High School Schools Are Overcrowded Essay - 1232 Words

Schools Worldwide are Overcrowded Schools around the world are becoming more overcrowded recently. The population is rapidly growing and the school systems must keep up. Around the globe an issue in the school districts has occurred, overcrowded school environments have made it difficult for children to concentrate. Many schools have tried to solve the overcrowding problem by adding trailers to the school campuses. Some school district’s around the world have built new and bigger schools for the growing population, the problem is that the actions aren’t being taken fast enough. There are so many schools in need due to the overcrowding issue that they had to make a relief list and help the schools in order from who needs help the most. For instance, look at Olympic high school is located in south west Mecklenburg County which is inside of North Carolina, it’s way over capacity at 152 percent (Fountain). Olympic high school has 35 trailers on campus to hold the abundant number of children it has. Parents are not in favor of trailer because they think that trailers are unsafe learning environments. On the list of relief schools Olympic high school is ranked number 26. That means 25 other schools are more in need and will be helped before Olympic high school can. Parents are enraged because this overcrowding problem at Olympic high school could take years to fix, especially being ranked number 26. Parents have started collecting signatures in hopes of Olympic high schoolShow MoreRelatedOvercrowded School Is The Reason Student1703 Words   |  7 Pages Overcrowded school is the reason student are failing in school Education stakeholder, policy makers and the united states government designed a formal education system that would meet the economic demand of the students at that time. However, with the fast forward, current economic climate today and technological revolution, it is evident that the current education system will not be able to meet and sustain the needs of the present generation who as more hyperactive and are on the move towardsRead MorePublic Education In America Essay576 Words   |  3 Pagesan increased emphasis on basic skills, making school years longer and more graduation requirements. Second, many began focusing on increasing teachers professionalism. Third, they began restructuring many things such as how the schools were organized and how the school day was structured etc. Now today the most of the American people believe that not enough money is given to public schooling. They associate academic improvem ent with the money the school is funded. But I believe otherwise. SpendingRead MoreThe Year Round School Model Essay1715 Words   |  7 PagesYear-Round School Model The issue of year-round schools is not a new one, nor is it without its supporters and detractors. Each camp can either logically defend its views on the viability and success of year-round schools or can argue against it equally articulately. How did America arrive at the point when the discussion of year-round schools is again a critical issue in education, and more importantly, will such a radical change to the education system be possible? The History of the School CalendarRead MoreJonathan Kozol Outlook On South Central Los Angeles Schools989 Words   |  4 Pageson South Central Los Angeles Schools â€Å"Windowless and nasty classrooms, retarded courses, no air conditioning and can we talk bathrooms?† As citizens, the conflicts and the issues that our society deals with every day should bring awareness and a call to take action. For instance, Jonathan Kozol came up with a plan to bring consciousness to his readers by writing an article about the struggles of the Fremont High School students, in which problems such as overcrowded classrooms, teacher shortageRead MoreEssay about Public Schools Plagued by Overcrowding2512 Words   |  11 Pagespeople moving in the cities, overcrowdedness has become a major issue for the public city school system. People often thought of cities as places paved with gold and opportunities, occupied by diverse groups. Everyone comes from different parts of the world chasing after its glamour and freedom. While those desires can be met with settling in urban society, overcrowdedness in Queens of New York City schools have adverse effects on t he students’ academic performance. In cities, we often hear peopleRead MoreEssay on The Problems and Solutions of Overcrowding in Modern Cities1293 Words   |  6 Pageslittle space.† (Brunn et al, 1983, p37). 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The Methodist Episcopal Church was another big part of boarding schools as they were contracted with the Federal Government until the late 1880s to assimilateRead MoreThe Blue Ridge Mountains And Allegheny Mountains982 Words   |  4 Pagesthe 2010 Census (QuickFacts, 2010). Although beneficial for economic deve lopment, the rise in population has been accompanied by a rise in the community crime rate. As a result, the Rockingham-Harrisonburg Regional Jail is currently extensively overcrowded and has been for some time. Initially constructed in 1994 for a population of 208 inmates, data shows that the inmate population has grown by over 200% (CBCP, 2014). In 2006, the annual average inmate population was 262, by 2014; this averageRead MoreCivil Rights Heroes By Jonathan Kozol1504 Words   |  7 Pagesand Thurgood Marshall are all civil rights heroes, not to be forgotten. However, Jonathan Kozol reveals that the schools he has had experience with that are named after these civil rights champions are actually dishonoring the dead. Professor Gary Orfield indicates that schools that are comprised mostly of minority students, less than 1% white, are essentially â€Å"apartheid schools.† There is a reciprocal action, â€Å"To give up on integration†¦.requires us to consciously and deliberately accept segregation†(OrfieldRead MoreDesegregation Of Brown V. Board Of Education1530 Words   |  7 Pagesdemonstrated, parents threatened to take legal action to stop this plan. Parents fro m the well off neighborhoods were unwilling to give up the schools that they felt entitled to due to their choice of residence, but this came at the cost of the children from the other neighborhoods that are consistently disadvantaged by disparities in the quality of schools. Efforts to rezone neighborhoods to achieve better integration are salient to the closing the achievement gap, America has a long history of policies

My View Of Prison Is Broken - 913 Words

My view of prison was ingrained at an early age due to the fact that growing up many of immediately family members were apprehended and transitioned in and out of correctional facilities. When I look back on that time, I realize that my family members revolved in and out of my life. These experiences shaped the way that I view the prison system. My relatives would return from their incarceration and they would describe their experiences as hellish and similar to being buried alive. My uncle John was imprisoned for drug possessions and other charges. However, when he was relinquished from prison he went back to selling and using drugs out of my grandparent’s house within the week of his release. When the word prison is mentioned my thoughts automatically jump to one word: broken. I believe that the prison is broken because it is outdated and an overused tool designed to prevent criminals from reoffending. However, it has turned into the opposite, a breeding ground for turning first time offenders into repeat offenders that often escalate the level of their crimes instead of stopping. The environment is a volatile volcano that is begging to erupt and destroy everything in its path. Having the prisoners confined in diminutive cages virtually twenty-four hours a day can lead to dormant inmates who have nothing but time to waste. It really brings to live the old saying, â€Å"Idle hands do the devil’s work.† Prison staffs are hired to manage the captives of the environment;Show MoreRelatedHigh Crime Rates And Stricter Law1231 Words   |  5 PagesOver population in prisons are becoming a frequent problem. High crime rates and stricter law are causes a mass incarnation level. Due to budget cuts Ohio is letting 6,000 convicted felons out early. Prisoners with low-level drug offences are eligible for early releasement. These criminals will be released to half-way houses. There they will be monitored by probation officers who will help them re enter society. This was a new idea presented by the prison chief Gary Mohr. He presented a new budgetRead MoreHow The Judicial And Incarceration Process Worked? Essay1186 Words   |  5 PagesDuring my time as a Law Enforcement Officer, I had a front row seat to see the intricate and often violent interactions between the two. There were still many aspects I did not have a full grasp on. During my time in this class, I gained a more complete understanding of how the judicial and incarceration process worked. In this paper I will discuss what I found enlightening about the course materials. I will also discuss the information I gain from the guest speakers. Lastly I will make my recommendationsRead MoreEssay about So Much to Tell You956 Words   |  4 Pagesfrom growing and healing is her muteness, â€Å"Silence, always my fortress, sometimes my prison.† The use of juxtaposition portrays how Marina’s fortress is a safe haven, protecting her and helping her to survive while it also contradicts as a prison, trapping and concealing her from the world. The composer uses symbolism to portray Marina’s imprisonment and abandonment. â€Å"I drew lots of stripes, which weren’t stripes at all, but were bars, prison bars.† By disconnecting herself from others, it preventsRead MoreThe Death Penalty Is A Humane Or Inhumane Form Of Justice1731 Words   |  7 Pagesthe people who are interested in the particular case know what the last moments the criminal may have experienced. Despite the small groups of people who allowed to bear witness to the execution, large groups of people are often seen outside the prison to either protest or support the death penalty. Most of the protestors stand outside so they can have their opinions heard in the media through the television or newspapers. This was seen in the case of Carla Faye Tucker who was â€Å"the first woman toRead MoreProbation and Punishment Final Essay1145 Words   |  5 Pageswant. We have these freedoms because people fought for them many years ago, so that we wouldn’t be under rule or dictatorship. Many people take our freedom for granted and end up on probation, in jail, or prison. In this paper I will be outlining the case of Kris, and his probation officer’s view. I will also develop a profile for a perfect candidate to participate in an intensive supervised probation program. I will defend the strategy of matching inmates to a correctional facility and critique whetherRead MoreJu st Mercy By Stevenson Bryan Essay1297 Words   |  6 PagesMontgomery Alabama. This story is about the broken system of justice. How people are judged unfairly even in the supreme Court. Bryan Stevenson primarily focuses on death penalty cases and juveniles sentenced to life or death. He provides relief for those incarcerated also, he understands the need to fix this criminal justice system by focusing on poverty, and racial disparities. Stevenson chooses cases that did not receive justice. This book discusses the prison life and how they are treated. It alsoRead MoreThe Stanford Prison Experiment : Psychological Effects Of A Prisoner And Guard Scenario1271 Words   |  6 Pagesfeed of it, off of me. It will not break me; I will not break. This is what to expect from an evil place where grown men can be molded; broken and reformed into a weaker being or into a strong piece of iron. The Stanford Prison Experiment was a study put together by Phillip Zambardo to test the psychologica l effects of a prisoner and guard scenario in a mock prison setting. The experiment lasted seven to fourteen days and was comprised of twenty-four male students, who were picked at random to takeRead MoreJustice And Punishment In Truman Capotes In Cold Blood976 Words   |  4 PagesIn the United States, there are millions of people that are in jail cells for crimes they have committed. One of the goals of prison is to provide justice for the victim’s crimes but in our prison system, this is not the case. These people face harsh punishments that only cause worse actions in the future. The theme of justice and punishment is explored by Truman Capote in the book In Cold Blood. The two criminals, Dick and Perry, are challenged by society on if they should be imprisoned or if theyRead MoreAnalysis Of The Movie Orange Is The New Black880 Words   |  4 Pagesthe New Black because I have never read a book where the setting is prison showcasing the bleak life of an inmate. The reas on I decided to read this book is because I have never watched the TV-series that everyone is obsessed with, and I wanted to learn the true story behind the famous show before I decided to watch or not watch the series. The show based on a book is written by an actual convict, about her actual time in prison. Piper Kerman is a drug smuggler who was caught trying to smuggle heroineRead MoreIs The Only Real Truth?1437 Words   |  6 PagesTo me the only real reason the universe continues to exist is that there is nothing to stop it from doing so, if there was nothing to stop a person from committing crime they would continue to do so... same concept. I believe in a more realistic view of the future where people aren’t heading toward some great point after death but only to a hole in the ground. I believe in the things that science has taught us and that it is the only real truth in our world today. I am now, have always been and will

