Justice or Free

Justice or Freedom of Speech Essay 1. When do the concerns of national security cross the line to infringing on personal freedoms in regards to activities such as data mining? 2. Are people prepared to give up certain civil rights in order to assure safety in the new age of terrorism? 3. Is the government being completely open about the various programs that are  being used under the â€Å"drift net?† 4. What is actual definition of the â€Å"targeted† part of society that is being observed  and tracked? 5. Should the government be able to â€Å"mine† personal data such as financial,  phone and related records? 6. Does the Patriot Act give too much power to the FBI and related government  agencies without judicial oversight? 7. Who is providing checks and balances to the agencies that have been given this  extra power under the Patriot Act? 8. What is the margin for error in defining who is a suspect and who is not? 9. Is there appropriate due process for those targeted by National Security letters  whose records have been requested? 10. Is racially profiling considered a violation of people’s civil rights, and does  the government have a right to use this as a basis for targeting civilians as  possible terrorists?

Women Portrayed in Horror and Film Noir Films Essay -- Film Movie Noir

Women Portrayed in Horror and Film Noir Films Works Cited Not Included Horror films have always been more attractive to the male viewer than to the female viewer. Why is that? Usually horror films mainly present the audience with very graphic mutilation and the raping of females, more so than their male counterparts. Horror films have always depicted females as either objects or as the victim of a horrible act. In Linda William's essay 'When the Woman Looks,' she says that 'there is not that much difference between an object of desire and an object of horror as far as the male look is concerned' (Jancovich 63). That is just the way horror films are, and they will probably not change anytime, because the women in the films usually grab the attention of males. This is why horror films are usually more pointed at the male view. Some males like to see women depicted as the punisher because they like seeing evil women in these films precisely for their viewing pleasures, sexual and otherwise. An online essay defines horror as, 'its true subject matt er is that of the struggle for recognition of all that society represses? (Niver). Although horror films as well as film noir films are usually fictitious, the violence depicted among women is real and they show the dark side of the human experience especially in women. In some horror films, females are ?often asked to bear witness to [their] own powerlessness in the face of rape, mutilation and murder? (Jancovich 61). Women, who have been traumatized by violence in any way, have to live with their emotions and feelings regarding their situations everyday of their lives.... ...is very scary is that ?one-third of women report being physically or sexually abused by a boyfriend or husband at some time in their lives? (Boss 357-358). These statistics not only happen in real life, but are also depicted on the big screens. They have been for years because it brings people to the movies and they find it interesting to watch. The statistics that are mentioned here need to be changed before it is too late. People and today?s society need to be more cautious of their surroundings, know who they are getting involved with and to try and not make stupid mistakes. Society needs to take more responsibility for their actions and sexual attackers need to be put in prison for a long time. Horror films and film noir films, just like society, do depict a lot of violence among women and they also show the dark side of the human experience.

Bacchus And Ariadne

Here, to create drama and depth, the warm hues of Aridness hair are contrasted against the white and pale blue of the sky in the background. Complimentary colors (inside Art', 2014), the rich red and blue of her gown and sash are juxtaposition's and contrasted against the pale colder greens and blues, which form the sea and landscape behind her, creating an aerial perspective (inside Art', 2014). Her face, now turned to Bacchus, is tinged with uncertainty, yet still mourning, her body and up-raised hand gesture towards the sea. Over her left shoulder is the fleeing ship of err husband Theses, who has cruelly abandoned her.However, above her head, the constellation Bacchus has promised her is a token of a happier future. Arid one's gaze directs us to the central figure of the God of wine, who, instantly enthralled by her, is depicted leaping from his chariot. In this vivid rectangle of imagery, the viewer is reminded of the past, present and the future of the unfolding story. The clas sically posed figures of Ridden and Bacchus are created using identical modeling (inside Art', 2014) techniques. Shading and glazing (Nationally, n. D. ) create the luminescence of their pale kin tone.However, most striking is Bacchus' flowing vermilion gown, which mimics the intensity of his passionate expression. To create such a dramatic depiction, Titian has employed a narrow tonal range (inside Art', 2014) and shading to highlight the striking vermilion hues, which he then contrasts against the ultramarine of the sky. These dramatic effects project the God towards the viewer, thus extending the picture plane outwards. Other devices are incorporated to keep the eye moving through the composition. Between Bacchus and Ridden, two cheetahs mimic the central subjects as hey gaze at each other half cast in the shadow.Below Aridness feet, a discarded white robe and amphora distract the gaze. Color is employed to drawn the eye away from the left of the picture space to the right, where three figures form a triangular focal point. Central to this is a nymph clashing cymbals together, her gown of complimentary hues of real and ultramarine are juxtaposition's; to her left, the faun, dragging the decapitated head Of a deer, stares out mischievously through the picture plane, and the last of the trio is the shaded muscular figure entwined with rotting snakes.

The Reality Of Racism- As Exhibited In Cry, The Beloved...

The Reality of Racism- Displayed In Cry, the Beloved Country nbsp;nbsp;nbsp;nbsp;nbsp; Cry, the Beloved Country is not another novel of common strife between man and his fellow. It is an entirely higher sense of what quot;brother against brotherquot; is. Seemingly harmless characters like Stephen Kumalo and James Jarvis reveal the bigger picture of racism around the entire country. The effect of extreme poverty, the responsibility of the whites, made this story possible. The solution to the problem is portrayed through Absalom, his crime, and Arthur Jarvis. quot;Bexxuse the white man has power, we too want power, he said. But when a black man gets power, when he gets money, he is a great man if he is not corrupted [Paton†¦show more content†¦The root of this problem was the white man. nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;xxxxxxxxx, David nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp; Page 2 Paton expresses them through James Jarvis. This was the white man in the flesh. He adhered to the common stereotypes of blacks, which were rampant. Although His residence was close to a black village, He chose to have nothing to do with them. Even in the courtroom after his sons death, he remains indifferent to this obviously pitiful race. Arthurs death was like a wake-up xxll from heaven. Paton purposely created this situation of the demise of a universally beloved man to tell the white people that if they do not lend a hand in stopping the black degradation, they might have to learn the hard way. Had this not have happened, Jarvis would have ended his life ignorant about the black plight. nbsp;nbsp;nbsp;nbsp;nbsp;Stephen Kumalo was quiet and unassuming, timid in the face of white men. He lacked that inner strength to