetrates even these markets. Hollywood produced the most famous icons in the world such as Steven Spielberg and Arnold Schwarzenegger. With its international control, the Hollywood corporations could and will define standards of film style, form, and content.

Of Mice And Men By Curley s Wife - 920 Words

Without a doubt one of the most intriguing characters within the story Of Mice and Men is Curley’s wife. In this novella women are perceived as items rather than equal human beings. Curley’s wife represents the false hope that comes with ideas of The American Dream. According to Dictionary.com the definition of The American Dream is â€Å"the ideals of freedom, equality, and opportunity traditionally held to be available to every American†. If this is true then as an American she should have the ability to pursue her dreams and acquire them through hard work and determination. However, as a woman her aspirations are nearly impossible to attain. The scene relating most to these ideas is one before the death of Curley’s wife. She walks into the barn to find Lennie all alone except for the dead puppy which he quickly hid in the mound of hay. She begins telling Lennie about her life before she married Curley and the career she could ve had. â€Å" ‘Noth er time I met a guy, an’ he was in the pitchers. Went out to the Riverside Dance Palace with him. He says he was gonna put me in movies. Says I was a natural. Soon’s he go back to Hollywood he was gonna write to me about it†¦I never got the letter†¦I always thought my ol’ lady stole it. Well, I wasn’t gonna stay no where I couldn’t get nowhere or make something of myself, an’ where they stole your letters†¦So I married Curley. [...] I don’t like Curley. He ain’t a nice fella. [...] Coulda been in the movie, an’ had nice clothes. An’ IShow MoreRelatedOF MICE AND MEN1721 Words   |  7 Pagesï » ¿In the book Of Mice and Men, the single women that appeared in the book resented herself as an object. The statement Women today are more often treated by men as equals rather than objects can be true or false. 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Loneliness is one of the primary themes in Of Mice and Men. Throughout the novel, John Steinbeck shows the enormous effect that loneliness has on the characters. Steinbeck most clearly illustrates this theme through Crooks, Candy, and Curley s wife. Ranch hands are ideal types of people to portray as being lonely, because their constant travel leaves them without someone to talk to or share things with. Steinbeck also shows how important it is for every human beingRead MoreAnalysis Of John Steinbeck s Of Mice And Men 1199 Words   |  5 Pages Alaura Lopez Period 4 December 18, 2014 Mrs. George Of Mice and Men Final Paper John Steinbeck’s book Of Mice and Men presents the story of two men trying and struggling to find the â€Å"American Dream†. In southern Salinas, California during the 1930’s the main characters Lennie, a giant man with a childlike aura and George, the opposite of Lennie, a small man with strong features are displaced migrant ranch workers, that travel from town to town together in hunt of new work opportunitiesRead MoreThe Grapes Of Wrath By John Steinbeck1119 Words   |  5 Pagesalong with collections of short stories, Steinbeck can definitely be recognized as a true classic author. His most noteworthy novel, The Grapes of Wrath, rightfully claims both the Pulitzer Prize and a National Book Award. Another famous novel, Of Mice and Men, reveals Steinbeck’s serious tone of writing as well as a tragic story line in his work. As the winner of the 1962 Nobel Prize in Literature, his novels are still read and appreciated all around the world today. Liv ing and writing during the GreatRead MoreAnalysis Of Of Mice And Men 903 Words   |  4 PagesThe character in Of Mice and Men that is most similar to Tom Buchanan in The Great Gatsby is Curley. Curley and Tom Buchanan have many similarities throughout both books. These shared characteristics stem from one thing both men have an abundance of: privilege. Curley and Tom are easily two characters with the least amount of struggle in The Great Gatsby and Of Mice and Men. Inheritance of power is prevalent in both Tom and Curley’s lives. Tom lives in East Egg, known for â€Å"old money† and highRead MoreOf Mice and Men Draft783 Words   |  4 Pagespresent the characters of Crooks and Curley s wife ? In what way are these minor characters shown to be significant throughout the novel ? In John Steinbeck s novel, Of Mice and Men, we gather our first impressions of Curley s wife from Candy, a man with one arm and who s only companion is his dog and is his equivalent of a friend, which he has had since it was a pup. I had im since he was a pup. We develop our initial impressions of Curley s wife as being flirtatious, attention seekingRead MoreMan Vs Nature Vs Of Mice And Men1265 Words   |  6 Pagesconflict, the conflict such as Man .vs. Nature, Man.vs. Man, and Person .vs. Self these types of conflicts show the struggle people have to go succeed a goal, dream or just to survive. In the poem â€Å"Ode to a Mouse† by Robert Burns and the novel Of Mice and Men by John Steinbeck, both authors use the literary element, Conflict to show the struggles of the characters. In California during the Great Depression, Lennie Small and George Milton are two ranch workers going from job to job with the dreamRead MoreComparison of Poems to Of Mice and Men by John Steinbeck890 Words   |  4 PagesPoems which can be compared to the novella ‘Of Mice and Men’ is ‘The Farmers Bride’ written by Charlotte Mew. This once again explores the relationship between husband and wife without an element of honest affection towards each other leading to failed marriages. The poem begins ‘Three summers since I chose a maid’. Like Curleys wife the farmer’s bride also has no distinct identity and is merely a possession. This emphasizes the meagre status of a woman in a male dominated society. The way the poemRead MoreOf Mice And Men By John Steinbeck1107 Words   |  5 Pagesmoments in our life, but sometimes good and happy moments. As we read the book â€Å"Of Mice and Men† the author John Steinbeck writes about many cha racters in the book. He clearly disguises, each character s problem. And the two characters that mainly stood out were George and Lennie because they both traveled and worked together, to get money for their dream ranch. So the author writes about their problems, whether it s similar problems they are sharing or different personal problems. In the end of