Violent Video Games Are Bad for You Free Essays

Today, children, teenagers, and adults are exposed to violence throughout their lives. They are exposed through television shows, movies, maybe even on the streets, but what researchers and scientists have proved to be an increasing factor of violence in children and adults is their being exposed to violent video games in which â€Å"they can produce violence, emotional outbursts, and inappropriate language†. According to Violent Video Games: The Newest Media Violence Hazard, about 85% or more video games include violent content. We will write a custom essay sample on Violent Video Games Are Bad for You or any similar topic only for you Order Now Violent content includes: blood and gore, killing, inappropriate language, and sexual content. Since then, many people have been saying that these games promote bad behavior and cause people to be more violent. As people play violent video games, it influences bad behavior in the player because when you play these games, you control the person who causes the crimes, shoot and kill your enemy, whether it is a criminal or policeman depending on the game you are playing. Since you are playing the game, you feel more connected with your character in the game and it may affect you in the real world. This is proved according to the article Computer Games Can Rot Your Brain. According to it, â€Å"researchers have shown that playing or watching violent video games has led to alcohol consumption, destruction of property and other bad behavior. Video games can also lead to stealing of items, mainly vehicles. † Although the article says that, Akemi, a long term gamer now 22 years old, says otherwise. He says â€Å"I have been playing games since I was at least 7, I have no criminal record. I have good grades and have often been caught playing well into the night (that is, 4 hours or more). Even though Akemi has no criminal record, Brad Bushman, a scientist that has been studying the effects of violent games on people says â€Å"aggressive behavior may appear not as criminal activity or physical violence but in more subtle ways in ways people react to or interact with other people in everyday life. † This would mean that Akemi, a gamer for years with no criminal record, may not cause crimes, but inside of him he has some kind of violent behavior that he expresses while interacting with people without him knowing it. Not only do violent videos promote bad behavior, they also destroy students’ grades. If someone is already influenced by the bad behavior in video games, it is certain that the student will not succeed in school. If he is not influenced by bad behavior and are getting unacceptable grades in school, then it may be the game’s addictiveness. Games are fun, especially when you are defeating monsters and killing people which cause you to do it for hours on, making you addicted to it. When you are at school, you would only think about these games and ignore your education. This is supported by Bushman when he says â€Å"The link between violent media and aggression is stronger than the link between doing homework and getting good grades. † People disagree with this and say that violent video games don’t cause bad grades because it might have been that the student was already receiving unacceptable grades before his exposure of violent games concluding that the games had no affect on his poor performance at school. This may be true but, what makes it a bad argument is that the student that is doing poorly in school and is playing these games will never get out of their habit of getting bad grades. If this student was to switch up his games with educational games for instance, then he may have gained the smarts to get out of his habit and become a better student. In the end, violent video games are harmful for you, and everyone else. They cause disruptive behavior, promote violence most more often than not, and encourage students to get poor grades. Many people disagree with this but Bushman says â€Å"many scientific studies clearly show that violent video games make kids more likely to yell, push, and punch. † If we do not see an effect now, we would see it take place later on if they continue to play the games. As a final word, he says â€Å"We included every single study we could find on the topic. Regardless of what kids say, violent video games are harmful. † How to cite Violent Video Games Are Bad for You, Essay examples

Aggression and its intricacies Essay Example For Students

Aggression and its intricacies Essay Aggression is a critical part of animal existence, which is an inherent driving force to humans, as we, too, are animals. The source of aggression within humans is a long summative list, but before trying to understand its source one must apply a working definition of aggression. Aggressive behavior is defined by Encyclopedia Britannica as any action of an animal that serves to injure an opponent or prey animal or to cause an opponent to retreat. (7) David G. Myers states that aggression is any physical or verbal behavior intended to hurt or destroy.(9) There are many types of aggressive behaviors, which can be differentiated from the factual act to the hidden motives. For example, an aggressive behavior can be negative or positive, accidental or intended, and physical or mental. Aggression can take numerous forms, the act of hitting a wall to release aggression has some of the same roots as playing football and enjoying hitting the quarterback. A child yelling at his parents could b e equated, in its aggressiveness, with hitting ones horn when one is cut off on 495. Aggression is also a relative construct. What might seem like a terribly aggressive act to one person, most often the victim, might seem like an induced response to the perpetrator.(3) Psychologist Arlene Stillwell performed an experiment where she assigned ordinary college students at random to play the role of a victim or a perpetrator in a small incident. Then she asked the students to describe the situation that had just transpired. What she found was that both victims and perpetrators deformed the truth equally to present their sides in a better light. Victims would dwell on their lasting traumas from the incident while the perpetrator might make the act seem like a one-time action provoked by insurmountable circumstances. The resulting implication is that aggression is in the eye of the beholder.(3) Due to its relative nature aggression is extremely hard to isolate and study. Some acts are very easy to categorize as aggressive, a first degree murder or first degree rape, but is negligent manslaughter aggressive? The mere act of not shoveling ones sidewalk might have the same effect as a cold-blooded murder but is it an aggressive act? For the purposes of this paper aggression will be related to the four conditions presented by Gerda Siann. They are as follows; 1. The person carrying out that behavior, the aggressor, does so with intention. 2. The behavior is taking place within an interpersonal situation which is characterized by an accumulated distress or a opposition. 3. The aggressor intends by the behavior in question to gain a greater advantage than the person on the other side of the aggression. 4. The aggressor carrying out the behavior has either provoked the situation or moved the conflict unto a higher degree of strength.(11) Aggression has numerous reasons and consequences both must be analyzed in order to see from whence it arises. An explicit example of the strength of both nature and nurture concerning aggression is the life of Kody Scott, a young gang member of California. He was already a gang member in middle school, and would not have been had the gang not already been in place when he graduated from elementary school thus environments role in aggressive behavior, but one fateful day when he stole a car to get to the hospital for the birth of his first child, he intentionally detoured through the neighborhood of a rival gang and killed a rival gang member. The detour he deliberately took was a conscious decision and not provoked by the environment hence natures toll on his aggressive act.(3)Aggression is usually associated with negative aspects of the world.(3) This is not necessarily true, though. Negativity is but half of the nature of aggression. Aggression can have very positive results. For example, a non-aggressive hockey player gets thrown around and will therefore not perform very well in an bellicose sport. On the other hand an aggressive player will not allow himself to be thrown around like the aforement ioned player and will most likely win the small battles just based on the mentality of the player.(5) Another example of positive aspects of aggression might be a persons sexual aggressiveness might allow them to obtain a date to prom without any problem, whereas anyone much less aggressive person would be passive and wait for the person to approach them. One good aspects of aggressiveness might be ambitiousness or assertiveness, an aggressive person is more likely to get what they need done as opposed to the inactive person. Outgoing, a socially positive trait is nothing more than aggressiveness personified. A female high school senior might be more successful and be rewarded (by being voted for Best Personality in the MOCK awards) for being socially aggressive outgoing. Aggression can also be characterized by mentality. Where one hurts someone out of rage or whether one thinks of numerous ways of hurting someone, aggression still is present in both situations. The thoughts of a pe ople, for example the Germans in World War Two can be just as aggressive as the act as the systematic murder of the Jewish community.(8) Aggression in this case was an extreme example of a spiraling staircase. The Nazi party did not begin a process of systematic murder at the beginning of their rule, first they instituted a hate as scapegoats toward the Jews, they then removed some luxuries that the Jews had, then they removed citizenship, followed by imprisonment, then to slave labor, and lastly the Final Solution was implemented. The thoughts of hatred at the beginning of the platform was just as dangerous and aggressive as the gas chambers of late WWII. These aggressive feelings allowed the Germans to desensitize each other to a point of genocide.(11) By solely disliking someone they looked the other way when the book burning began, then it was just a small step to the first pogrom, then they just accepted the de-humanization of Jews, and this was followed by an escalating progre ss which led eventually to the inhumane murder of close to six million human lives. Along with these pure feelings of anger and hatred aggressionthe Germans also tried to scapegoat and thereby provide catharsis for themselves by blaming the downfall of their troubles on the Jewish community. This displacement somehow released pent up rage that had been present for numerous years of misery for the Germans.(3, Handler) Thus thoughts also cause aggression or are manifestations of the pure aggression. The most obvious example of aggression is killing, for that reason the example for this paper will be the untimely death of people as caused by others. From very young ages death permeates into all of our lives. From having a loved grandparents passing away to the learning how to read the newspaper and reading about terrible deaths daily, if not more often. One strong argument supports that people have built-in aggression. Much like the theories of Freud, that people have instinctual aggression, whether sexual or violent, a multitude of scientists and psychologists believe that biology is crucial in the development of aggression.(9) For example aggression has been correlated numerous times in a significant way with testosterone.(1) One psychologist, Jack Hokanson, has tracked catharsis theories for a number of years. One experiment performed by this man seemed to point that in order to reduce violence or aggression men would react angrily, whereas women would react in a friendly mann er when presented with aggressive behaviors.(2) The variable that was tested here were the differences in the genders which proved to be quite polar, for the men were belligerent and the women were almost uniformly kind.(12) Differences in physical strength also have provided for differences in aggression levels between the two sexes. Since men are physically built stronger than women they are more likely to become aggressive than are women who are not, in general, as physically strong. Neurotransmitters seem to play a very important part in the aggressive nature of mammals. As tested in monkeys, who have matching 99 percent of their genes with humans, it has been found that hyper-aggressive or antisocial monkeys have a deficit of the neurotransmitter serotonin. As an interesting side note the leaders, who have a different type of aggression assertionhave higher levels of this same chemical.(1) In this same study the monkeys seemed to have very predictable heredity patterns, In which the monkeys were found to easily exhibit the same behavior as the father. This was also found to be true in men who have been discharged from the Marines for excessive violence, as well as in criminals in Finland who committed acts of wanton violence.(8) Seratonin has also found to be an inhibiting factor concerning aggression. A situation or condition that reduces seratonin levels is among drugs, hypoglycemia. Hypoglycemia is a condition of lowered blood sugar, certain diets can cause or inhibit the onset of this condition, thus directly affecting genetically the aggressive behavior of a person.(12) On the topic of diets an correlation has been found with the corn (a food that decreases the levels of seratonin in the brain) intake of a country and the homicide rates, an obviously aggressive marker.(10) Another chemical in the human machine that causes or has been related to has been the anger hormone adrenaline and its counterpart noradrenaline. This is inherent in the flight or fight reflex, in which fighting is usually prepared by a flush of adrenaline into the system, and anger/aggression are integral parts of it.(12) Stanley Hall found that anger has numerous different effects on the human body, depending on the person. Aggression can cause either an increase or a decrease in heart rate depending on the anger causing stimulus.(12) For example, a psychologist named Albert F. Ax found that his test subjects were experiencing the slowing of their hearts because they were concentrating too hard on the event supposed to turn them aggressive, in the case of his experiment a mugger.(12) Another study done by a man named Eron in 1987, showed that most children, who when described by their peers as having high levels of aggression, are three times as likely to have a criminal conviction by the age of 30 than those children who were rated as having high levels of pro-social behavior.(10) That study shows the apparent stability, or lack of change, in the behavior of people thereby fueling the genetic, or nature, side of the nature versus nurture war that is currently being fought. Sourcery School of Hogwarts EssayThere is a remarkable consistency to these findings. The studies reviewed here agree in noting that punitive parental disciplinary methods (such as physical punishment and depriving children of privileges) ten to be associated with a high level of aggression and other forms of antisocial behavior by the children. Love-oriented disciplinary methods on the other hand, evidently facilitate the development of conscience and internalized restraints against socially disapproved behavior.(12)This is very important in the development of children for most sexual offenders, whether rapists or child abusers, were often time abused themselves as a child or adolescent. Punishment inherently increases resentment and hostility, thus creating an environment where the child does not care for the parents and all of the associations that can be made with the parent, like their morals, rules, and respects. Isolation also tends to have a very strong effect on the mental ity of aggression. Usually with a lack of interpersonal relationships people cannot fully appreciate the human existence and most often do not learn how to handle destructive urges because they do not care about society, which innately is an interpersonal relationship.(6) The aforementioned monkeys with the lower seratonin levels also, when normal, became hyper-aggressive social misfits when reared by a mechanized surrogate mother, who did not give the monkeys affection. This brings up Freuds theory of repressed memories, in which the person puts traumatic experiences from their past into their subconscious.(1) Freud believed that these repressed memories will surface in the form of disorders and problems, mostly exhibited through either sexual dysfunction or violence.(9) Therefore our early surroundings affect us for most of our lives, at least according to Sigmund Freud. Environment and exposure compounds any genetic factors, for instance, the inner parts of Washington D.C. have c onsiderably higher aggressive crime rates (murder, rape, aggravated assault) than a Maryland suburb like the Derwood/Olney/Flower Hill area does. Reasons for such rates are that the city houses more people closer to the poverty line.(3) These people have constant stresses that people do not need to deal with in the suburbs. Drugs and alcohol are also a considerably stronger force in the city. Those two intoxicants allow people to perform acts that they would regularly not have the mind to do. For example, alcohol is consumed, a person looses their inhibitory brain functions and are more likely to forget the consequences of an aggravated assault or a murder.(3,9) For that reason it is likely that there was a rash of psychopathic killers in the Russo-Asiatic area in the past decades. In cities, because of the higher level drug business there is a greater need for guns and weapons. Due to the higher level of guns intrinsically there will be more murder and violence. The environment thu s fuels the violent nature of the city-dwellers. Immediate environment also tends to influence aggression. For example, a person could be inadvertently aggressive toward another in the following way; One person sits down at the only open stool in a bar, he orders a bowl of pretzels and a cold beer. The bartender brings him his beer, and he begins to read his newspaper. Suddenly the person next to him eats a pretzel, without saying a word. At this the person is shocked, and thinks, how can this cruel person be eating my pretzels? Out of fear for starting an argument he says nothing but eats one of the pretzels and both men take turns eating pretzels from the bowl until they are gone. The other man then puts money for his beer down and walks away. The first man then thinks, Wow! I am glad that evil person is gone, who would steal a complete strangers pretzels, Honestly? The bartender then arrives and says, here is your pretzel bowl enjoy.(3, Adams Hitchhikers Guide to the Galaxy) The victim immediately turned into the aggressor by ta king the other mans pretzels. Thus inadvertently being extremely aggressive towards another human. Immediate distance also generally affects the aggressiveness level of a person, especially when killing is involved. The tendency is as follows; the further away one is from the intended victim the least resistance there will be towards committing the act of aggression. The bomber pilots who firebombed the city of Dresden, Hamburg, or Tokyo caused the deaths of about 400,000 people but not once did they hear the screaming or see the faces of the untold number of children, women, and elderly that they killed. (3,8,Handler) On the other hand, a person within knife range of person will have a more traumatic repercussions of killing someone. Whereas the artillery sergeant will never see the face of his victims, the infantry man will see the terrible contortions of their victims faces and hear their pitiful screams as a bullet rips through the inner lining of their stomach and all intestinal acid seeps onto the rest of their organs.(8) It is a much more traumatic experience and will there by lower the aggressive level and might even make the aggressor penitent. For example one WWII soldiers, William Manchester, states how;There was a door which meant there was another room and the sniper was in that and I just broke that down. I was just absolutely gropped by the fear that this man would expect me and would shoot me. But as it turned out he was in a sniper harness and he couldnt turn around fast enough. He was entangled in the harness so I shot him with a .45 and I felt remorse and shame. I just remember whispering foolishly, Im sorry and then just throwing up.(8)This point of view contrasts sharply with the prerogative of J. Douglas Harvey a World War II bomber pilot who upon visiting rebuilt Berlin said, I could not visualize the horrible deaths my bombshad caused here. I had no feeling of guilt.(8)Another important factor involving the aggression of people are other people. Very few times does an aggressive act stand alone, there is almost always mutual fault and/ or shared blame. David Luckenbill found, in one of his studies, that the major part of criminal homicide revolved around some sort of reciprocal provocations in which collective hostility escalated until one person murdered the other.(3) Murray Straus found the same circumstance appeared in marital violence. In half of the reported cases of domestic violence it was found that both spouses were violent, it just tended to be that one person was considerably stronger than the other.(3)Aggressive behavior has been a huge part of humankind since people first starting walking somewhat erect. From our predecessor the killer ape to the intricacies of nuclear warfare. Whether it is a caveman clubbing his enemy for stealing his food, or a highly paid sniper sitting atop a roof waiting for a South American dictator to walk out of his house, aggression follows us wherever we might go. Aggression is a force that is hard to imagine and even harder to harness. Should people ever learn to control a nd thereby use their aggression towards greater good, the walls we now know would crumble easily under the forcing of such a force. Bibliography:1. Ailman, William F. 1994. The Stone Age Present. New York, NY. Simon and Schuster. 2. Bach, George. Goldberg, Herb. 1974. Creative Aggression. New York, NY. Double Day Publishing. 3. Baumeister, Roy F. 1997. Evil ; Inside Human Violence and Cruelty. New York, NY. W.H. Freeman and Company. 4. Colt, George Howe. (1998). Were You Born That Way? Life. April 1998. 39-50. 5. Denfield, Ren. 1997. Kill the body, the head will fall. New York, NY. Warner Books. 6. Douglas, John. Olshaker, Mark. 1997. Journal into Darkness. New York, NY. A Lisa Drew Book / Scribner. 7. Goetz, Philip W. 1989. Aggressive Behavior. Encyclopedia Britannica. Volume 1; A-ak Bayes. Chicago.Encyclopedia Britannica, Inc. 8. Grossman, Lt. Col. Dave. 1995. On Killing; The Psychological cost of learning to kill in war and society. New York, NY. Little, Brown, and Company. 9. Myers, David G. 1995. Psychology. Hope College, Holland, MI. Worth Publishers. 10. Rushton, J. Philippe. 1995. Race, Evolution, and Behavior ; a Life History. New Brunswick, NJ. Transaction Publisher. 11. Storr, Anthony. 1997. Human Destructiveness. New York, NY. Grove Weinefendeld. 12. Tavris, Carol. 1982.Anger; the Misunderstood Emotion. New York, NY. Simon and Schuster.

