Race and Ethnicity Essay Example for Free

Race and Ethnicity Essay Discussion about race and ethnicity has increased steadily over the last several years. Recent discussion has centered on whether the differences between race and ethnicity are necessary, damaging, or beneficial. There is also much to be said about race relations across the globe and many questions to be pondered. Writing about race can be difficult, and discussion about race even more difficult. The idea is that with research and knowledge, it is much easier to have an intelligent, well-informed discussion about issues that affect all of us. Listed below are some possible essay topics: Race vs. Ethnicity Is the idea of â€Å"race† a human construction that is further separating people in countries across the globe? Does science support the idea that â€Å"ethnicity† more clearly defines us, and therefore, should be how we see each other? Discuss the inherent differences and similarities between race and ethnicity and the importance of them. Race issues in American TV shows and movies Explain through examples and research how different races are portrayed on television and/or movies. Are stereotypes exploited? Are stereotypes nullified? What about the presentation of race in cartoons, e.g., the Disney movies? Race and the criminal justice system It is commonly believed that minorities are at a disadvantage when it comes to the justice system. Is this true? Are there disproportionate numbers of minorities convicted of crimes? Racial profiling Examine the hot-topic debate about racial profiling. Consider situations that might involve profiling: driving; airport screening; renting/buying housing; shopping and shoplifting; college entrance; and job hiring practices. Discrimination in hiring The topic of discriminatory hiring practices can be explored on its own. Available research will include news reports of instances and court cases. Also review the laws in place to prevent such practice. More possible topics: Should racial profiling be a legitimate law enforcement policy in some areas? †¢Should Affirmative Action for state university enrollment be continued? †¢Should the primary method of public school funding (property taxes in individual school districts) be amended to create more fairness in schools? †¢If a university offers â€Å"African-American Studies or Black Studies as courses, should it also offer European-American Studies or White Studies? †¢How do certain television programs perpetuate racial or ethnic stereotypes? †¢Should schools only purchase textbooks that offer revised or alternative perspectives on historical events? †¢What should be done about racial disparities in the sentencing of criminals? †¢Should the American government pay reparations and return land to Native Americans? †¢Should hate groups have the right to distribute literature on university campuses? †¢If research shows that certain racial or ethnic groups receive poorer medical care on average, how should this problem be corrected?  Ã¢â‚¬ ¢Should government organizations have staff that accurately reflect the racial, ethnic, and gender balance in society? Assignment: Choose one of the above listed topics, a combined topic from above, or a topic of your own choosing that somehow relates to the issue of race and ethnicity. Research the topic, choosing at least 3 sources that you can also easily print to bring to class. This will be an in-class essay with two days of writing that will be at least 4 pages. Type a works cited page and bring it to be turned in with the essay and the printed sources.

