Night World : The Chosen Chapter 9

How long since he'd identified with humans? That had all stopped the day he stopped being human himself. Not at the moment he'd stopped being human, though. At first all his anger had been for Hunter Redfern†¦. Waking up from the dead was an experience you don't forget. For Quinn, it happened in the Redfern cabin on a husk mattress in front of the fire. He opened his eyes to see three beautiful girls leaning over him. Garnet, with her wine-colored hair shining in the ruby light, Lily with her black hair and her eyes like topaz, and Dove, his own Dove, brown-haired and gentle, with anxious love in her face. That was when Hunter informed him that he'd been dead for three days. â€Å"I told your father you'd gone to Plymouth; don't tell him otherwise. And don't try to move yet; you're too weak. We'll bring in something soon and you can feed.† He stood behind his daughters, his arms around them, all of them looking down at Quinn. â€Å"Be happy. You're one of us now.† But all Quinn felt was horror-and pain. When he put his thumbs to his teeth, he found the source of the pain. His canine teeth were as long as a wildcat's and they throbbed at the slightest touch. He was a monster. An unholy creature who needed blood to survive. Hunter Redfern had been telling the truth about his family, and he'd changed Quinn into one of them. Insane with fury, Quinn jumped up and tried to get his hands around Hunter's throat. And Hunter just laughed, fending off the attack easily. The next thing Quinn knew, he was running down the blazed trail in the forest, heading for his father's house. Staggering and stumbling down the trail, rather. He was almost too weak to walk. Then suddenly Dove was beside him. Little Dove who looked as if she couldn't outrun a flower. She steadied him, held him up, and tried to convince him to go back. But Quinn could only think of one thing: getting to his father. His father was a minister; his father would know what to do. His father would help. And Dove, at last, agreed to go with him. Later Quinn would realize that of course he should have known better. They reached Quinn's home. At that point, if Quinn was afraid of anything, it was that his father wouldn't believe this wild story of bloodthirst and death. But one look at Quinn's new teeth convinced his father of everything. He could recognize a devil when he saw one, he said. And he knew his duty. Like every Puritan's, it was to cast out sin and evil wherever he found it. With that, his father picked up a brand from the fire-a good piece of seasoned pine-and then grabbed Dove by the hair. It was around this time that the screaming started, the screaming Quinn would be able to hear forever after if he listened. Dove was too gentle to put up much of a fight. And Quinn himself was too weak to save her. He tried. He threw himself on top of Dove to shield her from the stake. He would always have the scar on his side to prove it. But the wood that nicked him pierced Dove to the heart. She died looking up at him, the light in her brown eyes going out. Then everything was confusion, with his father chasing him, crying, brandishing the bloody stake pulled from Dove's body. It ended when Hunter Red-fern appeared at the door with Lily and Garnet. They took Quinn and Dove home with them, while Quinn's father went running to the neighbors for help. He wanted help burning the Redfern cabin down. That was when Hunter said it, the thing that severed Quinn's ties with his old world. He looked down at his dead daughter and said, â€Å"She was too gentle to live in a world full of humans. Do you think you can do any better?† And Quinn, dazed and starving, so frightened and full of horror that he couldn't talk, decided then that he would. Humans were the enemy. No matter what he did, they would never accept him. He had become something they could only hate-so he might as well become it thoroughly. â€Å"You see, you don't have a family anymore,† Hunter mused. â€Å"Unless it's the Redferns.† Since then, Quinn had thought of himself only as a vampire. He shook his head, feeling clearer than he had for days. The girl had disturbed him. The girl in the cellar, the girl whose face he had never seen. For two days after that night, all he could think of was somehow finding her. What had happened between them†¦ well, he still didn't understand that. If she had been a witch, he'd have thought she bewitched him. But she was human. And she'd made him doubt everything he knew about humans. She'd awakened feelings that had been sleeping since Dove died in his arms. But now†¦ now he thought it was just as well he hadn't been able to find her. Because the cellar girl wasn't just human, she was a vampire hunter. Like his father. His father, who, wild-eyed and sobbing, had driven the stake through Dove's heart. As always, Quinn felt himself losing his grip on sanity as he remembered it. What a pity that he'd have to kill the cellar girl the next time he saw her. But there was no help for it. Vampire hunters were worse than the ordinary human vermin, who were just stupid. Vampire hunters were the sin and the evil that had to be cast out. The Night World was the only world. And I haven't been to the dub in a week, Quinn thought, showing his teeth. He laughed out loud, a strange and brittle sound. Well, I guess I'd better go tonight. It's all part of the great dance, you see, he thought to the cellar girl, who of course couldn't hear him. The dance of life and death. The dance that's going on right this minute all over the world, in African savannas and Arctic snowfields and the bushes in Boston Common. Killing and eating. Hunting and dying. A spider snags a bluebottle fly; a polar bear grabs a seal. A coyote springs on a rabbit. It's the way the world has always been. Humans were part of it, too, except that they let slaughterhouses do the killing for them and received their prey in the form of McDonald's hamburgers. There was an order to things. The dance required that someone be the hunter and someone else be the hunted. With all those young girls longing to offer themselves to the darkness, it would be cruel of Quinn not to provide a darkness to oblige them. They were all only playing their parts. Quinn headed for the club, laughing in a way that scared even him. The club was only a few streets away from the warehouse, Rashel noted. Made sense. Everything about this operation had the stamp of efficiency, and she sensed Quinn's hand in that. I wonder what he's getting paid to provide the girls for sale? she thought. She'd heard that Quinn liked money. â€Å"Remember, once we get inside, you don't know me,† she said to Daphne. â€Å"It's safer for both of us that way. They might suspect something if they knew that first you escaped and now you're turning up with a stranger.