Role of NGOs in the sustainable development policy apparatus

Socialization and Culture Essays

Socialization and Culture Essays Socialization and Culture Essay Socialization and Culture Essay Most of the societies have cultural issues and problems that must be dealt with which usually involves the matter of culture and social perception. Addressing this problem through the mediation of the government is very complicated thus, social opinions and cultural concepts must be incorporated to better understand the concern of the issue. Children employment in the city is an issue that involves cultural views and social consideration. It is not merely deciding whether to illegalize it or not just by basing from the decisions and opinions of the political leaders but instead public views must be solicited to determine the technicality and ethicality of this issue. Social perspective, whether ethnocentric or culturally relativistic- should also be considered in evaluating this issue. Child labor and Social Culture Social and cultural perspective are very important in factoring the opinion and views of the society regarding an issue whether they are ethnocentric or culturally relativistic. Ethnocentrism is defined as the view that one’s culture’s way of doing things is the right and natural way thus discriminating other by regarding them as barbaric and inferior than them. On the other hand, cultural relativism is the attitude that other ways of doing things are different but equally valid thus this behavior tries to understand the others in cultural context. Through conducting survey and soliciting public opinions, it was determined that most of society view the issue of child labor as a matter of necessity, which also makes it as a valid employment matter and not a matter of child abuse. It has been determined that this society is more culturally relativistic regarding this attitude thus most of them try to justify the dilemma of child labor. According to public opinion, child labor is being regarded as a means for children to help their family regarding financial issues. In addition, this labor contribution is needed on accounts of family business and income generation. In addition, a mean of acquiring personal work experiences and skills is viewed as essential to future employment challenges. Due to this social perception and cultural attitude, child labor becomes a socially acceptable means of employment in the society. Since the society view this issue as a valid matter and not an abusive and discriminating one, government action should move in accordance to this opinion. Thus, government actions and policies should be made in accordance to this assumption so that the society could relate to it. The best course of action to be initialize regarding this issue is to make policies and amendment protecting the safety and work conditions of children regarding their employment. Conclusion Public opinion is very much vital in the movements and actions of the government. Social perspective should be considered as the eye of the government in viewing certain social and cultural dilemma. Social discretion and cultural behavior should considered in making course of actions government actions are intended for the betterment of the society. Thus, social opinion and cultural behavior are the factor in determining the ethicality and validity of a cultural issue whether it will be socially accepted or denied.

Sociology Research Paper Example | Topics and Well Written Essays - 500 words

Sociology - Research Paper Example This paper analyses the value of religion in our social life. Even though, the creator has not created any religions in the world, he has given the ability to human kind in segregating good and evil. This ability varies with individuals and hence they started to interpret things differently which resulted in the formation of different beliefs and finally different religions in the world. One of the common elements of all the religions is that all of them work for the conservation of good values or ethical principles. No religion, either believe or advocate immoral things. Thus, for sustaining good values in the society all religions play an important role. All the religions have some kind of worship place; for Christians, it is church, for Muslims, Mosques are used for worshipping god, Hindus uses temples while the Jews use Synagogues as their worship places. One of the common elements of these places is that all these entities are places where lot of people assemble for the worship activities. It is a place where all the people assemble for the same objective; worshipping. Immense socializing is taking place in these types of places which strengthen the social bonding between the people. â€Å"Socialization is the process by which children and adults learn from others. We begin learning from others during the early days of life; and most people continue their social learning all through life†(What is the socialization process?) It provides the individual with the skills and habits necessary for leading a successful social life. A society functions through shared norms, attitudes, values, motives, social roles, symbols and languages. Family, school, friendship, religion or worship places etc are some of the major socializing agents in the society. I belong to a Christian, community and I can safely say that my religion has played an important role in shaping my personality and views related to morality

Housing crisis Essay Example | Topics and Well Written Essays - 750 words - 10

Housing crisis - Essay Example Eventually, homeowners fell into foreclosure and delinquency. These mortgages failed to yield returns to lenders, making institutions reluctant to re-evaluate their assets that could dispose of their insolvency. Lack of institutions to purchase loans made the market to freeze making lenders to incur losses they could not absorb. The collapse of the housing market has been blamed on many participants such as potential homeowners, lenders, investors, hedge funds and government interference (Smith & Susan 126). Lenders are responsible for the housing bubble in the United States. They were responsible for lending funds to poor credit people with a great risk of default. The flooding of the market with capital liquidity by the central bank lowered the rate of interest and depressed risk premiums while investors sought opportunities that are risky in bolstering their returns for investment. Lenders at this point had adequate capital for lending and were willing to indulge in more risk to e nable their realization of increased investment returns (Fried 11). Government The housing bubble started with the efforts of the government to expand homeownership to people. The legislation enacted by authorities required investors of government-backed mortgages such as Freddie Mac and Fannie Mae, to guarantee loans to people with poor or no credit and incapable of making down payments. This policy of the Federal Reserve enabled interest rates to maintain lower levels. This eventually made house investments more attractive. Increase in prices compelled mortgage banks to relax standards of lending further. This made prices for homes to increase until the housing bubble began (Smith & Susan 131). Homeowners Potential homebuyers viewed homeownership as a less risky investment. Incentives provided by lending institutions led to the issuance of subprime loans with varying interest rates to households with no or poor credit histories. With the increased demand for houses, prices rose an d more homes built and availed in the market. They believed in price appreciation that would allow them to refinance at relatively lower rates. However, housing bubble erupted and prices reduced significantly. The rest of their mortgages made most of the homeowners incapable of refinancing their mortgages to lower rates since no equity was created as prices for houses fell. The homeowners decided to set their mortgage interests higher making them unaffordable. Most of them had no alternative than to default on mortgages (Fried 14). Investors are to blame for the collapse of housing market just as homeowners. This is because they invested in collateralized debt obligations (CDOs) and were willing to buy them at very low rates over bonds. The lower rates are responsible for the increased demand for subprime loans. Investors bear the blame for the housing bubble since it was their obligation to be diligent while investing and failed to make viable expectations (Fried 23). Banks The len ders increased use of the secondary mortgage market led to increased subprime loans originated by lenders. Instead of holding onto these mortgages in books, lenders sold their mortgages in the secondary market and collected fees that originated from these market. More capital for lending circulated all over eventually increasing liquidity. Demand for mortgages emerged from the availability of assets that accumulated to form securities such as CDOs.