Production Process Of Monster Inc Film Studies Essay

Production Process Of Monster Inc Film Studies Essay The process of movie making entails four stages, development, pre-production, production and post-production. The development stage involves the process of creating the story line. At the pre-production level the technical challenges are addressed. It is in the production stage that the actual filming takes place and polishing of the movie is done at the post production stage. The Pixar process through which Monster Inc passes is detailed below. Step1: This step entails explaining of the idea about the movie to the audience and the members of the development team. At this stage the originality of the idea is pivotal as it translates to how viable the movie is. The idea of Sulley and Mike working for Monsters Inc is an incredible idea and so is the inclusion of Boo. The work was developed from the two artists namely Docter and Grant. The adult man had the childhood drawings come to life and start plaguing on his existence. He could see the monsters but the other could not. The monsters represented the fears he had to deal with as a kid and which he did not. However, these monsters disappeared at he continued to overcome these fears. Step 2: this idea is then written down in what is referred to as text treatment. It also worth mentioning that it necessary to come up with many text treatments as they help in opening up the possibilities available. In addition, such treatments help to refine the main idea of the story. For instance, the initial idea was to have a 32 year old man who could see the monsters but which was later changed to an innocent girl. Step 3: Elisabeth (12) defines storyboards as the graphic organizers which could include illustrations and images and are necessary in the movie making process for the purpose of pre-visualizing a motion picture. It is a tedious and intricate process and was developed in Walt Disney Studio in 1930s. This concept of story boards is credited to Webb Smith where scenes would be drawn in different sheets of paper and would be pinned on a bulletin board (Mark 65). This proved effective in telling a story in a sequence. The Monster Inc incorporates story boards and is better described as a hand drawn comic book version. The artists receive the scripts and they are then expected to make the drawings. The sequences by the artists utilize the emotions from the scripts to be able to make the illustrations. The drawn out sequence is then handed to the director of Monster Inc. Step 4: In making of the Monster Inc movie the scratch voice is used to the story board reels. However, professional actors are hired when the story and the dialogue have been perfected. It is also worth noting that the actors hired need not depend on the script alone but also need to improvise to make the movie interesting. The actors hired for different role in Monster Inc then record the lines in different ways and the best ones are chosen. However, if the scratch voices are good enough then there will we no need to follow the rest of the process. Sulley the massive monster who finds himself in trouble was played by John Goodman who had a rich and wide vocal range. His voice also similar to that of a bear and it seemed to fit to this role. Finding the voice for Boo was challenging and it is the voice of Mary Gibbs who plays this role that brought the energy needed. In addition she was playful and fit in well in this role. Step 5: This is the stage where by the illustration by the story board is developed into a reel. The reel is able to tell a story without the need to have a pitcher person to tell the story behind the shooting of Monster Inc. This process is pivotal in the making of Monster Inc as it helps in validating the sequence of the story. The editorial of Monster Inc also takes this chance to ascertain the elements required for each shot. For instance, in this movie Joe Rauft did the story board and also was the scratch voice of Sullivan. Step 6: The art department utilizes the work from the above process and brings life to the scenes. In particular this involves creating inspirational art, illustrating the world and the characters. In addition, the artists also design sets, props, visual looks for surfaces and colors which will be necessary lighting. In looking for the style of Monstropolis the production designers had to go to view different locations which could inspire the design of the movie. 22 different sets were designed for the movie and some of theses sets included the Boos bedroom, sushi eatery, Harryhausens and home of yeti. Step 7: This step is another tedious task in the making of Monster Inc. The characters, sets and props to be used are sculpted by hand and then scanned in three dimensions. These elements are then given avars and the animators use them to make the movements. In this movie the clay sculptures were made and then digitized for the main characters. For the rest of the monsters they were created by the computer using the kit of virtual parts. It is also worth noting that in order to give the animators a lot of movement those modeling the characters used Geppetto; a program used to add more controls. Step 8: This is an interesting stage where the sets are dressed with prop models in bringing out a realistic scene. It also worth noting that those charged with this task, work closely with the director in ensuring his vision of Monster Inc is being actualized. For instance in making the monsters colorful, the city and the factory had to be muted. Step 9: The real work of taking shots then starts and the story is translated into 3-dimensional scenes. This stage is involving for the layout crew of Monster Inc, who use a virtual camera to create shots while capturing the emotion of each scene. Multiple shots are created for each scene and this helps the editorial team to make the best choice of the shots that will give the maximums story telling effect. Step 10: At this point the layout, dialog, sound, character and models are already done and the animators choreograph the movements and facial expressions of the characters and this is done for each and every scene. Computer controls are used and avars are also necessary at this point. The movement of the Boss shirt and Sullivan long fluid fur posed a great challenge. How do you animate every wrinkle in both of theses two characters clothes? This required the use of simulations that would automatically generate such movements. Similarly, for Boo having the hair was another problem and Docter found a temporary solution by use of pigtails which were easier to animate. However, this was also complicated by the fact that these movements needed to be realistic. In particular, the Boos shirt had to drape in an aesthetically appealing way and Sulleys hair had to stick out attractively as well. The animator John Kahrs was in-charge of Sulley and lead animator for Boo was Dave DeVan. Step 11: At this point the shading is done to bringing out different color effects. In shooting of Monster Inc this was done by using software which allowed complex variations where the color shifted with the lighting. Step 12: It is the lighting that completes the whole picture and at this stage the key, fill and bounce lights become important in enhancing the mood and emotion of the characters in the scene (Richard 45). The room ambience is also defined in creating a realistic and giving out the right impression. Step 13: At last the sets, colors, character movement are put in one frame. The Pixars process used in making the Monster Inc utilized a huge computer system which interpreted the data and incorporated the motion blur. After this was done the completion of Monster Inc required final touches from the various departments. For instance the special effects and sound effects were added. In particular, the photo-science department recorded the digital frames in readiness for projection. Work Cited Elisabeth, Weis Film Sound: Theory and Practice. Columbia University Press, 1985 Mark, CottaVaz. The Invisible Art: The Legends of Movie Matte Painting, Chronicle Books, 2004 Richard, Reckitt. Special Effects: The History and Technique, Billboard Books; 2nd edition, 2007