† â€Å"Got it.† Daphne looked excited and a little scared. Under her coat, she was wearing a slinky black top and a brief skirt, and her black-stockinged legs twinkled as she ran toward the club door. Under Rashel's coat, hidden in the lining, was a knife. Like her sword, it was made of lignum vitae, the hardest wood on earth. The sheath had several interesting secret compartments. It was the knife of a ninja, and Sensei, who had taught Rashel the martial arts, wouldn't have approved at all. He wouldn't have approved of Rashel made it in, too, her story must have passed inspection. That was a relief. Inside, the place looked like hell. Not a shambles. It literally looked like Hell. Hades. The Underworld. The lights turned it into a place of infernal fire and twisting purple shadows. The music was weird and dissonant and sounded to Rashel as if it were being played backward. She caught scraps of conversation as she walked across the floor. â€Å"†¦ going out Dumpster diving later†¦Ã¢â‚¬  â€Å"†¦ no money. So I gotta jack somebody†¦Ã¢â‚¬  â€Å"†¦ told Mummy I'd be at the key-dub meeting†¦Ã¢â‚¬  You get a real cross section here, she thought dryly. Everybody had one thing in common, though; they were young. Kids. The oldest looked about eighteen. The youngest-well, there were a few girls Rashel would put at twelve. She had an impulse to go back and insert something wooden into Ivan. A slow fire that had started in her chest when she first heard about the Crypt was burning hotter and hotter with everything she saw here. This entire place is a snare, a gigantic Venus' flytrap, she thought as she took off her coat and added it to a pile on the floor. But if she wanted to shut it down, she had to stay cool, stick to her plan. Standing by a cast-iron column, she scanned the room for vampires. And there, standing with a little group that in-duded Daphne, was Quinn. It gave Rashel an odd shock to see him, and she wanted to look away. She couldn't. He was laughing, and somehow that caught hold of her like a fishhook. For a moment the morbid lighting of the room seemed rainbow-colored in the radiance shed by that laughter. Appalled, Rashel realized that her face had flushed and her heart was beating fast. I hate him, she thought, and this was true. She did hate him for what he was doing to her. He made her feel unmoored and adrift. Confused. Helpless. She understood why those girls were clustered around him, longing to fling themselves into his darkness like a bunch of virgin sacrifices jumping into a volcano. I mean, what else do you do with a guy like that? she thought. Kill him. It would be the only solution even if he weren't a vampire, she decided with sudden insane cheer. Because prolonged contact with that smile was obviously going to annihilate her. Rashel blinked rapidly, getting a grip on herself. All right. Concentrate on that, on the job to be done. She was going to have to kill him, but not now; right now she had to get herself chosen. Walking carefully on her heels, she went over to join Quinn's group. He didn't see her at first. He was facing Daphne and a couple of other girls, laughing frequently- too frequently. He looked wild and a little feverish to Rashel. A sort of devilish Mad Hatter at an insane tea party. â€Å"†¦ and I just felt so totally awful that I didn't get to meet you,† Daphne was saying, â€Å"and I just wish I knew what happened, because it was just so seriously weird†¦Ã¢â‚¬  She was telling her story, Rashel realized. At least none of the people listening seemed openly suspicious. â€Å"I haven't seen you here before,† came a voice behind her. It belonged to a striking girl with dark hair, very pale skin, and eyes like amber or topaz†¦ or a hawk's. Rashel froze, every muscle tensing, trying to keep her face expressionless. Another vampire. She was sure of it. The camellia-petal skin, the light in the eyes†¦ this must be the girl vampire who'd brought Daphne food in the warehouse. â€Å"No, this is my first time,† Rashel said, making her voice light and eager. â€Å"My name's Shelly.† It was close enough to her own name that she would turn automatically if anyone said it. â€Å"I'm Lily.† The girl said it without warmth, and those hawklike eyes continued to bore straight into Rashel's. Rashel had to struggle to stay on her feet. It's Lily Redfern, she thought, working desperately to keep an idiot smile plastered on her face. I know it is. How many Lily's can there be who'd be working with Quinn? I've got a Redfern right here in front of me. I've got Hunter Redfern's daughter here. For an instant she was tempted to simply make a dash for her knife. Killing a celebrity like Lily seemed almost worth giving up the enclave. But on the other hand, Hunter Redfern was a moderate sort of vampire, with a lot of influence on the Night World Council. He helped keep other vampires in line. Striking at him through his daughter would just make him mad, and then he might start listening to the Councilors who wanted to slaughter humans in droves. And Rashel would lose any hope of getting at the heart of the slave trade, where the real scum were. I hate politics, Rashel thought. But she was already beaming at Lily, prattling for all she was worth. â€Å"It was my friend Marnie who told me about this place, and I'm really glad I came because it's even better than I thought, and I've got this poem I wrote-â€Å" â€Å"Really. Well, I'm dying not to hear it,† Lily said. Her hawklike eyes had lost interest. Her face was filled with open contempt-she'd dismissed Rashel as a hopeless fawning idiot. She walked away without glancing back. Two tests passed. One to go. â€Å"That's what I like about Lily. She's just so absolutely cold,† a girl beside Rashel said. She had wavy bronze hair and bee-stung lips. â€Å"Hi, I'm Juanita,† she added. And she's serious, Rashel thought as she introduced herself. Quinn's group had noticed her at last, and they all seemed to agree with Juanita. They were fascinated by Lily's cold personality, her lack of feeling. They saw it as strength. Yeah, because feeling hurts. Maybe I should worship her, too, Rashel thought. She was finding too many things in common with these girls. â€Å"Lily the ice princess,† another girl murmured. â€Å"It's like she's not even really from earth at all. It's like she's from another planet.† â€Å"Hold that thought,† a new voice said, a crisp, laughing, slightly insane voice. The effect it had on Rashel was remarkable. It made her back stiffen and sent tingles up her palms. It closed her throat. Okay, test number three, she thought, drawing on every ounce of discipline she'd learned in the martial arts. Don't lose zanshin. Stay loose, stay frosty, and go with it. You can do this. She turned to meet Quinn's eyes.