Discussion About GMO Essay Example | Topics and Well Written Essays - 1500 words

Discussion About GMO - Essay Example In fact, it is estimated by analysts that approximately 70% of all processed foods in restaurants and supermarkets are genetically modified. While this technology can aid in crop production, in the agricultural sector, as well as increasing food nutrients, reducing pollution, slowing the ripening process, and creating pharmaceutical products, it should be controlled strictly; it has the ability to create superweeds, induce allergic responses, create genetic pollution, and pose health risks to humans and wild species. Therefore, genetically modified organisms need to be controlled stringently since they have detrimental effects on humans and the environment. GMO Foods are Unsafe GMO’s promote high health risk problems to the consumer. Even though regulation can be done, through research, to make sure they are safe, for some reason, GMOs are not regulated or tested adequately (Somerville, 2010). These tests, primarily, need strict procedures, guidelines, and duration for them to be effective. The real problem has to do with the submission procedure rather than the scientific procedure. This leads to tens of thousands of submissions to government agencies annually for approval to sell the GMOs. Because of the endless information provided to the agencies, the agencies simply go through the submissions and, sans detailed examination, scrutiny, or study, endorse them. The net result of this is that companies like Monsanto keep submitting data and research, and the government keeps approving them. Another problem with systems of safety regulation is the fact that employees at companies and regulatory agencies are the same (Somerville, 2010). For instance, Michael Friedman, who is the former acting commissioner of the FDA, is now senior VP at G.D. Searle & Co., which is a division of Monsanto. Hence, there is inadequate regulation of GMOs, despite their potentially negative impacts on the environment and human health. In addition, genetically modified organisms can lead to allergic responses in various individuals because of allergens found in the organisms. These reactions normally happen when the immune system of humans interprets them as offensive and invasive and react accordingly (Somerville, 2010). While this does not occur often, allergic reactions may be dangerous, in some cases, even fatal. Some studies have indicated that genetically modified organisms provoke reactions of the immune system. For example, rats that are given corn genetically engineered at Monsanto suffer from a significant rise in leukocytes, meaning that they undergo an abnormal activation of their immune system. To add to this experiment, it has also been proven scientifically that soybeans that are genetically modified have more allergens than the wild species (Somerville, 2010). One soy allergen known as Trypsin inhibitor is at levels that are seven times higher than in the wild species. The situation can be worsened if individuals do not know that their aller gic responses are caused by these GMOs after they eat them, which makes it difficult for doctors to diagnose the real cause because the allergens are not easily detectable in GMOs. GMOs are Costly Socio-economically There is an economic imbalance between producers, marketed foods, and large industrial corporations.

The Impact Of Elvis Presley Film Studies Essay

The Impact Of Elvis Presley Film Studies Essay Before Elvis, there was nothing, John Lennon is alleged to have once said. When Elvis Presley recorded his first official single Thats All Right Mama on 5 July 1954, the world changed forever. Elvis was a significant and extraordinary catalyst for vast cultural transformation in 1950s America. Professor Stephen Hinerman sums this up as building the populist base of rock n roll by mixing black and white musics; articulating the sound of a youth rebellion; taking rock music into the world of traditional entertainment; showing that a rock career could sustain longevity with a confident fan base; practically inventing the idea of rock music selling out.  [1]  This demonstrates how Elvis impacted America in immeasurable ways. However author Greil Marcus believes that the enormity of his impact on culture, on millions of people, was never really clear when he was alive; it was mostly hidden.  [2]  Therefore in complete hindsight, this essay will evaluate a few of the foremost ways Elvis impacted on 1950s America looking at the impact on music, race and class, performance, gender, sex and teenagers, marketing and fashion and television and cinema. Firstly, it is fundamental to look at Elviss music style, his records and the radio. During the 1950s Elvis released sixty-six singles, nine albums, and spent fifty-nine weeks at Billboard number one.  [3]  His best-selling single was Dont Be Cruel/Hound Dog (1956) which sold six million copies by the end of the decade and was at number one for eleven weeks.  [4]  These overwhelming statistics portray the popularity of Elviss music and begin to highlight the impact his music had on 1950s America. Author Albert Goldman states that: Elviss phonograph records were crucial to his success but the public has first to discover these records. Almost invariably this crucial discovery was made through the radio.  [5]  Indeed, Elvis had a huge impact on the radio in terms of radio play, genre, and target audience. Elviss style was an unheard-of up-tempo combination of rockabilly, country, pop, gospel and rhythm and blues. This ground-breaking amalgamation combined with a strong back beat became the sound of rock n roll and the sound of a new generation. The initial reaction to Elviss music on the radio was racial. Hinerman says that Elvis was visibly lower class and symbolically blackhe represented an unassimilated white underclass that had been forgotten by mainstream suburban America more accurately, he represented a middle-class caricature of poor whites. He was sleazy.  [6]  In 1950s America, his racial and social impact was sudden. Elviss obituary in The Times states that period saw an irrevocable change in the balance of American society.  [7]  This balance became mainly racial as when Elvis was first played on the radio many listeners assumed that he must be black and had to ask the DJ. Elviss musical influences of typically African-American rhythm and blues sparked huge debates that occur to this day, as this was unheard-of for a white singer in the 1950s. On one hand Elvis popularized black culture to the masses, promoting equality and desegre gation, but on the other hand some people believe Elvis self-interestedly stole their music and sexualised performance style. Elvis even admitted: The colored folks been singing it and playing it just like Im doin now, man for more years that I knownobody paid it no mind til I goosed it up. I got it from them.  [8]  This impacted 1950s America as many prejudiced white adults strongly believed Elviss black musical style would corrupt the white youth with his vulgar dancing and crazy, animalistic rhythm. Many black performers credit Elvis with promoting their music to 1950s America allowing for future success. Singer Little Richard said He was an integrator. Elvis was a blessing. They wouldnt let black music through. He opened the door for black music.  [9]  Similarly singer Al Green agreed: He broke the ice for all of us.  [10]  Elviss astonishing musical impact is depicted in that he is the only artist in four Halls of Fame: Rock and Roll (1986), Country (1998), Gospel ( 2001) and Rockabilly (2007). Elviss radical performance style had an enormous impact on 1950s America, redefining gender, fan culture and instigating sexual liberation. In a decade of strong sexual repression, Elviss sweat, gyrating dance moves, and energetic, uninhibited performance style stirred the 1950s female audience. At one of his first performances in July 1954, Elviss nervousness and the strong back rhythm of his music, led him to shake his leg which was further emphasized by his wide cut pants. When females began uncontrollably screaming, Elvis became conscious of the reaction he was creating. He said my manager told me they were hollering because I was wiggling my legs. I went back out for an encore and I did little more, and the more I did, the wilder they went.  [11]  He had soon perfected this technique to fully affect the female audience. He learnt to slow down and speed up in anticipation and to wind them up until they were in such frenzy he would exit the building and with no encore leave th em wanting more. The hysterical, fainting, worshipping fan-girls were a relatively new concept in 1950s America, and Elviss all-consuming control he had over his fans transformed the music industry and the fan phenomenon. In 1956, Reporter Lionel Crane wrote: what a frenzy this boy can stir up. Ive never seen anything like it. When Elvis sings it isnt just a case of a few girls sighing and going swoony or stamping and shouting. I saw him send 5,000 of them into a mass fit of screaming hysterics.  [12]  Likewise Goldman describes five thousand shrill female voices come in on cue. The screeching reaches the intensity of a jet engine. When Elvis comes striding out on stage with his butchy walk, the screams suddenly escale. They switch to hyper-space.  [13]  There are thousands of these accounts of Elviss impact on the 1950s female audience; he had become a sex symbol. Hinerman believes the reason for this was that you would never marry him; the romance would never end in the te dium of marriage.  [14]  This makes sense in a society with rigid social norms and gender roles as Elvis was a safe, dream-like escape for many girls. Jealous teenage boys however, hated Elvis and he regularly received violent threats. Older males detested the effect Elviss pelvis was having. Critic George Melly said Elvis was the master of the sexual simile, treating his guitar as both phallus and girl.  [15]  Similarly, television host Ed Sullivan believed he was unfit viewing for 1950s families as hes got some kind of device hanging down below the crotch of his pants-so when he moves his legs back and forth you can see the outline of his cockI think its a Coke bottle.  [16]  Sullivan later paid him a record $50,000 to appear on his show, which was watched by an unprecedented sixty million people.  [17]  These colossal figures show Elviss impact on American mass society in the 1950s. Elvis opened the generation gap, impacting 1950s America by establishing the teenagers identity, choice, spending power and fashion. Marcus believes Elvis fitted the necessity existing in every culture that leads it to produce a perfect, all-inclusive metaphor for itselfà ¢Ã¢â€š ¬Ã‚ ¦freedom, limits, risk, authority, sex, repression, youth, age, tradition, novelty, guilt and the escape from guilt.  [18]  Therefore as he fitted the new generation metaphor he changed society. Journalist Maureen Orth remembers that my aunt told me how foolish I was to sit screaming with joy at the spectacle of that vulgar singer on TV. It was then I knew that she and I lived in different worlds, and it was then that kids bedroom doors slammed all over America.  [19]  Elvis reached an entire generation. In his obituary The Times said he was responsible, more than any other entertainer, for the manifestation of what has since come to be called the generation gap: a youth which spoke its own langu age had its own heroes, its own music and its own standards.  [20]  His music touched the youth with lyrics focusing on the teen world of fashion, all the emotions, love and oppression. Goldman highlights this stating that Heartbreak Hotels grotesquely exaggerated and histrionic quality matched perfectly the hysterically self-pitying mood of millions of teenagers, who responded by making the record an instant and immense success.  [21]  Elvis impacted America by becoming a spokesman for a generation and embodying and representing youth spirit. The establishing of a generation gap meant that teenagers began to create their own separate culture led by Elvis. An increase in spending money meant purchasing power and alongside buying his records, Elviss iconic look impacted the conservative and conformist 1950s America in terms of fashion and appearance. Goldman summarises: Elvis was the flip side of this clean-cut conventional male image. His fish-belly white complexion, so different from the healthy tan of the beach boys; his brooding Latin eyes, heaving shaded with mascara; the broad fleshly contours of his face, with the Greek nose and the thick, twisted lips; the long greasy hair, thrown forward in his face by his jerking motions.  [22]  His unusual looks and exotic mixed heritage meant he instantly became a style icon. He started a trend for black slacks, pegged pants, loose, open-necked shirts and brightly coloured sharp suits which were all extremely anti-parent and even had African-American influences. For males ha ir, the short and neat military-style crew cut was preferred by parents and adults. Elvis had the complete opposite. His dyed black, heavily-greased, pompadour-style D.A cut with heavy sideburns instantly became the symbol of a delinquent bad-boy. This soon resulted in hair length limitations in many schools as males across America wanted the same female attraction that Elvis received. Teenager spending power is also depicted in the sales of Elvis fan souvenirs. By 1956, his merchandise alone reached $22 million which was extraordinary at the time.  [23]  The 1950s collectables ranged from posters, lobby cards, bubble gum cards, lipsticks, perfume, jewellery (including a dog tag with his serial number on), sneakers, hats, scarves, record players, guitars and a pink range (autograph book, diary, scrapbook and photo album) to name but a few. This commercialisation was revolutionary and illustrates the impact Elvis had. 1950s America was undergoing conversion from the monopoly of cinema to substantial television growth and Elvis reined power over both; however I will focus on his extensive movie career. In 1956 Elvis signed a seven year contract with Paramount Pictures and initiated his impact on American cinema. His first film Love Me Tender added four musical numbers to capitalize on the one million advanced orders of the Love Me Tender single.  [24]  The film generated $540,000 in its first week and had made $4.5 million by the end of the year.  [25]  He continued on to release Loving You, Jailhouse Rock (grossing $4 million in the year) and King Creole.  [26]  Elvis strongly influenced film-making and revolutionised the genre of the musical. Goldman believes Elviss genius lies in combining the movie myth of the menacing teenager with rock n roll music so as to create a whole new performance idiom appropriate to that wild new form of entertainment, the rock concert.  [27]  Elviss films produced numerous iconic moments, showed the importance of star power and their impact is illustrated in their posthumous endurance. In conclusion it is clear to see a small part of the vast impact Elvis had on 1950s America. From his revolutionizing of music in terms of race and class, his radical and sexual performance style, his splitting of the generations and genders, his fan culture, influence and marketing, to his unique movie career establishing a whole new genre of filmmaking, this essay has attempted to show how Elvis changed American history. Composer Leonard Bernstein believes Elvis is the greatest cultural force in the twentieth century. He introduced the beat to everything and he changed everything music, language, clothes, its a whole new social revolution.  [28]  His impact is immeasurable and unequalled. Elvis Presley was the turning point, permanently transforming culture. He will continue to be of the greatest social significance for years to come because as Marcus said He changed history as such, and in doing so became history.  [29]   Word Count: 2,013