Sears and the dishwasher industry :: essays research papers

Where should Sears source the dishwashers from? Sears is the giant leading broad line retailer providing merchandise and related services. In keeping with its sourcing philosophy, Sears generally prefers to work with one, rather than multiple suppliers. When the supplier does not offer a specific type of appliance, Sears would source it somewhere else. Sears’ objective is to share as much as possible of the production and assembly process with the suppliers’ products. Based on the readings one important component of Sears’ sourcing strategy is to ensure that its suppliers have stable top management over a long term. Sears sources its dishwashers from D&M, because of D&M’s cost position. They would not find elsewhere the quality and the price that D&M offers. Sears itself designs the dishwashers based on the customer’s preferences and provides them the best quality with the best price named Kenmore. GE is the toughest competitor to Sears as well as to D&M and considering sourcing from GE would not be feasible, because GE’s policy is that GE product would carry GE name. Now GE is a customer of Sears that in the same time competes with Kenmore’s products. Another souring possibility could have been Whirlpool which like GE uses its name for its products, but for Sears it would not make economic sense to go towards that direction. After Sears, GE, and Whirlpool, there really is no full-line name in the market of any significance. Sears as well as the customers are content with D&M’s products, but one important issue could be if D&M will keep up with its R&D in order to continue competing with GE as well as with Whirlpool. After all these years it will be very difficult for Sears to pull back from D&M and go after another supplier.

Poes Fall of The House of Usher Essays: A Perspective :: Fall House Usher Essays

The Fall of The House of Usher The Fall of The House of Usher is an eerie, imaginative story. The reader is captured by the twisted reality. Many things in the story are unclear to the reader; but no less interesting. For instance, even the conclusion of the story lends it self to argument. Did the house of Usher truly "fall"? Or, is this event simply symbolism? In either case, it makes a dramatic conclusion. Also dramatic is the development of the actual house. It seems to take on a life of its own. The house is painted with mystery. The narrator himself comments on the discerning properties of the aged house; "What was it, I paused to think, what was it that so unnerved me in the contemplation of the house of Usher" (54)? The house is further developed in the narrator's references to the house. "...In this mansion of gloom" (55). Even the surroundings serve the purpose. The narrator describes the landscape surrounding as having, "... an atmosphere which had no affinity with the air of heaven, but which had reek ed up from the decayed trees, and the gray wall, and the silent tarn a pestilent and mystic vapor, dull, sluggish, faintly discernible, and leaden hued" (55). This fantastic imagery sets the mood of the twisted events. Roderick Usher complements the forbidding surroundings terrifically. His temperament is declining and he seems incessantly agitated and nervous. And, as it turns out, Roderick's fears are valid. For soon enough, before his weakening eyes, stands the Lady Madeline of Usher. This shocking twist in the story is developed through the book that the narrator is reading. The last line that he reads is, "Madman! I tell you that she now stands without the door" (66)! Without suspecting such an event, the reader soon finds Lady Madeline actually standing at the door. She is described as having, "...blood on her white robes, and the evidence of some bitter struggle upon every portion of her emaciated frame" (66). This line not only induces terror but invites debate. Upon seeing the woman the reader has to consider the cause of her death.