Blue Remembered Hills Essay

When I first read the script of Blue Remembered Hills I thought it was quite naturalistic and it was well written from a child’s perspective. The characters were all very believable and it seemed like a fun play to perform. I thought it would be easy to do because the characters are all children and I can still remember how I was at that age. In the performance I played the part of Peter, a young boy of about seven or eight years. He is the bully of the group and he tends to use his strength to get his own way over the others. He is not very intelligent and some of the characters use this to their advantage to get out of situations e.g. in scene two when Peter tries to steal Willie’s apple but Willie convinces him one bite would kill him. To get into our roles of young children, we did various exercises like childhood games and hotseating. I found hotseating particularly helpful because afterwards all of the class give their opinions and constructive criticism so I could improve my character. Playing childhood games helps to put you into the mind of an eight year old. After a few weeks we looked at the subtext of the play. This means you go through the script and look for the true meaning of the words that are spoken. For example if somebody says something sarcastically, you know to say it in a certain tone. Doing this helped with the language and how to speak the words in accent using the correct tone so that the true meaning is given across to the audience. I found the best way to improve voice, movement and gesture was to keep rehearsing it and talk to each other about how it looks and what could be improved. All of the characters wore similar clothing, as they’re all children of the same age living at the same time. For Peter I chose a pair of dirty, grey shorts and a plain dirty white shirt as this was typical for the time. He did not have any props specific to his character. I think that together as a group we worked very well. I found that constructive criticism and feedback from the other people in my group helped me greatly because it tells you what you look like to others and how the character comes across to the audience. We didn’t experience many major problems throughout the project and other problems were easy to solve. Last minute rehearsals were just to polish off the scripts and make sure that all the scenes ran smoothly together. In the run-up to the final performance we would just act out each scene over an over and confirm that we had the play how we wanted it. I was quite pleased with the final performance but despite weeks of learning the lines, I still managed to make a few slip-ups, which I and the other character made up for by improvising. I thought that each person in the group fitted very well into their characters and worked very well together. We all added a bit of our own personality, which made the characters more believable. If I did the play again I might have made it more physical and at a faster pace. I didn’t see any other groups’ performances so I can’t compare ours to anyone else’s. Over the past few weeks I have learned new techniques of character development and I feel my ability to work in a group has improved. I think I need sometimes to put in a bit more effort in the lessons and do every rehearsal as if it were the real thing as I lacked motivation in some lessons. It has prepared me a bit for the written exam because I have been analysing the performance, which is exactly what I have to do for the exam.

Philippine Independent film Essay

Background of the Study Since today is a fast changing world and that media are a big influence to what the society is now, Philippines has no escape to this impact. As a matter of fact, Philippines is one of the countries most influenced by media. From the latest trends of fashion down to which dish washing being used is based on what is seen and heard from different mediums. The media either as forums in which important issues are debated or as storytellers that carry beliefs and values across people, space, and time are central to the creation and maintenance of our various cultures (Baran, 2012). The audiences can take an active role in shaping the culture in the mass communication process that at the same time, shapes them. Media, particularly television are used by media practitioners and media audiences for mass communication purposes to further important social, political, or cultural bases. Television is one of the most used medium today. Watching movies is the cheapest form of entertainment for th e Filipino masses. It affects and echoes what the society is now. From teleseryes to  advertisements, the television has this impact to the viewer’s mind consciously and unconsciously. Thus, giving the media the responsibility to offer the audience ethical and valuable information. A film acts as a medium of communication in the form of language, by means of signs which are used to express the inner reality of movie makers. These are certain values contributed or communicated by movies and they are either beneficial or harmful to the total development of viewers (Maligalig, 1997). Mass Media is one of those factors that affect a person’s value formation among themselves, particularly among the youth. Since Filipinos are fond of entertainment and the television itself, we are easily moved by the fast growing industry. Along with this fast growing industry is the much wider acceptance of audience to the messages conveyed by media. According to Rodman (2006) people become increasingly dependent on media and media content to understand what is going on around them, to learn how to act meaningfully, and to escape. Read more:  Philippine Cinema Analysis Today’s generation, the most current subject is the social and political status of the country, may it be a trend in social media about issues such as sexuality and whether it may be posted as positive or negative. Along with this growing film industries is the freedom of expression to which the Philippine independent film is known. In accordance to this freedom of expression the local film industry has the sky as their limit to whatever they are to portray in their works. Philippine cinema, in short, appears to have reached full circle: it is at the stage of refining and formulating its own conventions and, in the process, getting in close contact with the ferment in the other arts and at the same time, the serious critical attention and concern of people with a broader interest in culture. This is inevitable; as an art form the cinema in the Philippines can no longer remain isolated from the main current of sensibilities and ideas that shape other artistic forms, such as lit erature, painting, the theater, etc. Neither can it fly from the actuality of social life which, after all, is the source of all artistic expression (Daroy, 2014). Philippine independent films being independent to the messages they want the audience to convey must be aware of how they portray their subjects, particularly political and social issues. This is probably the most sensitive topics that the country is facing for many years and in line with this, media are a big contributor to how the people perceive this kind of  medium. In today’s media, movies and films are very well thought and planned that it is not impossible for them to enter the minds of the viewers. It somehow affects and changes their own perceptions about things, may it be positively or negatively. But another concern is how well the viewers are aware of this kind of issues. They can easily take in messages sent by movies or films but cannot filter which is to enter and which is not. As an art form, film reflects the culture and the beliefs of the people it caters to and most of the times is the one who shapes their consciousness (Daroy, 2014). The Philippines is a palimpsest where traditional, modern and postmodern influences manifest themselves contemporaneously. Its politics is traditional, its culture modern and its media postmodern. Understanding the role of new