Media studies †Life on Mars Essay Example for Free

Media studies – Life on Mars Essay How does life on mars (2006) use visual codes, technical, audio and narrative codes to create a sense of excitement and encourage the audience to watch. In this first episode of Life on Mars there are many different codes and conventions used to make this series instantly appealing to the audience. The episode is excellently paced and smartly directed, getting us into 1973 within 10 minutes and introducing new characters effortlessly. Sequence 1 of life on mars gets the audience instantly familiar with the genre, the episode begins with a police car chasing down a suspect which quickly shows us this is a hybrid police crime drama. The diegetic sounds of police sirens and dogs along with the non diegetic music, a heartbeat which is corresponding with Sam the detective in the police car creating suspense as we get a feel for how Sam is feeling as the heartbeat signifies his nerves also introducing the audience to protagonist Sam Tyler, these audio codes add up to create an exciting police chase which again expresses the genre of Life on Mars. Once out of the car Sam is forced to chase his primary suspect down an ally way in a council estate in the city giving the audience a feel for the setting. The music isnt as dramatic while the chase is happening but speeds up during more dramatic parts of the chase which creates suspense. Cinema-verte is used when filming the chase which makes the audience feel almost part of the chase, this entertaining filming technique and creative use of music makes Life on Mars exciting to the audience creating enigma and encouraging them to watch on. This chase takes us up to Colin Raimes arrest bringing us to sequence 2. In sequence 2 Sams colleague and girlfriend, Maya, are interviewing suspect Colin Raimes. Sam and Maya facing Colin and his lawyers, which creates tension between these two sets of people. During the interview there is a close up of Colin Raimes which engages the audience creating tension and increasing the viewers curiosity as to what this suspect has done and makes them wonder has he done it or not? The diegetic recording sound in the background shows the viewers the interview is being recorded and shows the viewers the seriousness of the situation, the room is dark with little light which creates a professional mood, the dark setting is a technique used to scare the suspect in to talking, perfect for the situation. The narrative codes in this sequence reveal allot about Colin Raimes as he gets upset by the images he is being shown, we learn Colin sees a psychiatrist and his lawyers talk about how kids would throw fireworks at him on his estate. This is evidence to show that Colin is vulnerable and is possibly mad, the audience may take pity on him or take a different view on the suspect, this makes the viewers curious and increases their want to watch on. After the interview in sequence 3, Maya isnt done with the suspect and decides to follow him on her own, only to be kidnapped. Once Maya is kidnapped Sam becomes sad and heads out looking for her, there is a close up of Sams face and he is distressed with tears running from his eyes. This visual codes will make the audience feel sympathetic towards Sam and shows us perhaps he is feeling stronger than just friendship for Maya. Sams nerves eventually get the better of him when he has to stop the car to refresh himself, standing there half-heartedly he says into himself, The world is a scary place again this shows the audience he is thinking about Maya and wants to find her increasing their sympathy for him and overall making the viewers want to continue to watch to see the conclusion. The different audio codes used express Sams feeling for Maya as the non diegetic music plays softly whilst he cries and thinks about her, this corresponds with the visual codes creating a sympathetic feel for the protagonist making the audience pity him. Sam is unexpectedly struck by a speeding vehicle which brings me to sequence four. Sam is struck very unexpectedly and this may have came as a shock to the audience, the accident is very unexpected and this is done deliberately to shock the audience as this scene is key to the viewers as it is where the storyline unfolds as after this it is based in 1973, where Sam time travels back in time. The diegetic sounds used are very impacting, when the car hits Sam, initially there is a loud sound to signify he has been hit, after this all that can be heard is silence which corresponds with how the audience will feel, as they will be shocked at what has just happened. This creates enigma and increases the viewers curiosity to keep watching and they are now introduced to how Life on Mars is going to take place. (back in time) will Sam be okay? what will happen next? are few of the questions the audience will be asking making them exciting and encouraging them to keep watching. Once Sam is hit and the audience are aware of what happened there is a close up of him laying vulnerably on the ground, this close up shot shows his eyes, wide open but yet not moving, with only police sirens and a heartbeat which is corresponding with Sams as he lays on the tarmac, creating tension and making the audience question if he is even alive. This close up then changes to a high shot as the camera slowly moves up, looking down on Sam which shows how empty the road is, no traffic just him. This suggests a change in time and expresses to the audience what has happened introducing them to 1973. These visual and technical codes all raise the audiences awareness causing them to ask questions and want to know the conclusion. Sequence five is the most important as, Sam wakes up to find himself in 1973, complete with 1970s era clothing and an 8-track playing Life on Mars in a car. Dazed and confused, Sam wanders back to the police precinct he works at, only to find it filled with cigarette-smoking, gum-chewing strangers hes never seen before. The music is significant as before the crash David Bowies 1970s song Life on Mars was playing on Sams ipod in the car. This is strange as he has travelled back in time to when this song was just out and extremely popular. Sams feeling are conveyed in different ways, with voices in his head from when he was a boy repeating, where are you? as he wakes up in a forest, obviously not where he was before. Creating enigma for the audience and making them aware of the time change increasing their excitement and want to continue watching. When Sam stands up in 1973, with no clue as to where he is the camera is low angled and is circling him while Life on Mars plays which really creates a confusing atmosphere showing that Sam does not know what is going on. This technical camera work helps to express Sams feelings and shows the audience a broader understanding of whats going on. Everything has changed in Sams world, The set designs and costumes effectively evoke the era, as well as the grittiness of the run-down neighbourhood and police precinct. Everything feels straight out of the 70s, from the clothing to the cars to the horridly ugly decorating in Sams apartment. Throughout the episode, Sam hears hospital noises and doctor voices and at one point sees a person on late night TV talking like a doctor describing Sam being in a coma. Sam becomes increasingly convinced that he truly is in a coma, and that none of this world is real. he believes it is all part of his imagination. These are some of the ways in which Sam portrays his feelings to the audience during this sequence. Which allows the audience to get to know Sam and begin to have a feel for his character encouraging them to continue to watch Life on Mars. Later Sam meets a young police officer named Annie Cartwright who he begins to open up to and express his opinion and at one point tells her I had an accident and when I woke up, I was here. Only here is 33 years in the past. Now, that either makes me a time-traveller, a lunatic, or Im lying in a hospital bed in 2006 and none of this is real. This quotation of what he says gives the audience insight into how he feels about the whole situation, this again allows the audience to engage with Sam and feel what he is going through, the audience will grow a certain like for Sam and this creates a sense of excitement and encourages the audience to continue to watch Life on Mars.