My Experience with Computers :: Technology Essays

My Experience with Computers Walking down the hallway to computer class excited me and made me a little anxious. The world of technology was slowly opening up to me. It was the year I took my first computer class. I learned how to push a button to start the computer, open up a program, and type. It was interesting, but my fear that I would accidentally hit the wrong key and make the computer crash overshadowed my ability to enjoy it. I would have to learn to conquer that fear, as digital technology became a part of my every-day life. Computers became more common around school as I got older. In fifth grade, there was actually one computer in the classroom. I rarely practiced it, except if the teachers made us do an exercise using it. I picked up the skill more readily when I discovered the Internet. The first time I used the Internet was at my friend's house. She had gotten it and was telling me about all the people she was meeting on-line in "chat rooms." I didn't understand how you could talk to real people over the computer. I went to my friend's house and we spent hours in front of the screen talking to people from all over the country on America on-line, the popular Internet access. I was obsessed. That was the only thing we did when I went over to her house. I was amazed at the expertise my friend developed at typing; she learned it after having to carry on multiple conversations with different people who instant-messaged her all at once. I was still pecking at the keys one-by-one. Everyday I would beg my dad to get the family AOL. Finally he broke down and got it. I was glued to it for the first three months. Then the novelty began to wear off. I wasn't so impressed with talking to strangers anymore. I realized that people I met face-to-face I could hang out with, but I had no way of knowing that "kids" I talked to on-line weren't actually 50 year-old men.