technologies, such as digital media, under circumstances requires an appreciation of incommensurable factors that are nevertheless intercalated. The surface of Philippine politics appears imperturbable but underneath it, notions of the political are being reformulated as a consequence of the new media and its globalizing influence (Pertierra, 2012). As a communication student, the researcher would want to gain more knowledge about the Filipino’s level of awareness to independent films. Whether it mirrors the reality and situations that is happening around or is it just another mere entertainment for them. Indie films as what it is usually called, tackle real life sensitive issues that the society experience. Most commonly they are known for bold exposures of reality. Revealing the truth and setting no boundaries, making it as realistic as it can. But as generation changes so does the film industry. Nowadays, we are inside the mainstream era wherein almost everything in televisions are for trends. On making films that either feeds intellectual hunger or satisfies escapist entertainment lies a very curious and questioning fascination of how Filipinos and the human beings in general relate to each other and to the world. Due to an intellectual hunger that needs to be fed, Philippine independent films confronts real life issues that the society experience while mainstream movies offer the mass market escapist entertainment which divert away from reality (http://www.studymode.com/essays/Philippine-Independent-Films-Versus-Mainstream-Movies-1049850.html., pg. 1). In this generation where indie film is being widely accepted, produced and even nominated in some known film festivals  and gain v arious awards, the researcher considered that it is timely to make a study of Philippine independent film and how it is used as a medium in portraying the country’s political and social issues. Statement of the Problem This study aims to find out the nature of Philippine independent films, how they feature the country’s political and social issues and how they affect the viewers. Specifically, it seeks to answer the following questions: 1. What is the demographic profile of the respondents in terms of: a. sex? b. age? c. religion? d. nationality? e. civil status? f. educational attainment? g. profession? 2. What is the level of exposure of the respondents when it comes to Philippine indie films? 3. What political and social issues are portrayed in Philippine Independent Films? 4. What is the level of effectiveness of Philippine independent films as: a) watchdog? b) forum for exchange of opinions? c) teacher? Significance of the Study Since indie films are racing up to the top and is now more appreciated by the audience, this study would benefit most Filipino viewers. Since it aims to tackle the social and political awareness of Filipinos on what they perceive from Philippine independent films. It can give them consciousness that what is portrayed in televisions are true or not. Give them evaluations to how they will filter the freedom of expression through films and awareness to their contribution to the society’s issues. Specifically, people behind the media can benefit from this study. Since they are a great impact and influence to the viewers. Their awareness and ethical values to how they affect the audience with their works whether it is proficient and  educational or just another form of entertainment that allows the people to escape the real problems of life. Also, this study would also benefit communication students that will give them awareness that they are big contributors in shaping the society. And that it all depends in their ethical values and ability to deliver efficient films or mediums to the people. To the local mass media which are mostly the audience of this films. For their awareness of the importance and out-turn of such mediums and their contribution to social and political awareness. Scope and Limitations The study focuses on the Philippines political and social issues as portrayed in indie films and as perceived by the audience. The researcher will use four Indie movies which are randomly selected by the researcher. The researcher will conduct a film review for the respondents and will be conducting a survey based on the film the respondents watched. Though this study focuses on the social and political issues portrayed by Indie Films, it also aims to study other aspects indie film features concerning the country’s culture in the film industry to give further and broader knowledge about the Philippine indie film. The study’s locale is the Manuel S. Enverga University Foundation in Lucena City. The respondents of the study are students enrolled in Art Appreciation class, Sociology class, Ethics class, Society and Culture class and professors from the College of Arts and Sciences who are advisers of the chosen classes. Theoretical Framework The attitude change theory is adapted from psychology. Mass Communication theorists adapt these borrowed theories to questions and issues in communication. People’s behavior with regard to issues more important— democracy, ethnicity, government, and gender roles, for example is influenced by the attitudes and perceptions presented by our mass media (Baran, 2012). In respect to this theory, mass media being highly influential has a great impact to how the audience will see and understand messages delivered in Indie Films. Meanwhile the magic bullet theory, from the name itself ‘bullet’  conceptualizes on the idea that, whatever the media portrays it is easily accepted by the audience. Like a bullet that easily strikes. So, in this case whatever idea it is delivered in a social and political indie film, it is no surprise that the viewer might have a sudden change of perception towards his own. On the other hand, cultural theory has the underlying assumption that our experience of reality is an ongoing, social construction, not something that is only sent, delivered, or otherwise transmitted to a docile public†¦ Audience members don’t just passively take and store bits of information in mental filing cabinets, they actively process this information, reshape it, and store only what serves culturally defined needs (Baran, 2012). Audiences still filter what they hear and see in films. Issues being tackled in Indie movies are relatively events happening in the real world. So, it depends on the viewer whether it is the truth for him or not. Dependency theory argues that especially in our complex and changing society, people become increasingly dependent on media and media content to understand what is going on around them, to learn how to behave meaningfully, and for escape (Baran, 2012). So, Indie films features the culture particularly the social and political aspect of the country, and becomes a way to inform people about the issues being compromised. Related to this is the agenda setting, a theory that argues that media may not tell us what to think, but media certainly tell us what to think about. Television is an effective medium where the message is left for the audience to think about, unconsciously affecting the way they perceive things. This falls to cultivation theory which states that television viewing can have long-term effects that gradually affect the audience. Their primary focus falls on the effect of viewing in the attitudes of the viewer as opposed to created behavior. Media, movies in particular has that certain power to cultivate us with the messages they bring. Cultivation theory as the idea that television constructs a version of the world that, despite its potential inaccuracies, becomes the accepted reality simply because the culture believes it to be true. Similar to this is social-learning theory which tells that people can learn new ideas and behavior from watching other  people. Though actions are learned and seen on television, we cannot keep the viewers from adapting the culture of the characters in movies. Showcasing new ways of talking, dressing, socializing etc. which are different from the culture that the viewers