Can Ethical Terms Be Defined? :: Philosophy Philosophical Papers

Can Ethical Terms Be Defined? The answer might seem obvious. Ethical terms can be defined because they have been. "Good" means pleasure; "good" means utility; "good" means self-realisation, or self interest and so on. Classical moral philosophy philosophers have apparently had no difficulty at all in defning terms like "good". It was just this multitude of different and incompatible definitions however, which led Moore to have some doubts about whether philosophers knew what they were doing when they attempted to define "good". Is it really possible to define "good" as one might define "triangle" or "horse"? Are there not some important differences? Moore is convinced that there are. In the first place, when we define "triangle" or "horse" we know what we are defining in the sense that we can see or at least formulate an empirical representation of what we are talking about. We aren't able to see goodness, or point to it, at least in the same way. Furthermore when we define "triangle" as "an enclosed three sided plane figure", it makes no sense to ask, "but is an enclosed three sided plane figure a triangle"? — not at least if we know what we are talking about, i.e. a triangle. But if we define "good" as pleasure for instance, it does seem to make sense to ask "but is pleasure (really or always) good? Moore is convinced that it makes sense to ask this question, not merely because we may happen to be ignorant of what goodness is, and have thus made a mistake such as would be the case if we defined a triangle as a four sided figure; rather the error occurs because we have confused two quite different kinds of things with one another. We have confused a natural property (pleasure) with a non natural property (good). He calls this kind of error a "naturalistic fallacy". Since it is bound to occur whenever we attempt to identify good with something that isn't, all purported definitions of "good" commit this fallacy. "Good" h e concludes is indefinable This does not mean however that the term "good" is meaningless. On the contrary it is no more meaningless than the term "yellow" which is also indefinable in the requisite sense. Still the question remains. "What does "good" then refer to ?" Certainly not to any sensed property like yellow. It refers, according to Moore, to an intuited and unanalysiable property of goodness which some things have and others do not have.