Documentary Aspects on Kieslowski Fiction

Winter 2012-13 – Free written home-assignments (To be uploaded to Absalon – 1 copy only). (Uploades til Absalon i et eksemplar) Navn (Name) Katarzyna Inez Dawczyk Studienummer (Student ID) qtw401 Telefon (Telephone) 27632783 e-post (e-mail) k. inez. [email  protected] comVed gruppeopgave anfores ovrige navne (Names of other participants in group essays) Navn (Name) : __________________________ Navn (Name) : __________________________ Navn (Name) : __________________________ Navn (Name) : __________________________ Studienummer (Student ID)__________ Studienummer (Student ID)__________ Studienummer (Student ID)__________ Studienummer (Student ID)__________ If the information concerning length below is not filled in correctly, the assignment will be rejected and you will be graded as a †no show†.ANTAL NORMALSIDER: 25 (Number of standard pages of 2400 keystrokes) ANTAL TYPEENHEDER: 60 178 (Total number of keystrokes, including spaces and notes but not cover p ages, bibliographies and appendices). OMFANG AF OPGAVER: L? ngden af en opgave er en del af opgaven – hverken for lange eller for korte opgaver accepteres. LENGTH OF THE ASSIGNMENT: Neither too long nor too short assignments are acceptable. S? T KRYDS (Mark) S? T KRYDS: (just Danish students) Individuel opgave X (Individual essay) Intern censor__________ se i studieordningen) Gruppeopgave _________ (Group essay) Ekstern censor X (se i studieordningen)Studieelement/Modul (Study Element/Module) 47790313-01/ Module 3 (f. eks. 47790316 Modul 4: Skriftlig formidling) Emne (Subject) : Between Documentary and Fiction (f. eks. Japansk Film) Er opgaven fortrolig (s? t kryds) JA___ (Is the essay confidential? ) (mark) Studieordning (s? t kryds): (Curriculum) (mark) : NEJ X (Yes) EKSAMINATOR: Arild Fetveit (Examiner) (No) __ Anden studieordning: _________________________ __Gymnasierettet Kandidattilvalg 2008-ordningen __Grundudd. i Film- og Medievidenskab 2005 – eller 2012__ __BA -tilvalg i Medier og Kultur, Tv? Hum. 2007 __Gymnasierettet tilvalg i Film- og medievidenskab 2007 __Enkeltstaende tilvalg i Film- og Medievidenskab 2007 (Curriculum for Elective Studies in Film and Media Studies 2007) __Kandidatuddannelsen i Filmvidenskab 2008 (Curriculum for the Master’s Programme in Film Studies) x__Kandidatuddannelsen I Medievidenskab 2008 (Curriculum for the Master’s Programme in Media Studies) __Master i Cross Media Communication __Tv? rhumanistisk Tilvalgsfag i Digital Kommunikation og ? stetik 2007 Dato og ar 1. 01. 013 Date and year DOCUMENTARY ASPECTS ON KIESLOWSKI? S FICTION ABSTRACT This paper examines different concepts of documentary and the influence of documentary dispositions on Kieslowski? s fiction that might be found by analysing his selected feature films. Different definitions of documentary in cinema created by various critics and cinematographers will guide the discussions of the ways in which Kieslowski comments on filmmaking, particularly how his fiction might carry the echo of reality which is recorded by documentaries.The paper is an attempt of describing the pattern, where realism is a dominant factor that might create an illusion of reality. This project is important to provide the theory about documentary aspects on Kieslowski? s fiction in order to find similarities and connections between two genres of film that are on the opposite poles. The study provides the unit of analysis about which the information were collected in order to create an understanding of the context. The assignment has got theoretical dimension and analyses.KEYWORDS: documentary, fiction, film studies, Kieslowski, realism, representation Before starting evaluate documentary as a form of film, it is necessary to replay on fundamental questions: what is a film? ; and how film can be understand? The elementary definition of film says that film is a story or event recorded by a camera as a set of moving images and shown in a cinem a or on television. †1 Furthermore, it is a medium and an art and a very complex technology undertaking . 2 Film belongs both to recording media and representative media.The spectrum of film looks like: -the performance art, which happen in real time -the representational art, which depends on the established codes and conventions of language – the recording art, which provides a more direct path between subject and observer: media not without their own codes but qualitatively more direct than the media of representational arts. 3 1 2 www. oxforddictionaries. com James Monaco, â€Å" How to read a film†, 3rd Edition, Oxford University Press, 2000, p. 17 3 Inbid. ,p. 27 Every film contains a range of various messages, which are not always apparent.However, by analysing film, messages can be discovered. Film makes absence presence. Moreover, the special techniques of film-the concentrated close-up-and the special qualities of film projection, make intimate experien ce of face as the sole, cause impression of living reality. 4 DOCUMENTARY John Grierson, a father of documentary used the phrase â€Å"documentary value† in reviewing Robert Flaherty? s â€Å"Moana† in 1926 for a New York newspaper. It was the first occasion on which the word â€Å"documentary† was applied in English language, to this specific kind of film. In English language, the adjective â€Å"documentary† was invited quite late as in 1802 with the modern meaning of its source word â€Å"document† as something written, which carry evidence or information. The contemporary use of â€Å"document† still carries the connotation of evidence. Besides, from the beginning of documentary, a photograph was received as a document and therefore as an evidence. 6 Documentary film has begun in the last years of the IXX century. It seems that, its beginning had many faces, as for some scholars the first documentary was â€Å" Nanook of the North† (1922) about Eskimo life ; some claimed that it was Joris Ivens? â€Å" Rain† ( 1929) a story about a rainy day; for another â€Å" Man with a Movie Camera† (1929) made by Dziga Vertov. 7 So what is a documentary then? A simple answer might be that is a movie about real life. However, it sounds to be too simplified, as there is not such a real life, as a camera can see just a part of real, just a small piece. Irritating are arguments that the camera is a window of world. On which worldthe question is rising? The camera can see just a part of the world, the part of real, the part of life.As a result, it could be said, that documentary movie does its best to represent a part of real life and it does not manipulate about it. 4 Philp Simpson, Andrew Uttern and K. J. Shepherdson, â€Å"Film Theory. Critical Concepts in Media and Cultural Studies†, Routledge, London, 2004, p. 70 5 Brian Winston, â€Å"Claiming the real. The Griersonian Documentary and Its Legitimat ions†, British Film Institute, 1995, p. 8 6 Inbid, p. 11 7 Patricia Aufderheide, â€Å" Defining the Documentary† in â€Å" Documentary Film. A very short introduction†, Patricia Aufderheide, Oxford University Press, New Your 2007, p. In other words, it could be said that â€Å"documentary is defined and redefined over the course of time, both by makers and by viewers. Viewers certainly shape the meaning of any documentary, by combing our own knowledge of and interest in the world with how film-maker shows it to us. †8 From another point of view, Plantiga claims that documentaries are moving picture texts of affairs represented in the world hold in actual world. Sobchack claims that documentary is a subjective relationship to a cinematic object.Patricia Aufderheide arguments in documentaries, â€Å"we expect to be told things about the real world, things that are true (†¦) we expect that a documentary will be a fair and honest representation of someb ody? s experience of reality†. 9 Additionally, she points out â€Å"the truthfulness, accuracy, and trustworthiness of documentaries are important to us all because we value them precisely uniquely for these qualities. † 10 According to Eric Barnouw â€Å"some documentaries claim to be objective-a term that seems to renounce an interpretative role.The claim may be strategic, but it is surely meaningless. The documentarist, like any communicator in any medium, makes endless choices. He selects topics, people, angels, lens (†¦). Each selection is an expression of his point of view. †11 John Grierson defined documentary as the â€Å"autistic representation of actuality† 12, additionally as â€Å"the creative treatment of actuality†. 13 It seems that, by using the term â€Å"creative treatment†, he meant that the documentary go beyond simple recording of reality, as documentary is fulfilled by sort of material creatively.It could be said tha t, documentary is based an authentic recordings with realist tendency, construct on fascination with a visible evidence. The evident share about the discussion of documentary has got Bill Nichols. He arguments that the documentary tradition relies on being able to conduct the impression of reality, â€Å"(†¦ ) a powerful impression. It began with the raw cinematic image and the appearance of movement: no matter how poor the image and how different from the thing photographed, the appearance of movement remained indistinguishable from actual movement. 14 Nichols claims, filmmakers often use in documentary modes of representation, in aim to make questions that are directly depend on historical world, narrative has existed in every known human 8 9 Inbid. ,. 2 Patricia Aufderheide, â€Å" Defining the Documentary† in â€Å" Documentary Film. A very short introduction†, Oxford University Press, New Yor k, 2007, p. 3 10 Inbid. , p. 4 11 Stella Bruzzi,â€Å" Introducti on† in â€Å" New Documentary. A Critical Introduction†, Routledge, London, 2000, p. 4 12 Patricia Aufderheide , â€Å"Defining the Documentary† in â€Å"Documentary Film .A very short introduction †, Oxford University Press, New York, 2007, p. 3 13 Brian Winston,â€Å" Claiming the real. The Griersonian Documentary and Its Legitimations†, British Film Institute 1995, p. 11 14 Bill Nichols, â€Å" Introduction to Documentary†, Indiana University Press, 2001, p. XIII society. 15Moreover, Nichols offers the theory that describes every film as documentary. Even the most fantastic fiction, as it gives evidence of the culture that is reproduced of the people who perform within. As well, he divides documentaries on two kinds: (1) documentaries of wish- fulfilment nd (2) documentaries of social representation. 16 Documentaries of wish- fulfilment are on the shape of fictions, that give expression of people? s dreams and wishes and a sense what peopl e wish, or fear, reality might be or might become. And documentaries of social representation are non-fiction that make the stuff of social reality visible and give representation to aspects of the shared world. Moreover, they deliver a sense of what might be understand as reality, of what is now, or what might become. Documentaries of social representation offer ideas on common world to explore and understand it. Documentaries offer the sensuous experience of sounds and images organized in such a way, they come to stand for something more than mere passing impressions: they come to stand for qualities and concepts of a more abstract nature. †17 15 16 Edward Branigan, â€Å"Narrative, Comprehension and Film†, Routledge, London, 1992, p. 1 Bill Nichols, â€Å" Introduction to Documentary†, Indiana University Press, 2001, p. 1 17 Inbod. , p. 65 According to Nichols, every documentary has its own distinct voice that has got a style. In order to analyse those styles, he provides a typology that enables various modes of documentary.He identified six modes of representation that function as like sub-genres of the documentary as genre itself. These six modes are: the expository mode- emphasizes verbal commentary and argumentative logic, has got more rhetorical and argumentative frame, addresses the viewer directly often with a narrator-voice over commentary (a voice of God, voice of authority) the poetic mode- is more subjective with artistic expression that moves away from objective reality of a given subject, situation or people to take at inner â€Å" truth† can be possessed by poetical manipulation, characters are with psychological complexity he observational mode- coming close as it possible to objective reality, observation of what happens in front of camera and recording it, the filmmakers takes a position of observer and makes impression of not intruding on the behaviour of characters the participatory mode- direct engagement betwe en a filmmaker and subject, the filmmaker becomes a part of the recorded event using the methods of anthropology of going into the field the reflexive mode- increases awareness of the sample of representation in film that shows not just historical world, but also the problems and issues that call into questions.It is the most selfconscious and self-questioning mode of representation the performative mode- direct engagement between a filmmaker and subject, the filmmaker as a participant Presented above modes are well knew in a documentary discussion. However, the critic with Stella Bruzzi towards them, it seems to be well argumentative. She criticises Nichols for suggesting that filmmakers doing documentaries, aim for the ‘perfect representation of the real? and that would fail in this impossible aim as all types of documenters exist at different time.Moreover, his typology of modes seems to be quite weak, cause documentaries very often has got mixed styles of modes. There is n ot such a one mode for one movie. As the result, the question of necessity labelling documentary on modes, arises. Documentary might be also defined as an organised arrangement of images that construct metaphors. Metaphors in movies help in defining and understanding matters in terms how they look or feel with involvement in physical and experiential encounter. Metaphors draw on basic structures of personal experiences to assign values to social concepts. The selection and arrangement of sounds and images are sensuous and real; they provide an immediate form of audible and visual experience, but they also become trough their organization into larger whole, a metaphorical representation of what something in the historical world is like. † 18 Types of Kieslowski? s documentaries psychological portraits In a documentary film about himself â€Å" I`m so-so†, Kieslowski admits that his early films, were made in order to get a common portrait of Polish mental condition.In â⠂¬Å"From the City of Lodz†, he presented people and their sad faces with a dramatic expression in their eyes in order to portray the reality of this city. Lodz is presented as a grey mass of ruins with its citizens lacking of vitality. He shows a factory and an old women who is going to retiring, however she says she would like to continue the work, but she cannot; workers who complain about a lack of support for their orchestra, in streets some men who seems to wander aimlessly. Another movie within psychological portrait is â€Å"The Railway Station†.A movie begins with television news broadcast â€Å"Nasz Dziennik† about production figures on the rise. The presented news is on the contrast to the sad and stony faces of people who are waiting in the station. There is a picture of a slice of Polish reality with so many trains delayed and cancel with not much care about passengers. Crucial is a detail of a camera at the station, with its reference to communist sy stem which seems to be this camera-eye. recording metaphors Kieslowski interest in metaphor, appears also in his documentaries.For example in the one called â€Å"The Office† ( 1966) that deals with intimate burdens in an impersonal routine manner office. In an insurance office in spite of dialogue, there is not people? s lips moving. The emphasis is on what kind of rubber stamps are needed on form. A clerk acts impersonal. The movie is not just a 18 Bill Nichols,â€Å" Introduction to Documentary†, Indiana University Press, 2001, p. 74 picture on bureaucracy, but clearly stands for the whole communist system. Especially the last scene which shows a room filled with documents about everyone.The last scene might be used as a clear metaphor for communist system, where everyone was checked and a state tried to know everything, what a single man did. The communist system seemed to be as this office, an executor of strict control. Another metaphor on society, he used in a d ocumentary â€Å"Factory†, where in close-up shots, he presents the disproportion between the workers and those in power. Also the movie shows the Poland? s economic limitations that time when factory was lacking equipment due to bureaucracy.Personal stories In â€Å"I was a Soldier he interviews 7 men who lost their sight during the war. In this simple story the characters sit and talk about their feelings, in close up shots. Every scene ends by fading to white. Although, the movie ends by fading to black that might be seen as deliver of personal ant-war message. It seems to, be one of the most powerful documentaries, not only for a subject that men presented in movie are blinded during military service in World War II. It is powerful for its understated treatment. The war is a subject of blame of movie? s anti-war expression.The next documentary, where Kieslowski uses the same technique of interviewing people is movie called â€Å"Talking Heads†, which serves also h is interest in human faces. In the movie, he interviews 40 people (he begins with a toddler and ends with a 100 years old women), asking them few elementary questions: Who you are? , Where were you born? , What matters most for you? It seems that, the majority of people sound quite idealistic and overwhelmingly democratic. However, the irony punches a line in a replay of 100-year old women who just simply wishes to live longer.It could be said that the ethnics of