were accustomed to. For example is the way Filipinos are today, generally the teens in their way of socializing and being liberated which is adopted from American films. Conceptual Framework Mass Communication theories such as attitude change theory, magic bullet theory, cultural theory, dependency theory and agenda setting theory. All theories that explains the role of mass media in cultivating and affecting the audiences, the families and individuals. Yet, it is hard to measure the level of influence social media has given the viewers’ when it comes to social and political issues that is conveyed in indie films. Philippine independent film is part of the mass media which cultivates and transform the way people see and perceives the social and political aspects, which can be considered as the most controversial issues today. People respond differently to films depending upon their gender, race, class, sexual orientation, and personal background. Since this art form of sending messages is part of the social media and considering the mass communication theories, it can have comparative effects in social and political views and the method of their understanding and acceptance to this matter and how it happens. To further explain the background, the researcher prepared an illustration that will serve as the conceptual paradigm. Figure 1. Conceptual paradigm of the study. Definitions of Term The following terms are made for clarity and more understanding Aspect as used in the study, refers to a particular part or feature of a matter Awareness means the state of having knowledge of, understanding of, appreciation, recognition, perception, or familiarity with a particular matter (http://www. thefreedictionary.com/awareness). Culture means a refined understanding or appreciation of this (Compact Oxford English Dictionary, 2003). Effectiveness means existing in fact, though not formally acknowledge as such (Compact Oxford English Dictionary, 2003). Forum refers to meeting or medium for an exchange of views (Compact Oxford English Dictionary, 2003). Impact is a marked effect or influence (Compact Oxford English Dictionary, 2003). Indie film as used in this study is a film produced not belonging to a major record company Influence refers to the power or ability to affect someone’s beliefs or actions (Compact Oxford English Dictionary, 2003). Knowledge refers to information and skills acquired through experience and education and awareness or familiarity of a fact or situation (Compact Oxford English Dictionary, 2003). Political refers to the government or public affairs of a country (Compact Oxford English Dictionary, 2003). Portrayal means a representation or act or process of depicting or portraying (http://www.thefreedictionary.com/portrayal). Sensitivity as used in the study refers to the sensitivity of a person towards a given matter Social relating to society (Compact Oxford English Dictionary, 2003). Teacher as used in the study refers to a medium where knowledge or experience is acquired Watchdog refers to a person or a group that monitors the practices of companies providing a particular service or utility (Compact Oxford English Dictionary, 2003). CHAPTER II REVIEW OF RELATED STUDIES AND LITERATURES This chapter will discuss related literatures and studies that will support the research. These studies will be contributions of information, facts and ideas regarding the Philippine independent films and how it perceives social and political issues in the country. RELATED LITERATURES Film is an artistic language which is expressed by means of images in motion, with or without sound (http://dirp4.pids.gov.ph/ris/taps/tapspp0103.pdf). Films have a historically determined form and structure that create meaning and they have a complex set of conventions to communicate meaning and make it accessible. We as viewers have helped create the structure and conventions of films by enjoying what we see on screen and wanting to see more of the same. Like all aspects of popular culture, films develop out of a curious kind of negotiation process, in which filmmakers attempt to understand what we want to see, and we let them know if they are right by buying tickets and renting videos (Kolker, 1999). There are many things in our lives that we don’t want to take seriously. Movies are one of them. We go to the movies to be entertained, scared, grossed out; to make out, spend time, have something to discuss afterward. But we don’t often want to think about movies as a serious part of our emotional or intellectual lives, or even treat them with the same intensity we use when we discuss sports or politics. Outside of a film study course we rarely hear other people engaged in a discussion of films that goes much deeper than plot or characters (Kolker, 1999). Film is not only entertainment but is part of industrial and political culture (Kolker, 1999).  All nations, our own included, understand the power of film and television to influence their people, to propagandize values and ideologies (Kolker, 1999). The unstable nature of the country is reflected in the film industry. The prospects of good films in the Philippines, according to Red, is very bleak. But he stresses, that there are encouraging signs. Whenever foreign film festivals come around, the low-budget films of alternative Filipino moviemakers are invariably invited. That fact is a clear sign, says Red, that good filmmaking has managed to endure – that in the general garbage heap of the Filipinos, a few worthy gems still manage to shine. Movies are a powerful force in Philippine society. Movies, more than just a source of entertainment, reflect a nation’s personality. On the silver screen takes shape all the hopes, dreams and fantasies of the common man: legends, love, the stuff of myths and make believe. Its heroes become larger than life, often attaining the stature of demigods. They are looked upon as  role models, serving as resources of inspiration (http://dirp4.pids.gov.ph/ris/taps/tapspp0103.pdf). In the constantly changing world of the Filipino film industry, film festivals have become windows through which the Philippines let the world see its screen images. It leaves a glimpse of ideas that tackles the issues of the country. Film making plays a major role in our industry right now, it leads into the development of the Filipino culture in terms of creativity and artistry. It may lead on reaching different people’s perspectives, and opens the mind of the people about what is really happening in the society. Indie films create a huge impact not only in the country but also internationally. It catches a lot of attention even without entering the mainstream, simply because the industry has elevated into a different level already. The writers evolve as well, gaining new ideas, different perspectives, and a lot more stories. Artistic form is best thought of relation to a perceiver, the human being who watches the play, reads the novel, listens to a piece of music, or view the film. Perception in all phases of life is an activity (Bordwell & Thompson, 2004). Movies are a powerful force in Philippine society. Movies, more than just a source of entertainment, reflect a nation’s personality. That is why it is all the more saddening to note the dismal state of our movie industry. Each week, we are confronted by a sordid parade of sex, violence, and asinine comedies (http://dirp4.pids.gov.ph/ris/taps/tapspp0103.pdf). To say that independent filmmaking has become the soul of Philippine cinema is no longer an exaggeration. For years, Filipino independent filmmakers like Kidlat Tahimik (Perfumed Nightmare, 1977), Raymond Red (Anino, 2001), and Brillante Mendoza (Kinatay, 2009) among many others have received critical acclaim worldwide. As film festivals, competitions and distribution channels such as Cinemalaya and Cinema One have motivated young maverick filmmakers in recent years, indie films have become synonymous to creative content and perspectives for many Filipinos today. Although the Philippine indie film industry has come a long way from