Theories of Crime: Comparisons and Contrasts

The causes of crime are still really not known. There are many different theories and perspectives on why crime exists. However, even with all of the studies and perspectives on crimes committed, it appears to me that the causes of crime are only speculative. Biological Theory The biological theories primarily study the physical constitution and endocrinology. They are a very good example of the theories that have not really received any practical support. The misunderstanding of these theories has caused a stereotype that if a person is a criminal then he or she was born as a criminal and any steps taken in order to change or to influence them are useless. Biological theories are only a part of and one of the interpretations of criminality but not the only ones. In the present time, there is no assertive evidence of the fact, that the physical constitution and other biological factors cause criminality. Nevertheless, these theories have a right to exist and there has been a lot of important information that is used in terms of the development of criminology as a science. The most vivid example of the biological determinism is the theory of Cesare Lombroso. Lombroso based his theory on the assumption that criminals have certain physiognomic features or abnormalities. The origin of scientific criminology is usually traced to the research of Cesare Lombroso (1836-1909). Behavioral Crimes While some may not agree with me, I believe some people just commit crimes. A lot of these people were brought up in violent homes, had parents who were not good examples such as, taking harsh drugs, abusing their children, leaving their children alone for long periods of time and so on. True fact: I grew up with a very abusive father, who ended up killing our mother. I was one of nine children, all of whom were beaten grotesquely everyday and for no known cause. Certainly, we all grew up being adults as children (i. e. , protecting each other, always living in a â€Å"survival mode†) and we were terrorized on a daily basis. However, that having been said, my brothers and sisters and I tried, and for the most part, succeeded in actually growing up, getting sociably acceptable jobs, and we never committed a crime. We were blessed in the fact that, after we were older and were making our own money, we were able to seek out counseling and other avenues to overcome the terror that we all grew up with for 18 years. Our mother died at the very young age of 49 and because of that, she was taken away from us on September 1, 1980. Looking back on it, we all know that our father was basically mentally ill, denying or even thinking, he had an illness and he was just a very angry person and very jealous of our mother, who was a very beautiful, kind, loving (of all people) person. He resented the fact that he had children (which he let us know practically every day). I believe his violence and temper where a cause of possibly some form of schizophrenia and just plain selfishness. Nothing was ever positive to him. However, when he got drunk, which wasn’t very often, he became the nicest person on the planet. We children used to say to each other that – we wished we could keep him drunk all of the time. I believe his actions were based on a biological and behavioral imbalance. The Cognitive Theory Another true event. In July of 1991, while attending law school, I was on my way to classes and had to take the train to get there. While parking in an outside space, a young man (who was 6’ 3† tall and built just like a grown man) came up and put a gun to my head and told me to drive the car. He beat me brutally, and kept telling me to start the car and drive. Skipping over a lot of detail, it came down to where he almost choked me to death and I knew I was dying. Not to sound fanatical, but I said a prayer as I was dying and somehow, I got this superhuman strength and beat the heck out of his head and was able to escape from my car. In the end, he was caught within 10 minutes and had seven (7) felonies against him. He was sentenced to a Maryland State Penitentiary for 20 years and had to serve each felony on a concurrent basis. The reason for his attack on me was that he was being initiated into a gang and that was his initiation. He had to kill a female. As he came up clean on all drug and alcohol tests, it turned out that he was the son of the drug cartel Noriega’s chauffer. He was very angry at his mother for divorcing his father and therefore, decided to become a gang member. He may have been looking for acceptance, or just a way to vent his anger. That would be another speculative case. However, I believe his crime was based on the cognitive theory.