Kieslowski? s documentary are based on respect for a single character. He tried to interfere as less as possible in order to respect his character? s privacy. To achieve it, he applied various methods of implementation as like: the documentary observation or interviews. REALSIM- RECORDED PATERN BY DOCUMENTARY Realism is a contentious field of debates across scholars of philosophy, social science, and aesthetics in on-going dialogue about the role of representation: in fine art as like photojournalism for example, and writte n forms as reports or autobiographies.It would seem that, there are two tendencies in realism. The one extensive tendency goes into some material aspect of the physical or social world, the other intensive that penetrates further into the recesses of the soul. 19 The term â€Å"realism† came to cinema from literary and art movement of the IXX century and went against the solid tradition of classical idealism in order to portray the life as it â€Å"really† is. The focus was on ordinary life, indeed the lives of socially deprived people.It seems that, questions of realism in the art came before the discovery of the cinematographic process by brothers Lumiere. The creation of photography brought about realism many different assumptions, precisely about possibilities of realistic representation on pictures. Fox Talbot, one of the precursors of photography, reminisces about seeing in a camera obscura â€Å" the inimitable beauty of the pictures of nature? s painting† (†¦) It could be said that, Talbot uses the phrases â€Å" nature? s painting† and â€Å" natural images† in order to refer the invention derived from earlier observations.Later â€Å" natural images† were patented by Daguerre that could bring out in daguerreotype photographs â€Å"One positive view held photography to be a medium of absolute truth; the negative estimation saw demonic powers at work in this strange apparatus. Both views are closely connected: one is merely the flipside of the other. Both are alike in that they view the outcome of any daguerreotype to be completely independent of human agency. † 20 The important pattern is perhaps, the world â€Å" truth† that is used to describe a photographic image.There is a tendency for perceiving photographic images as displaying something about truth and real word. And film shares with moving photography as a part of its most obvious technical process. Watching those moving pictures mak e in people feelings different than watching paintings on the grounds of reproducing reality. Somehow, photography and film have a special place in the debate of realism. Williams claims that film â€Å"combines elements drawn from pre-existing forms of still photography, painting, the novel (†¦) and the theatre, and all welded together on a specific technological base. 21 Realism in cinema might mean different things. There are various ways of defining and exploring 19 20 Arthur McDowall, â€Å" Realism. A Study in art and thought†, E. P. Dutton& Company, New York 1852, p. 24 http://home. foni. net/~vhummel/Hawthorne/hawthorne_1. 3. html 21 Christopher Williams,â€Å" Realism and the Cinema†, A Reader, London: Routledge 1980, p. 2 cinematic realism in debates. Cinema Verite filmmakers perhaps hope to produce something that is more or less â€Å"true to nature†. Jean-Luc Goddard comments that cinema is not the reflection of reality, but the reality of the reflection.Andre Bazin considers that in order to be realistic, a film must be located its characters and action in historical and social setting. It also worth mentioning that Grierson founded in British documentary movement, three basic principles: -a documentary should photograph the living scene and the living story – it should use original actors and scenes -â€Å"the materials and stories thus taken from the raw can be finer than the created article† 22 Allied to the more formal concept of realism is the notion of truth telling.Realism seems to be obliged to represent social reality and make sense of this realty. Jakobsen discusses five ways to make sense of realism: – – – – Realism can be an artistic aim, the artist considers his work to inhabit Realism can be something perceived ( by others than artist) as realistic Realism can refer to specific periods in history defined by historians and critics Realism is defined by convinced narr ative techniques ( customs of spending time on actions) Realism is defined by the way it motivates style or narrative 23It could be said, the steam of realism was adapted to cinema well, as camera seems to be natural tool for realism as it reproduces what is there, in the physical environment. Cinema makes absence of presence and puts reality up on the screen. Besides, cinema might be an attempt to present a direct and truthful view of real world through its presentation of the character and environment of realm functions in film both on the narrative level and the pictorial and photographic level. Through the narrative structures, physical realism goes into psychological one to address social issues.Scholars, Lapsley, Westlake and Williams divide two types of realism with regard to film: the first one with ideological function that concealment the illusion of realism and the second one with naturalizing function that attempts to use a camera in a non-manipulative way. However, Andr e Bazin supports conversely ideas. Bazin? s argument illustrates that realist discourses not only 22 23 Inbod. , p. 17 Anne Jerslev,â€Å" Realism and Realty in Film and Media†, Museum Tusculanum Press University of Copenhagen 2002, p. 16 suppress certain truth, but also produce other truth.The realist aesthetics recognise the reality-effect produced by cinematic technique in such a way that provides a space for the audience to read the message for themselves. The critical approach to realism in film studies is briefed by two strands of thought, both with roots in formalist conceptions about how film texts which are arranged on abilities to comprehended artistic products. One strand espouses debates in which realist films are departing from the codes and conventions of film practice as like commercial film practice and mainstreams.Another one is modulate by ideological approaches, which treat all mainstream film texts as versions of the classic realist texts which developed i n the XIX century novels. 24 According to these approaches, realism cannot be confined to a particular style of representation as is contingent, in alternation. Important was the development of photography made painting become obsolete, changed the impressionistic mimesis by the empirical objectivity of the photographic image. From the other side, in literature, the early realists called themselves as careful painters of human life, asserting that `art always aims to represent reality?. 5 Although, George Eliot, the realist writer Adam Bede ( in chapter 17) demonstrated her appreciation of difficulty, in particular, how a writer is able to translate the truth into words? Writers took different positions on realism. Guy Maupassant suggests that realists are illusionists, but Henry James favours of terms as impression of life and air reality. In film studies, the post- structuralism position on realism is presented by Collin MacCabe in his well know essay called â€Å"Realism and the cinema: notes on some Brechtian theses†.MacCabe argues in some conventional documentary films, there is metalanguage in the form of voce over narration which provide different versions of reality presented by numerous voices in order to perform a truth-telling function. 26In turn, he claims that fiction film is similarly structured, just with images taking precedence over words. The photographs show to the spectator what happens; the camera provides the metalanguage by situating the spectator within the fictional narration of the film. He also argues that the truth of the situation is created by the images: we as an audience believe what we see rather than what we are told about.In contrast, Bazin advocates a realist cinema that upholds the freedom for spectators to choose their own interpretations of an object, narrator and story. This concept of realism respects 24 25 Julia Hallam, Margaret Marshment,â€Å" Realism and popular cinema†, Manchester University Press, 20 0, p. 4 Julia Hallam, Margaret Marshment,â€Å" Realism and popular cinema†, Manchester University Press, 200, p. 4 26 Inbid, p. 11 perceptual time and space, advocating depth of field and the long take techniques which seem to be at the level of recording as they take place.However, he also adds that just techniques cannot guarantee that a realistic cinema will be a result from its use. 27 Jakobsen discusses five ways to make sense of realism: Realism can be an artistic aim the artist considers his work to inhabit Realism can be something perceived ( by others than artist) as realistic Realism can refer to specific periods in history defined by historians and critics Realism is defined by convinced narrative techniques (customs of spending time on actions) Realism is defined by the way it motivates style or narrative 28REALITY CAPTURED BY KIESLOWSKI? s CAMERA It could be said that, for some â€Å"the real is the same thing as the true. Others describe reality to what exists or happens in the surrounding physical world and at the heart of realism, in all its variations seems to be the sense of actual existence, an acute awareness of it, and a vision of things under that form. 29 Descrates with his theme,† I think, therefore I am†; began the first of many attempts in order to explain reality in terms of mind. Pascal said, man is but a reed, yet he is a thinking reed. 0 â€Å"The reality represented in film is constituted by the so-called represented objects. †31 Plesnar writes that the represented reality of film consists in four ontological levels. The first level comprises represented events-individuals. The second level consists of represented things, which depend on represented events; the third level is designed for represented process and the fourth for strictly relative categories. As cohesion to his four levels, the represented reality in film must be defined as a set of all represented events.Slavoj Zizek presents â€Å"Kies lowski? s starting point was the same as all cineastes in the socialist countries: the conspicuous gap between the drab social reality and the optimistic, bright image which pervaded the heavily censored media. The first reaction to the fact, in Poland, social 27 28 Inbid, p. 15 Anne Jerslevâ€Å" Realism and Realty in Film and Media†, Museum Tusculanum Press University of Copenhagen 2002, p. 16 29 Arthur McDowallâ€Å"Realism. A Study in art and thought†, E. P. Dutton& Company, New York 1852, p. 3 30 Inbid, p. 5 31 Lukasz Plesnar â€Å" Represented Space in film† in â€Å" The Jagiellonian University Film Studies†, Wieslaw Godzic, Universitas Krakow 1996, p. 77 reality was unrepresented, as Kieslowski put it, was, of course, the move towards a more adequate representation of real life in all its drabness and ambiguity-in short, an authentic documentary approach. †32 In the interview with Danuta Stok, Kieslowski says: â€Å"At that time, I was inte rested in everything that could be described by the documentary film camera. There was a necessity, a needwhich was very exciting for us-to describe the world.The communist world had described how it should be and not how it really was. We-there were a lot of us-tired to describe this world and it was fascinating to describe something which had not been described yet. It is a feeling of bringing something to life, because it is a bit like that. If something has not been described then it does not officially exist. So that if we start describing it, we bring if to life. † 33 After the Second World War, the political atmosphere in Poland was extremely tense. Siegel, quoting Norman Davies? work called â€Å"Heart of Europe: A short History of Poland†, adds: â€Å"Poland became a Stalinist one-party. By 1946 the State had taken away over ninety present of Poland? s industrial production, and sweeping land reforms broke up the pre-war Polish estates. Heavy industry was give n precedence over agricultural production, and the general standard of living declined as the private sector was abolished and worker were exploited†¦ Anyone suspected of disloyalty was interrogated, censored and put in prison. † 34 The situation in Poland definitely caused Kieslowski? s pessimist in his movies which was dictated by communist.In the same interview with Stok, he provides examples when he was forced to edit part of reality that he recorded, particularly when the reality in film did not impose the reality that government wanted to provide. However, he tried always to find methods in order to present â€Å"the truth† by tricking the censors, he adds. Realism was what Krzysztof Kieslowski concentrated on, and his fictions have a documentary feel to it. In his movies there is a shift from using the observational camera-work associated with documentary with classical conventions of continuity as like in a questions session in Decalogue 1, between Pawel an d his auntie.This questions session becomes the focus of narrative interest through the use of medium/ close ups and shot of dramatically the curious face of Pawel. 32 33 Slavoj Zizekâ€Å" The fright of real tears. Between theory and post-theory†, British Film Institute, 2001, p. 71 Danuta Stok,â€Å" Kieslowski on Kieslowski†, faber and faber, London 1993, p. 54, 55 34 Annette Insdorf,â€Å" Double Lives, Second Chances†, MIRAMAX, New York 199, p. 9 DOCUMENTARY+/= FICTION When documentary aspects can be visible in Kieslowski? s fiction? How these aspects influence on his fiction? Are these aspects make similarities between his documentaries and fictions?Kieslowski started with documentary as an attempt to describe reality that surrounded him and later moved from describing form of reality to expressing form of reality, in his fiction. However, it seems that, there is number of corn similarities between his documentaries and fictions. Firstly, he shifted his in terest about a man from documentaries to fiction. â€Å"Even the short documentary films were always about people, about what they? re like. † 35( †¦) In addition, in documentaries and fictions his main interest was inner-life. Secondly, almost all his work, apart from this feature Short Working Day ( 1981) that shows the worker? strikers from 1976; are set in the present, although they might have got some links to the past. Kieslowski focus on the present, on the stories of ordinary people, demonstrate them on the grounds of importance. In addition his focus on individual character, an observation of a small portion of reality is well seen not just in documentaries, but also in his fictions. In â€Å"Blue† a melting cube of sugar which proves Kieslowski? s obsession of close up, shows that the main character is not interested in something else then in this cube of sugar.For her, important is what is in front of her, her inner world. He achieved this technique by close-up zooming which creates an illusion of isolation a person of object from the wider context. The same techniques can be notice in his documentary called â€Å"Hospital† where details also play a significant role. A detail has got a significant role to evoke feelings in the audience as it delivers also a metaphysical context. Closing-up on doctors who hold and smoke cigarettes is seem to be reaction that in hospital they do not have medical tools to heal their patients and they use some building tools. The realist paid attention to redundant detail, which often meant writing dialogue that accurately reflected a character? s social identity, as well as, or instead of, forwarding the plot. In production, realist effect was created through props and sets that reproduced everyday life in great detail. † 36 35 36 Danuta Stok,â€Å" Kieslowski on Kieslowski†, faber and faber, London 1993, p. 144 Julia Hallam, Margaret Marshment,â€Å" Realism and popular cinemaâ € , Julia Hallam, Manchester University Press, 2000, p. 20 Furthermore, from his documentaries, he brought kind of simplicity of presenting subjects or person, much avoiding authorial intervention.He never used both in documentaries and fictions his voice over commentary. It would seem that he believed that shooting in close-up characters tell story enough well without the need of commentary. Also from his documentaries, he gained the skills of photographing people? s feelings as like happiness, sorrow, tiredness, hopeless, indecision and hope ( most evident â€Å" I was a Soldier, â€Å" X-Ray†, â€Å" Talking Heads†), and adopted them into his fiction, Clearly seen in the scene of Decalogue 1, when Krzysztof lost his son, when he runs to the church to protest and despair.Thirdly, Kieslowski also used the documentary technique to raise tension and attention in his fiction. This statement supports the view in Blue, when Julie asks the housekeeper lady, why she is c rying and when she hears â€Å"because you are not†. Julie who is normally unresponsive to others; reacts by embracing. And what a camera does in this particular moment? The camera is moving in close, reframes. The camera fallows the action rather than leading it. It seems that the moment might feel as documentary, as cameraman was surprised by Julie? s sudden reaction as audience might be. 7 By using this documentary technique in fiction he was more to fallow â€Å"the focus†. As in documentaries, noticed event that just happened is a part of what makes a documentary feels real. Fallow feeling with the character, not purely indemnification with him or her, but the kind of recognition of what the character feels in his/her world. His fiction (especially Camera Buff, Personel or Decalogue) provide feelings of authenticity and naturalness. Moreover, he often uses â€Å"deep focus† which is a technique that depends on a wide depth of field.Depth of field is a cinem atographic practice, whereas deep focus is a technique in a film. Depth of field refers to the facial length and is achieved by a wide-angle lens. Deep focus, Bazin arguments as a greater objective realism possible. Besides, Kieslowski use to start the first scenes of showing the setting which carry information of the plot. In his documentary â€Å"From the city of Lodz†, at first a spectator sees the fabric, which is a basic and corn place for the characters of movie. The spectator, can observe the same technique in his fiction, for example in Decalogue 1, when at first sees the lake, the place of catastrophe. Kieslowski represents a creation as a form of suffering, an urgency that nothing can impede, like solitary cry before indifference of ? deals. †38The tendency of showing the setting first in movie might be a shadow what is a film about. The same tool is in Decalogue 7, when a movie starts from the off-screen scream of a child who is a main matter of the movie. 