its early developments in the Marcos era when realistic portrayal of Filipino society in the arts was not considered â€Å"beautiful† by the dictatorship, government support is still lacking to sufficiently help  indie filmmakers (http://film.culture360.asef.org/magazine/in-focus/the-situation-and-directions-of-philippine-independent-cinema/#sthash.vFxrZDtu.dpuf). According to Bohn, Hieber and Unguraid (2000), along with sleep, work and school, mass communication consumption are the activities that dominate Americans’ lives and that it consumes about one-third of the average day The rise of Philippine Independent Films may have been a big step for inspiring Filipinos who wants to captivate their audience through what their perspective is when it comes to what is going on around them. On trivial escapism is by a very curious and questioning fascination of how we Filipinos and the human beings in general relate to each other and to the world. Whether they are about social commentary, political statement, psychological study, or keen insights into human relationships, all of these topics represent controversial subjects that are catered specifically to niche audiences and markets (http://www.lideshare.net/dmonalon/philippine-indie-films-7622088). In the end, what distinguishes independent cinema is its priority for artistic endeavor (over financial gain, vis-à  -vis mainstream cinema) while still being accessible to the audience (vis-à  -vis alternative experimental cinema). Each filmmaker attempts to show his own story in an original way (http://film.culture360.asef.org/magazine/in-focus/the-situation-and-directions-of-philippine-independent-cinema/#sthash.vFxrZDtu.dpuf). According to Film.Culture.300.org., there have been several issues on Philippine independent filmmaking that have become apparent especially after its emerge a few years ago. One of these is the prevalent theme of poverty that exoticizes, even exploits, Filipino poverty. As said by a local Indie writer, Paul Sta. Ana, that the main issue here is the intention of the filmmaker which, he admits, is hard to determine. The question is whether filmmakers are producing these films because they want to reveal Filipino reality or they seek the attention of international film festivals. He says that context is crucial not only in conceptualizing and presenting the  material of the film but also understanding the subject position of the filmmaker. RELATED STUDIES The first decade of the twenty-first century is, without a doubt, a turning point or Philippine cinema. The relations and dynamics of the nation and its cinema have changed dramatically in the face of the democratization of the medium. Digital technology has shifted the landscape of production, distribution, and consumption of films in the country and has ushered in a new revitalized wave not only of independent cinema but also of studio and mainstream production towards an encompassing national cinema (Tiongson, 2013). Our films not only manifest our ingenuity, passion and creativity as a person; they also reflect our sensibilities, aspirations, and hopes as a nation (Tiongson, 2013). Philippine movies plays a vital role in the society. It has the power to build or destroy the society and its people, because film is a very influential medium. Movies as a form of artistic expression draws the widest audience because this is a very affordable kind of entertainment. For two hours or more, one could have some time for fun and relaxation (Corazon, 1996). But quality entertainment seemed hard to achieve nowadays. The filmmakers’ standards and purposes have changed, same with the moviegoers. Those good old days of the movie industry were gone. Excellent films are rarely produced and exhibited in the country. Accountable for this were the moviegoers who settle for cheaply-made flicks, and of course, the producers who cater to the public’s wants and desires to be able to gain profit. Film as an art form can transform an individual, a society, a nation. However, we have to stress the real definition of art – that it is a construct. The theory, procedure, production, dissemination and function of art (film, painting, music, dance, theater, crafts, etc.) are created or produced by individuals who are formed by the influence that perpetrate a western-based knowledge about the world and realities (Durian, 2013). It is not so much the fact that the characteristics of a country’s cinema reflect the peculiarities of its society which accounts for this relationship, but  rather the longer and less obvious facts that the artistic and moral worth of movies as a popular medium ultimately corresponds to a society’s collective mentality (Maligalig, 1997). Movies in our national experience have been composed of Foreign and Local film production, and this is a dichotomy which exist to the present day. Whenever we talk about films, audiences must be the one to choose whether they go for foreign or local films. Since we are Filipinos, we should patronize our own Tagalog movies, although Western films has its influence to our local movies. â€Å"The content of the movies does not seem much to determine the responses made and that the movie provides a powerful stimulus to fantasy life† Wallans Simpson. â€Å"Movies influenced them in regard to manners, social relations, morals, vocations and self-improvement. Invitation seems to be the single factor most apparent in their responses. After viewing a film youth are inspire to try to be like the hero, or influence their action behavior and conduct† Fleege. The effects of a movie presumably depend on the learning of material presented to members of the audience, and intelligence related ability to learn, but also it is related to other factors determining the effects of a movie. The more intelligent would be expected to be b etter in seeing general implications of the material presented even where conclusions are not explicitly drawn by the movie (Maligalig, 1997). Movies reflects the natural elements of life. Sometimes it portrays the reality of life. Furthermore, it encourages us to witness the facts and to tackle our beliefs. The influence of the movie is not only through beliefs. The influence of the movie is not only through the eyes of the viewers but also to their whole personality. It may affect the attitudes and behavior of the viewers. The encouragement of the movie makers to the viewers to the messages to the movie makers becomes negative. Why? The purpose of the movie makers is to persuade the audience and the audience purpose is to be entertained. Whatever the message is, either positive or negative, the viewers must be the agent on how to react to it. The negative effects of movie brings the viewer’s more to action (Maligalig, 1997). Mass media are capable of affecting, influencing and changing our attitudes and behavior. Whatever message id presented to us is said to have a powerful success that may either be negative or p ositive depending on how it is presented and how we are going to react to it (Maligalig, 1997) Movies, films and cinema were  aspects of art. Movies become an even more powerful medium for entertainment and the transmission of ideas, it projects reality and the illusions of reality on theatre scenes, in TV sets in millions of homes, in schools, classroom and in building walls in isolated villages (Maligalig, 1997). Viewers and moviegoers are those people who go for watching films and movies. However, they classify as the receiver and the destination whatever the message is. Whenever we talk about messages, it creates knowledge and information which will become the receiver’s thinking and how to react to it (Maligalig, 1997). Under this condition, the viewers will not be benefited and will emerge as losers in the end. Why? The producers will continue making money with their low budgeted and cheaply made flicks. Not to mention the negative effects entailed by these types of films to the viewers. Hence, the moviegoers should rise from their long sleep and demand for more quality pictures. Through this, we can help