Essay - Bridge Between Worlds in Virginia Woolfs To The Lighthouse :: To The Lighthouse Essays

To the Lighthouse - Bridge Between Worlds Virginia Woolf's To the Lighthouse illustrates a bridge between the worlds of the Victorian mother and the modern, potentially independent woman. The Victorian woman was to be absorbed, as Mrs. Ramsay is, by the task of being mother and wife. Her reason for existing was to complete the man, rather than to exist in her own right. Mrs. Ramsay certainly sees this role for herself and is disturbed when she feels, momentarily, that she is better than her husband because he needs her support to feel good about himself and the life choices he has made. Yet the end of the Victorian era saw the rise of women's rights and greater freedom for women to excel without men or children. Adrienne Rich, in Of Woman Born, says that To the Lighthouse is about Virginia Woolf's need to understand her own mother and to prove, through the character of Lily Briscoe, that a woman can be "independent of men, as Mrs. Ramsay is not" (Rich, p. 228). The trauma of this transition from Victorian to modern woman is portended by Mrs. Ramsay herself, at the beginning of the story. In the first chapter, as Mrs. Ramsay defends Charles Tansley against the criticisms of her children, she muses on her desire to protect men and the "trustful, childlike, reverential" attitude that her protection inspires in men. "Woe betide the girl. . . who did not feel the worth of it, and all that it implied, to the marrow of her bones!" she exclaims to herself, thinking of the way men respect and admire her. But Woolf shows us that as Mrs. Ramsay admonishes her children for ridiculing Charles Tansley, her daughters "could sport with infidel ideas which they had brewed for themselves of a life different from hers. . . not always taking care of some man or other." The issue of the change from one concept of womanhood to another is not as simple as the newer generation revolting against the older; at the same time that Mrs. Ramsay's daughters hope to be different, they admire and worship their mother for her beauty and power. Prue, the eldest daughter, proudly watches Mrs. Ramsay as she descends the staircase and feels "what an extraordinary stroke of fortune it was for her [Prue], to have her [Mrs.