Weapons of World War II - The Technology of Warfare

World War II Leaders People | World War II 101 Weapons of World War II It is often said that few things advance technology and innovation as quickly as war. World War II was no different as each side worked tirelessly to develop more advanced and powerful weapons. During the course of the fighting, the Axis and Allies created increasingly more advanced aircraft which culminated in the worlds first jet fighter, the Messerschmitt Me262. On the ground, highly effective tanks such as the Panther and T-34 came to rule the battlefield, while at sea equipment such as sonar helped negate the U-boat threat while aircraft carriers came to rule the waves. Perhaps most significantly, the United States became the first to develop nuclear weapons in the form of the Little Boy bomb which was dropped on Hiroshima. Aircraft - Bombers Photo Gallery: World War II Bombers Avro Lancaster - Great Britain Boeing B-17 Flying Fortress - United States Boeing B-29 Superfortress - United States Bristol Blenheim - Great Britain Consolidated B-24 Liberator - United States Curtiss SB2C Helldiver - United States De Havilland Mosquito - Great Britain Douglas SBD Dauntless - United States Douglas TBD Devastator - United States Grumman TBF/TBM Avenger - United States Heinkel He 111 - Germany Junkers Ju 87 Stuka - Germany Junkers Ju 88 - Germany Martin B-26 Marauder - United States Mitsubishi G3M Nell - Japan Mitsubishi G4M Betty Japan North American B-25 Mitchell - United States Aircraft - Fighters Photo Gallery: American Fighters of World War II Bell P-39 Airacobra - United States Brewster F2A Buffalo - United States Bristol Beaufighter - Great Britain Chance Vought F4U Corsair - United States Curtiss P-40 Warhawk - United States Focke-Wulf Fw 190 - Germany Gloster Meteor - Great Britain Grumman F4F Wildcat - United States Grumman F6F Hellcat - United States Hawker Hurricane - Great Britain Hawker Tempest - Great Britain Hawker Typhoon - Great Britain Heinkel He 162 - Germany Heinkel He 219 Uhu - Germany Heinkel He280 - Germany Lockheed P-38 Lightning - United States Messerschmitt Bf109 - Germany Messerschmitt Bf110 - Germany Messerschmitt Me262 - Germany Mitsubishi A6M Zero - Japan North American P-51 Mustang - United States Northrop P-61 Black Widow - United States Republic P-47 Thunderbolt - United States Supermarine Spitfire - Great Britain Armor A22 Churchill Tank - Great Britain M4 Sherman Tank - United States M26 Pershing Tank - United States Panther Tank - Germany Ordnance QF 25-pounder Field Gun - Great Britain Little Boy Atomic Bomb - United States Tiger Tank - Germany Warships Admiral Graf Spee - Pocket Battleship/Heavy Cruiser - Germany - Pocket Battleship/Heavy Cruiser - Germany Akagi - Aircraft Carrier - Japan USS Alabama (BB-60) - Battleship - United States USS Arizona (BB-39) - Battleship - United States USS  Arkansas (BB-33) - Battleship - United States HMS Ark Royal - Aircraft Carrier - Great Britain USS Bataan (CVL-29) - Aircraft Carrier - United States USS (CVL-24) - Aircraft Carrier - United States USS (CV-20) - Aircraft Carrier - United States Bismarck - Battleship - Germany USS ​Bon Homme Richard (CV-31) - Aircraft Carrier - United States USS Bunker Hill (CV-17) - Aircraft Carrier - United States USS Cabot (CVL-28) - Aircraft Carrier - United States USS  California (BB-44) - Battleship - United States USS Colorado (BB-45) -  Battleship - United States USS Enterprise (CV-6) - Aircraft Carrier - United States USS Essex (CV-9) - Aircraft Carrier - United States USS Franklin (CV-13) - Aircarft Carrier - United States USS Hancock (CV-19) - Aircraft Carrier - United States Haruna - Battleship - Japan HMS Hood - Battlecruiser - Great Britain USS Hornet (CV-8) - Aircraft Carrier - United States USS Hornet (CV-12) - Aircraft Carrier - United States USS  Idaho (BB-42) - Battleship - United States USS Independence (CVL-22) - Aircraft Carrier - United States USS Indiana (BB-58) - Battleship - United States USS Indianapolis (CA-35) - Cruiser - United States USS Intrepid (CV-11) - Aircraft Carrier - United States USS Iowa (BB-61) - Battleship - United States USS Langley (CVL-27) - Aircraft Carrier - United States USS Lexington (CV-2) - Aircraft Carrier - United States USS Lexington (CV-16) - Aircraft Carrier - United States Liberty Ships - United States USS Maryland (BB-46) - Battleship - United States USS Massachusetts (BB-59) - Battleship - United States USS  Mississippi (BB-41) - Battleship - United States USS Missouri (BB-63) - Battleship - United States HMS Nelson - Battleship - Great Britain USS Nevada (BB-36) - Battleship - United States USS New Jersey (BB-62) - Battleship - United States USS  New Mexico (BB-40) - Battleship - United State USS  New York (BB-34) - Battleship - United States USS North Carolina (BB-55) - Battleship - United States USS  Oklahoma (BB-37) - Battleship - United States USS Pennsylvania (BB-38) - Battleship - United States USS Princeton (CVL-23) - Aircraft Carrier - United States PT-109 - PT Boat - United States USS Randolph (CV-15) - Aircraft Carrier - United States USS Ranger (CV-4) - Aircraft Carrier - United States USS San Jacinto (CVL-30) - Aircraft Carrier - United States USS Saratoga (CV-3) - Aircraft Carrier - United States Scharnhorst - Battleship/Battlecruiser - Germany USS Shangri-La (CV-38) - United States USS South Dakota - Battleship - United States USS  Tennessee (BB-43) - Battleship - United States USS  Texas (BB-35) - Battleship - United States USS Ticonderoga (CV-14) - Aircraft Carrier - United States Tirpitz - Battleship - Germany USS Washington (BB-56) - Battleship - United States HMS Warspite - Battleship - Great Britain USS Wasp (CV-7) - Aircraft Carrier - United States USS Wasp  (CV-18) - Aircraft Carrier - United States USS West Virginia - Battleship - United States USS Wisconsin (BB-64) - Battleship - United States Yamato - Battleship - Japan USS Yorktown (CV-5) - Aircraft Carrier - United States USS Yorktown (CV-10) - Aircraft Carrier - United States Small Arms M1903 Springfield Rifle - United States Karabiner 98k - Germany Lee-Enfield Rifle - Great Britain Colt M1911 Pistol - United States M1 Garand - United States Sten Gun - Great Britain Sturmgewehr STG44 - Germany