bring back those days of the Philippine cinema (Mendoza, 1996). CHAPTER III METHODS AND PROCEDURES This chapter tackles about the techniques and procedures that will be used by the researcher in coming up with the study. It includes the research design, research locale, respondents, sampling procedure, research instrument, data gathering procedure, statistical treatment and the analytical framework. Research Design In this study, the researcher used a quantitative approach. Specifically, a reception analysis which aims to identify the aspect, and system of communication Philippine independent film has that dominates Filipinos when it comes to their perspective in political and social issues and how this films deliver their messages. Related literatures and studies will be analyzed in order to support and provide more information to the answers provided by the respondents together with the summarized findings of the questionnaire. Research Locale The study will be conducted in Manuel S. Enverga University Foundation because of its proximity and the availability of the necessary data. The researcher chose the locale because of the respondents’ abilities in answering the given questions. In order to get different perceptions coming from people from different backgrounds and culture the researcher would be conducting the survey to five different classes specifically; Art Appreciation, Society and Culture w/ FP, STD, HIV &ADIS, Socio-Anthropology, Philippine Literature and Ethics. Respondents The respondents of the study would be coming from several classes. Particularly Art Appreciation classes, Socio-Anthropology class, Society and Culture, and Ethics classes. Professors from this classes would also be given a questionnaire, believing that they have more experience and wider point of view and knowledge about the political and social issues in the Philippines and they would have more proficiency when it comes in interpreting Indie Films. The five classes were chosen in order to have answers coming from students with somewhat relevant curriculum which we can relate in understanding films, specifically Philippine indie film. And get different point of views as well from students from different backgrounds and have different attitudes. Sampling Procedure The sampling design used by the researcher is purposive sampling and random sampling. The purposive sampling is used to gather different perceptions regarding the study, this goes for the students from the different classes and the professors. And the random sampling would be used for the Mass communication students and Psychology students in order to have comparisons between the respondent’s reactions. This design is also used so that there would be a balance answer coming from those who study and familiarizes themselves with films and its effects on viewers and those who does not. Research Instrument The researcher will use a questionnaire in order to supply necessary information to complete the study. In order for the researcher to conduct an  interview and survey, the researcher will conduct a film review for the four (4) chosen classes. Aside from the questionnaires and copies of indie films, conclusions from different materials regarding Philippine independent film and articles about the country’s political and social issues will also be used in order to support the study. The researcher will also put her personal conclusion in addition of the study. Data Gathering Procedures The researcher gathered materials and information from books, internet sites, articles and related studies for further issues. Articles and related literatures will be analyzed in order to support the study. It is also used to widen the ideas and add knowledge for the study. Questionnaires will be distributed to the respondents to get perceptions. Later on, the researcher will analyze the gathered data and will interpret the information. The summary will be from the outcomes of the gathered materials information and from the interpretation made from the questionnaires. Statistical Treatment There will be two procedures in formulating the gathered data. The gathered data will be tallied and tabulated through the use of the following formula: This formula will be used for the demographic profile and in formulating the survey. 1. Percentage P=_f_ x 100 N where: P=percentage f=frequency/number of responses n=total number of respondents 2. Weighted Mean WM=∑fw N where: WM=weighted mean ∑fw=sum of the product of the frequency and the weight N=number of respondents REFERENCES (2013, 01). Level of Awareness on Philippine Independent Films.StudyMode.com. Retrieved 01, 2013, from http://www.studymode.com/essays/Level-Of-Awareness-On-Philippine-Independent-1346190.html (2013, 09). Philippine Cinemas in the 90s. StudyMode.com. Retrieved 09, 2013, from http://www.studymode.com/essays/Philippine-Cinemas-In-The-90S-39052510.html (2012, 07). Philippine Independent Films Versus Mainstream Movies: Intellectual Hunger or Escapist Entertainment?. StudyMode.com. Retrieved 07, 2012, from http://www.studymode.com/essays/Philippine-Independent-Films-Versus-Mainstream-Movies-1049850.html (2013, 07). Philippine Independent Cinema. StudyMode.com. Retrieved 07, 2013, from http://www.studymode.com/essays/Philippine-Independent-Cinema-1805617.html 2010, 12). Truthness in and of Filipino Independent Films: a Gadamerian Hermeneutical Approach. StudyMode.com. Retrieved 12, 2010, from http://www.studymode.com/essays/Truthness-In-And-Of-Filipino-Independent-518688.html (2012, 08). E xpectations on Independent Films. StudyMode.com. Retrieved 08, 2012, from http://www.studymode.com/essays/Expectations-On-Independent-Films-1070291.html (2012, 07). Film. StudyMode.com. Retrieved 07, 2012, from http://www.studymode.com/essays/Film-1048908.html (2013, 03). Sigwa. StudyMode.com. Retrieved 03, 2013, from

Saving for the Future Coursework Example | Topics and Well Written Essays - 1000 words

Saving for the Future - Coursework Example However, owing to the notion of time value of money, the buyer would be required to save an amount different from that of $25,000. Taking the 5 year interest rate of 0.78% (U.S Department of The Treasury, 2012), the saving required annually amounts to the future value of an annuity (ordinary) assuming that $125,000 will be required after 5 years. This amounts to: 125,000= C* {(1.0078^5)-1/0.0078} = $24,613.03 Where: C= unknown i= 0.78% n=5 This is based on the following formula: FV (annuity) = C * {[(1+i) ^n – 1] / i} (Brigham & Houston, 2011) Where: C = Cash flow per period i = interest rate n = number of payments Two factors highly influence the future value of the cash flows calculated today; firstly, the periods for which they are calculated and, secondly, the rates at which they are calculated (Brigham & Houston, 2011). In both cases, the future value of the savings today is directly related to the interest rate and period. Higher the interest rate or period at which cash flows are calculated, greater the amount of future value of the investments made at T=0 (Brigham & Houston, 2011). Furthermore, the fact that whether savings are made at the beginning or end of a particular period, as well as the number of compounding periods also matters (Brigham & Houston, 2011). ... However, if changes are made to the number of compounding periods such that the number of compounding periods is 12 instead of 1, the resultant savings would then be: (125,000 / 76.213)= $1,640.134 which is approximately $1,640 The total annual investment/savings would translate to: $24,613 x 5= $123,065 if compounded annually On the other hand, the net investment/savings for five years would be: $98,400 (1,640 x 12 x 5) if calculated using monthly compounding. The savings bear an annual opportunity cost of $24,665 Furthermore, it has been observed that the rate of interest is apparently low owing to the riskless nature of Treasury Bills (Brigham & Houston, 2011). This is based on the simple rule underlying financial theories that the rate of return is positively associated with the level of risk (Brigham & Houston, 2011). A higher risk translates to higher return and vice versa. As opposed to T-bills, if the savings are channelized into corporate bonds, they will reap a higher rate of return compared to T-bills because these bonds are riskier compared to T-bills both in terms of riskiness of principal and interest payment. If the investment in these corporate bonds was made on a rate that is compounded annually, the savings required in order to obtain $125,000 towards the end would be lower than the amount shown in initial calculations. Thus, the net effect would be that the investor will lose money by investing in T-bills rather than corporate bonds representing an opportunity cost. To sum up, there are two alternatives available to an individual investor in order to accumulate $125,000 at the end of the year: to invest in corporate bonds or to invest in T-bills. The option that investor chooses entirely depends on his/her attitudes towards risk (