Differences between family and friends Essay

Throughout our lives we interact in many and varied relationships. These can range from intense emotional and physical interactions, to casual acquaintances. Our ability to bond, congregate and network within these relationships is not restricted to the family or kin from whom we are born; many are the result of friendships formed within our societal settings. We develop friendship relationships within the work place, sporting activities and shared community interests. The commonality of interest can be in residential status, class, race, gender and religious beliefs. The formation of relationships can have a multitude of meanings and importance to the individual, whether formed with family or friends. So how do the importance of relationships between family and friends differ? According to Baker (2001, p.1) â€Å"Our ‘personal’ decisions and lifestyle ‘choices’ are influenced in a myriad, often hidden, ways by what happens in the wider world†. This suggests that as individuals we need the influence of the outside world to assist in our decision-making processes. However, both family and friendship relationships offer a range of external (social) and internal (private) life networks from which the individual or group can access personal and social knowledge, resources and support. The difference in the level, mannerism and depth of needs attended to by both family and friendship relationships must then be discussed to access the importance of each and the role it plays in the life of the individual and society. Friendship Goerg Simmel (in G. Little, 1993, p.31) saw friendship as pure sociability. Simmell â€Å"pictured society as a web of sociability, a subtle balance of delicate exchanges† †¦ â€Å"it was only the name given to the comings and going of human beings, the interchanges that simultaneously link and separate people†. Simmel further describes friends as artists, claiming â€Å"friends must  commit themselves to communicating well, putting all distraction aside†. Simmell’s description of friendship in society, describes the way in which we communicate in our external lives, separate to that of family or kin relations. The communicative commitment we put into these meetings will depend on the level of interaction desired, given our commonality and interest. Therefore, the formation of friendships is based on the attention given to conversation, how well we communicate and the manner in which we construct our communication. All other encounters are purely polite exchanges of greetings between people we meet externally. Friendly interactions can therefore become an extension of our internal family lives. A case study of social networks conducted by Lyn Richards (in Gilding, 1999, p.121-23) of a Melbourne suburb revealed how â€Å"residents constructed a wide variety of relationships with their neighbours†. The social exchange of neighbourhood residents extended to sharing equipment and getting to know each other on a more personal basis, allowing friendship relations to enter the internal domain family life by choice rather than necessity. This offers an interesting perspective to Simmell’s analysis of friendship simply being polite but attentive exchanges of our everyday external lives. It suggests that we not only form friendships externally out of politeness but also  internally to share our family relations. Richards noted however, that the association between friends and family relations are separated by the difference in time spent with family and friends. Edward Shorter (1979, p.231) writes†¦Ã¢â‚¬ in traditional society the kin group counted for relatively little in emotional terms, being primarily a reservoir of material support in emergencies†. The view here is that friendship relations are an extension of family relations, allowing additional resources to be obtained. Friendship is then seen as an important  commodity to completing our hierarchy of needs. Therefore, placing restrictions on the importance and position of family and friendship contributing factors to our family and societal needs, with the extent of these needs measured in material and emotional contexts. Demographically family structures have endured many changes to the way in which family member conduct their lives. Changes to labour market forces, socio-economics and lifestyle choices, have left many with little or no time to conduct friendship relationships within the family unit. The importance of emotional support and mental well-being is then passed onto external avenues such as social services and friendship alliances. Meaning, that whilst our physical needs are being met through income support (wages, benefits), our emotional needs are neglected over time taken to achieve our physical and material needs. Therefore, positioning friendship relations as an important aspect of our familial and societal structure. Talcott Parsons (in van Krieken et al, 2000, p.328) described the functions of the nuclear family as the â€Å"primary socialization of children and the stabilization of the adult personalities of the population of society (1955a, p.16). Parsons analysis of  socialisation and stabilisation functioning describes the family as a secure and sociable entity, capable of providing both social learning and emotional well-being. To support Parsons description Bell and Zajdow (in Jureidini and Poole, 2003, p.275-76) describe the family â€Å"as an entity where people have their emotional needs cared for by a wife or mother has displaced the household whose primary purpose was to produce goods for the material well-being of family members†. The descriptions of families given here, lead to families providing emotional support for its members, similar to that of friendship relationships. How can we determine at this point, which is more important? Family support and learning can be contained within the family, kept private and discussed with members whom share common kin ties. The emotional support of friendship risks private consultation becoming public and has no biological status. Therefore, the family as a social and emotional provider is viewed as more important. The difference and diversity of families and friendship relations as pointed out in Shorter (1979, p.231-41) may provide insight into the importance of family dynamics. Shorter describes a variety of family and kin units, their origins and values placed on human contact. The research shows that despite having sociable human contact, preference is given to remaining close to family and kin, and protecting the family unit from external intrusion. Thus, providing the family with a direct sense of purpose and well-being for the individual, a place of sanctity and security when the outside world is no longer required or available. Our experiences of the world are subjective, we engage in both physical and emotional stimulation to suffice our needs. However, the main source for supply and demand of these needs is found in our value of our family and kin relationships. Family values are found in family traits, traditions and familiarity of its members and Family and Friends 5 its stability in a demographically changing social world. In this sense, friendships may come and go; however, family values will always remain, placing an emphasis on the importance of families. Where do families achieve their stability and security? The structural functionalism of families can assist in maintaining stability and security, through its ability to â€Å"provide individuals with the opportunity for  emotional support, companionship, sexual expression, reproduction and the socialisation of children†Ã¢â‚¬ ¦Ã¢â‚¬ They maintain social order and control through disciplining their children and other members† (Baker, 2001, p.73). The ability of families to maintain social and familial control provides members with a sense of self-control over ones life. A setting to which they can return to safe in the knowledge that emotional, physical and material guidance and support can be sought. Therefore, positioning the family as a place belonging and familiarity. Conclusion There appears to be little doubt that both family and friends play and important role in ones life. To measure to importance we cannot ignore the difference and diversity of both family and friendship relationships. For some the relationship of friends is extremely important, for others it is the relationship of the family. To assess why friendship relationships appear to be more important, it is essential to recognise the demographic changes that have occurred in the past and the rate at which changes occur in the present. Family dynamics now share a variety of different relationship structures such as, defacto, stepfamilies, same sex partners,  adoption and foster parenting. All of which have their own unique set of values, social and cultural traits. The apparent multitude of difference and diversity of both family and friendship arrangements, in an ever-changing world, may embrace the need for external relations outside the family. Friendship relationships can become symbolic of demographic changes, be non-compliant with family traditions and have the flexibility to endure future change. Thus, placing an importance on the need and value of friendship relationships.

John Donnes’ “A Valediction: Forbidden Mourning” Essay

In the poem â€Å"A Valediction: Forbidding Mourning†, by John Donne, the speaker is consoling his lover who is mournful of the speaker’s imminent departure. The speaker is saying that since they have stronger than ordinary love for one another, their love will endure the separation. Donne uses metaphysical conceits and comparative imagery to illustrate the crux of the poem. The speaker is reassuring his lover by reminding her of how great their love is; it transcends the physical and therefore will overcome whatever obstacle is set on their path. He is forbidding his lover to mourn his departure. In the first half of the poem the speaker contrasts their love between that of spiritual and material objects; the inferior actions of the earth compared to those of the heavenly â€Å"spheres† (11). He is trying to prove to his lover how their love is not of the ordinary kind; it is more than simple affection. He compares their love to that of pure gold saying â€Å"let us melt, and make no noise† (5). Pure gold, when melted, does not spatter, it melts down smoothly. Therefore he is saying that if there love was gold it would make no noise for their love is that of the purest kind. The speaker then says that earthly things â€Å"[bring] harm and fears† (9) but since their love is above earthly matters, they should consequently not be afraid of parting. The speaker feels that there should be no grieving and exaggerates his lovers anguish, telling her there should be â€Å"no tear-floods, nor sigh-tempests† (6). The narrator talks of â€Å"dull sublunary lovers†¦whose [souls are] sense'† (13/14); these lesser couples’ love is based upon the five senses. He is saying that love cannot be simply based upon these senses, which are purely physical. Love has to transcend the physical to be pure and their love does. The speakers tone then turns comforting by saying that they both know that their love is more than physical therefore they should be at ease. A physical separation is ensuing but not an emotional one: their love will endure. He describes their â€Å"two souls†¦which are one† (21). He says that their separation will not be a â€Å"breach but an expansion† (24) of their love; their souls are united and cannot be separated by whatever forces shall come in their way. He continues to develop the image between their love and pure gold by saying that through this separation their souls will simply spread  apart â€Å"to aery thinness† (24) but never separate (as does pure gold when flattened). Donne compares the couple to a geometrical compass, a metaphor which carries two significant meanings. The first being the idea of a compass being two separate entities, two feet, which are attached but not always together. He says that the compass is them, separate beings but still united as one, by their soul. One foot of the compass will stay as the other moves around and away, and the stationary foot â€Å"hearkens after it† (31) but is unable join the other. The speaker is making the point that not matter how far one of them may travel they will always complete the circle and eventually return to the beginning. The compass also portrays their love as a circle. A circle is an image of perfection: never ending and continuing for eternity as is their love. The speaker is saying that no matter how far apart they may travel they will always come back to one another. He may travel far but he will   [draw] his circle just, and†¦ end, where [he] began† (36). The speaker described before how their love transcends the physical, it is deeper than sex and arousal of the senses. In the final stanzas though, the speaker addresses all the factors of any healthy relationship. The speaker says that his â€Å"compass foot†, as it draws nearer home, grows â€Å"erect† (32), an allusion to the sexual component of their relationship. Despite the awesome power of an emotionally based relationship there is still a strong a physical aspect. He misses her with his soul but also physically yearns for her. This poem is written to comfort a lover. Donne opens with comparative images of the physical and earthly, saying that the sentiment between the two lovers is more than earthly love. He then uses metaphysical conceits, comparisons of unrelated objects–the physical and the spiritual–to further emphasize his point. The two compasses, no matter how far apart they travel will always return to the other. If one is truly in love then physical separation does not matter; if anything it will only strengthen the union. The feelings between the speaker and his lover are greater than common love, therefore they can endure the separation; the speaker’s departure should not  be mourned.