Global warming Essay Example | Topics and Well Written Essays - 250 words - 8

Global warming - Essay Example People have changed the land use that has increased the emission of greenhouse gases. For instance, deforestation has led to increased emission of carbon dioxide in the atmosphere that was previously stored in vegetation. Kuwait is located on the Arabian Gulf; the country is made up the mostly flat desert. The climate of Kuwait can be severe, with temperatures that are freezing and scalding. The increased temperatures in Kuwait are as a result of increased industrialization and urbanization. However, some researchers have said that the raised temperatures are not as a result of the industrialization. Kuwait has numerous environmental issues that are severely affecting its biophysical ecosystem, as well as the human health. The rapid industrialization and the careless environmental oversight have resulted in these issues. One of the major issues is the desertification that has remained a serious problem. The government of Kuwait are taking measures to address this problem through restoring the desert lands to forests. Another major issue affecting Kuwait is the increased pollution. The different forms of pollution have increased with growth in industrialization. The government is taking precautions to ensure that this issue does not go beyond the limit. Therefore, the government is setting up the pollutant treatment infrastructure that is adequately addressing this

None Essay Example | Topics and Well Written Essays - 500 words - 6

None - Essay Example While these technologies bring many advantages to us, they also create responsibilities and opportunities of misuse. Therefore a code of ethics which guide IT related professionals becomes necessary to maintain a level of professionalism which does not interfere with the actual performance of duties. In this regard, the code of ethics given by AITP (2007) is quite beautiful since it is one of the more concise codes of ethics that I have seen and it manages to cover nearly all aspects of ethics which an IT professional may have issues with. The compact nature and the concise approach taken by the code of ethics is the primary strength of the document since it is little more than one page in length yet it covers areas such as obligation to the employer, the country, society and to the profession it self. However, the brevity of the code certainly brings about its own weakness since the code is not as detailed as the ANA nursing code of ethics of other ethical codes which have chapters upon chapters and articles within articles. The AITP (2007) code of ethics guides the professional conduct of individuals by having the individual acknowledge that s/he has a set of responsibilities towards various stakeholders and these responsibilities need to be discharged with diligence and with a sense of duty. The code of ethics does not tell the professional what to do in situations where ethics can be brought into question yet it does guide the professional towards seeking sources of information such as the code of ethics used by the employer with whom the professional is employed at the moment. Such a code of ethics can be applied very simply in professional life since it shows me that as a networking professional I will be responsible to uphold quite a few trusts that will be placed within me as a professional. These include the trust of my employers, my fellow colleagues, my

Japanese culture Essay Example | Topics and Well Written Essays - 1000 words - 1

Japanese culture - Essay Example They seek the support of supernatural powers for their rescue as well as for the solution of their difficulties. Thus, religion provides spiritual guidance and emotional relief to the humans. Being one of the most developed and cultivated countries of the contemporary world, the examining and exploration of ancient Japanese cultural traits and spiritual thought has always been a subject of great interest for the archaeologists, historians and anthropologists. However, researches find no solid records of the Japanese cult and culture in Paleolithic era; thus, either the indigenous Japanese of the Old Stone Age had perished away, or they had been invaded and killed by the outsiders during early Neolithic era. â€Å"Because no full skeletons have yet been found, it has been difficult for the archaeologists to make judgment about the racial character of the Old Stone Age Japanese.† (Varley 2000, 1) Since the Japanese maintained strong faith in Shinto belief during the first six ce nturies A.D., they used to seek spiritual inspiration from Kami, the main objects of worship according to the Shinto faith. Kami worship had been in vogue among the Japanese even under the Jomon and Yayoi dynasties, few centuries before the advent of both Christianity and Buddhism. Kami was not confined to one single object only; rather, it contained several natural phenomena including the Sun, which had always been a source of great inspiration and motivation for them. Thus, the earlier Japanese built shrines and temples of the Sun Goddess and used to seek her support for their worldly matters on the one hand, and for their spiritual uplift on the other. â€Å"The principal monument to the Sun Goddess is the Ise Shrine, which houses her image in the form of mirror the most precious object of the imperial regalia.† (Varley 2000, 17) The political establishment of the Japanese culture had also been laid on the foundation of their religious belief. Consequently, they considered their emperor as Deity, and there were no two opinions on this sensitive-most issue. Thus, the Japanese emperor was also one of the Kami objects according to Shinto belief. It is therefore the imperial Uji clan of Japan enjoyed the divine respect and status among the rest of Uji tribes. Consequently, the imperial Uji could select non-imperial Ujis as ministers even during sixth century A.D, and these appointed ministers were looked at with reverence provided they had been selected by the Kami. The ancient Japanese led very simple and barbarous life and maintained least familiarity with the tools; as a result, the invaders from the neighboring Asian regions overcame them and left indelible impact of their cult and culture on the Japanese. Hence, the Japanese had sought religious inspiration from the neighboring far eastern and south East Asian cultures. The Chinese civilization had been the most dominating one in this regards, and captured the spiritual structure of ancient Japan. T he findings reveal that the ancient Japanese were the followers of Shinto faith, which still prevails in the country. During pre-history to the first quarter of sixth century A.D., Shinto had been the central belief followed by Japanese, though basic customs and conventions of this period are unknown. The Shinto religion is now divided into different sects. â€Å"Shrine Shinto (Jinja Shinto) is the principle form, in existence from the beginning of Japanese history, through which others act. Folk Shinto (Minzoku Shinto) is a sub-string of this, centered on the veneration