37 Steven Woodward, â€Å"After Kieslowski. The Legacy of Krzysztof Kieslowski†,Wayne State University Press, Michigan, 2009, p. 154 38 Annette Insdorf,â€Å" Double Lives, Second Chances†, MIRAMAX, New York, 1999, p. 3 In addition, there is also characterisers melancholy which seem to be started in documentaries and was continued in fictions, which has got some philosophical reflections. There is a tendency in both his fiction and documentaries to show the same kind of man who does not how to life and for what reasons. Consequently, cyclical nature of his fiction movies had background in documentaries. For example the documentaries such as: Hospital, Office, Station, Factory might be put in one cycle, as all of them tell the story about Polish national institutions.The documentaries such as X-Ray, I was a Soldier , The Talking Heads might create another cycle. There is a same technique in fiction with the cycles as Blind Chance, Decalogue, Three Colours. In many intervi ews, Kieslowski pointed out that he makes movies in order to register. In 1976 he remarked: â€Å"I started to combine elements of both filmic genres- documentary and fictionfrom the documentary taking the truth of behaviour, the appearances of things and people, and from fiction, the depth of experience and action- the driving force of this genre. †39 39Marek Haltof, â€Å" The cinema of Krzysztof Kieslowski†, Wallfower Press, London, 2004, p. 27 KIESLOWSKI? S AESTHETICS â€Å" Critics, particularly Polish film critics, usually debate the distribution between the ? early realist „and ? mature „metaphysical Kieslowski, and majority of them clearly favour `Kieslowski the realist?. †40 The argument for that might be, he started from detailed representation of reality, later moved this realist form of observations of people to his fictions. , the most evident in Decalogue, where he keeps a camera on a character, often working class character.Kieslowski believed that trough the documentary he can describe the world around him. His documentaries and early fictions show Poland and all its ugliness. He used very cold form of showing the grimy period of Poland under the communist regime whit a main focus on every day? s life of ordinary Poles. The world in which he grow up as an artist, the world with he continually dialogued in his movies, was not stable, free and economically successful like in Western Europe. The suffering of his country in many ways appears in his work.In Decalogue ( 10 parts that refer to the Biblical Ten Commandments), the ugliness of grey urban setting dominates the filmic landscape, together with close-ups of characters who endure these harsh conditions. Kieslowski? s observation of desperate characters, struggled for a better tomorrow, entanglement to the system, living in a communal way of life in grey, tenement blocks give Decalogue the feeling of documentary film. It seems that an inspiration for Decalogue were â€Å"chaos and disorder ruled Poland in the 1980s-ever-where, everything, practically everybody? s life. Tension, a feeling of hopelessness . 41 However, the Decalogue combines both; realism and hallucinatory style, as there is a mysterious zone in this cycle which is represented by a mysterious stranger who appears at crucial moments in different parts. The mysterious stranger is the silent witness and appears symbolically. He brings the element of mystery, something inexplicable also the tone for the series by dramatizing the conflict between the rational and the spiritual. Moreover, in Decalogue, Kieslowski preoccupied with issues of chance, fate, alternative possibilities, and the tentative suggestions of a providential esign to the arc of human life quite similar as Ingmar Bergman. His characters suffer from dislocation, a displaced orientation, a disappear identity. In many ways, Decalogue is a set of the dramatic conditions and tone of isolation, despair, longing what cannot be recovered. â€Å"Chaos and disorder ruled Poland in the mid. 1980s-everwhere, everything, practically everybody? s 40 41 Inbid. , p. XI Danuta Stokâ€Å" Kieslowski on Kieslowski†, faber and faber, London, 1993, p. 143 life.Tension, a feeling of hopelessness, and a fear of yet worse to come were obvious (†¦) I am not even thinking about politics here but about ordinary, everyday life (†¦) I was watching people who did not really know why they were living. † There is also kind of tendency for them going round and round in circles, without achieving what they wish to achieve. The series of Decalogue is also a compact about such questions as what is right, what is wrong? how to be honest? .how to live with the acceptance to the nature? However, considering these questions, it seems that in movies Kieslowski avoids easy answers. Slavoj Zizek argues that Kieslowski? interest in Decalogue is ethic not morality. This is showed by breaking the moral code in each film that the ethical path is to be found. † 42 Moreover, Kieslowski used a form of ethical questioning as opposite to the strict moral code based in religious principles in 10 Commandments. It as an attempt to narrate ten stories about different individuals, caught in some struggles of difficulties of Polish life. The Decalogue is â€Å"the virtualisation of (†¦) life experience, the explosion/ dehiscence of the single ? true` reality into multitude of parallel lives, is strictly correlative to the assertion of the pro-cosmic abyss of a chaotic. 43 Decalogue has got an authentic recording of reality, but also has got acting and stimulation which offers still authentic imagery. â€Å" The major staples of Catholic thought-moral law, sin, guilt, free will, angels; infuse Kieslowski? s world† 44 in Decalogue. The first Decalogue episode presents the death of a child. The film opens with a picture of the frozen lake, suggesting a winter. It seems that the camer a surveys this elemental image in order to avoid the human habitation, depicting despoil universe. A young man seats beside a smoking fire. He is a part of this landscape, the furry collar of his coat add animal look.The same returns at least 4 times in this part of Decalogue and returns in another part. He has no influence on action, however he leads the characters. Again in the first episode of Decalogue, there is the same technique, which Kieslowski used in his documentaries, called the technique of details. For example, Krzysztof is upset when ink that suddenly stains on his paper. It is like liquid is out of the control. This detail is reference to moment when Pawel his son is on the ice and this liquid functions as a foreboding liquid of out of control. 42 Steven Woodward , â€Å"After Kieslowski.The Legacy of Krzysztof Kieslowski†, Wayne State University Press, Michigan 2009, p. 44 43 Slavoj Zizek,â€Å" The fright of real tears. Between theory and post-theory†, British Film Institute, 2001, p. 95 44 Steven Woodward, â€Å" After Kieslowski. The Legacy of Krzysztof Kieslowski†,Wayne State University Press, Michigan 2009, p. 186 In the third Decalogue episode, there is the same technique of playing with light as for example in his documentary X-Ray. In this documentary light presses on characters? hope and fears. The first shot is of blurred light that comes into focus when a drunk appears. Light is significant foreground here.Later when a police car is fallowing Janusz in stolen taxi, the scene is shot with close-ups of flashing blue light. As in other segments of the Decalogue, close-ups with wider shots filled with variations of lighting tend to isolate characters. If one character is in shadow, the other in light present the formal separation on emotional state. In X-Ray, light press characters? desires. Shots of a wood at sunrise follow, with a mysterious fog rolling through the scene. The abstract impulse is clearly in these sh ots and they act as a suggestion of eternal space cut against images of facing death people.Also the stark contrast between the pastoral rehabilitation centre and the smog-ridden city is showed by visual rhetoric of lighting as well. From the other side, Decalogue can be also analysed trough the terms used by Joseph G. Kickasola: the mosaic structure and Multivalent Consciousness. The mosaic structure is a kind of film composed with small pieces of narrative. Mini narratives come together to form a larger narrative. Narratives are related, and the drama of the film is contingent on these relationships developing and changing throughout the course of the film.The watching elements come together to form a whole. 45 In Decalogue all 10 episodes take place in Warsaw, the same blocks- tenements arrangement, among neighbours who may know each other. There is the connection between characters within the theme. Kieslowski realised argument that â€Å" We perceive our environment by anticip ating and telling ourselves mini-stories† about that environment based on stories already told†. 46 Multivalent Consciousness takes a place when one person in some ways or another has got two or more simultaneous modes. It presents the idea of two people who might be the same person.In Decalogue, there is a mysterious man who once is a man sitting by lake in another part he takes different role. Somehow, there is an experience of a sense of mysterious connection between this one character to another character in particular episodes of Decalogue. â€Å"Tim Pulleine writes that Kieslowski? s perception of the world is saturated with â€Å" East European sinisterness. Even if one agrees with this comment-suggesting that the characters in Decalogue are themselves the products of specific East-Central European historical, political and 45Steven Woodward , â€Å"After Kieslowski. The Legacy of Krzysztof Kieslowski†,Wayne State University Press, Michigan, 2009, p. 168 46 Edward Branigan, â€Å"Narrative, Comprehension and Film†, Routledge, London, 1992, p. 1 cultural circumstances- one also has to notice that they face universal, truly Bergmanesque dilemmas. †47 The open structure in Decalogue which is also in Bergman? s movies invite to fallow the action of his characters written in symbols, allusions, ambiguity and a number of motifs such as bottle of milk- sipped, frozen, spilled and delivered.In Decalogue 1, the frozen milk in a bottle seems to be a signal that the ice is thick enough for Pawel to go skating. Ironically, the ice cracks as the water was too warm in a lake, may it be a motif of the bottle of milk de-freezing itself? Furthermore, when Pawel is on the ice-skating, the ink bottle spills on his father? s table, makes uncanny spot. Is that can be read as melted milk? In addition, the motif of milk appears later in another parts of Decalogue. In Decalogue 2, the old doctor goes to buy a bottle of milk when in Decalogue 4 is very similar scene, when father goes to buy a bottle of milk.And the same bottle of milk is prominent in Decalogue 6, when young boy Tomek distributes milk in order to contact with Magda. Magda spills the bottle of milk on a table. Might the spilling of milk occurring as an echoed red stain of blood that fills the washbasin after Tomek? s suicide attempt, when he cuts his wrists? It could be said that, the bottle of milk is a sublimation of the detail which gives a meaning for another scenes as a simple trick of theatrical play. However, Kieslowski says â€Å"When it spills, it means milk? s been spilt. Nothing more (†¦ ) And that is cinema. Unfortunately, it does not mean anything else. 48 Anyhow, this statement does not mean that he disagreed with metaphorical ability of cinema, but he simply found it more difficult for cinema than for example for a novelist to capture the inner life. One of the Kieslowski? s famous actor Jerzy Stuhr says that Kieslowski used a method of perfect dialogue. Two people on the screen are silent, and a third one in the audience knows why. From documentaries, he avoided in his movies over informative dialogue. He weaved the information through character? s behaviour and details which were always important tools of information in his movies. 9 Idziak one of his famous cameraman said about Kieslowski: â€Å"He strongly believes that the look is more important than anything else, he understand to what extent the style affects the story. He understand that the style is the story itself. † 50 Also memories are important part of his movies. This approach to memories, dreams is visible already in his documentaries ( â€Å" I was Soldier†, â€Å" X-ray†) and it is much developed and 47 48 Marek Haltof,â€Å" The cinema of Krzysztof Kieslowski†, Wallfower Press, London, 2004, p. 79 Danuta Stok, â€Å"Kieslowski on Kieslowski†, aber and faber, London 1993, p. 127 49 Steven Woodward, â€Å" After Kieslowski.The Legacy of Krzysztof Kieslowski†, Wayne State University Press, Michigan, 2009, p. 70 50 Steven Woodward , â€Å"After Kieslowski. The Legacy of Krzysztof Kieslowski†,Wayne State University Press, Michigan, 2009, p. 150 questioned in his fiction. In his documentaries, dreams were treated more as portraits of characters; in fictions they have got more metaphysical and spiritual aspects. From time to time Kieslowski characters confess to odd feelings, strange dreams that dived them in a certain direction. Torkovsky once wrote: â€Å"Time and memory merge into each other; they are like two sides of a medal. Memory is a spiritual concept†¦Bereft of memory, a person becomes the prisoner of an illusory experience; falling out of the time he is unable to seize his own link with the outside world-in other words he is doomed to madness. †51 51 Andrei Tarkovsky, â€Å" Sculpting in Time†, trans. Kitty Hunter-Blair, Austin: University Texas Press, 1986, p. 58 WHY RETRACTION FROM DOCUMENTRY? In the switch to fictions, it is quite clear that Kieslowski started to see the limits of the realist aesthetics. He discovered there was still much in life to be explored. â€Å"Not everything can be described. That is the documentary? s great problem. It catches itself as if in its own trap†¦If I am making a film about love, I cannot go into a bedroom if real people are making love there†¦ I noticed, when making documentaries, that the closer I wanted to get to an individual, the more objects which interested me shut themselves off. That is probably why I changed to features. † 52 In the interview with Stok, Kieslowski gives example about one documentary that he was making during Polish martial law in the early 1980s. He received permission from the lawyer Krzysztof Piesiewicz ( his co-scriptwriter of Decalogue). The case for it was, expose the brutal and unfair sentences of the Polish judges were passing on Piesiewicz? worker clients. â€Å" The moment I started shooting†¦ the judges did not sentence the accused. That is, they passed some sort of deferred sentences which were not in fact, at all painful. † 53 It seems that judges did not want be recorded on film passing unjust sentences. Kieslowski understood that this causes false visions of reality behind him. According to the interview with Stok, Kieslowski claims that he made his films on documentary principles. These principles reflected not to â€Å"unmediated truth, but the premise that films â€Å"evolve trough ideas and not action. 4 However, he still believed in human experiences and describing the reality as his artistic territory although, at the end of his carrier, he moved from social focus to more universal metaphysical ideas of life. It could be said that the instruments of authenticity which he used in documentaries, went toward the task of metaphysical exploration which still caused thrust to his all movies, just i n this case metaphysical thrust of portraying human feelings. Another reasons, seems to be more ethical. Probing into other? s intimacy by referring to the right. â€Å" I managed to photograph some real tears several times.It is something completely different. But now, I have got glycerine. I am frightened of real tears. In fact, I do not even know whether I have got the right to photograph them. At such times I feel like somebody who has found himself a realm which is, in fact, out of bounds. That is the main reason why I escaped from documentaries. †55 52 53 Slavoj Zizek,â€Å" The fright of real tears. Between theory and post-theory†, British Film Institute, 2001, p. 72 Danuta Stok, â€Å" Kieslowski on Kieslowski†, faber and faber, London 1993, p. 127 54 Joseph G.. Kickasola â€Å" The films of Krzysztof Kieslowski†, Joseph G. Kickasola,continuum, London 2004, p. 3 55 Slavoj Zizek, â€Å"†The fright of real tears. Between theory and post-theor y†, British Film Institute, 2001, p. 72 Zizek argues that Kieslowski supplements the prohibition to depict the intimate moments of real life with false images of fiction. He adds that Kieslowski moved from documentaries as when somebody films real life scenes in documentary, people ( actors) play themselves and he claims that the only way to depict people beneath their protective mask of playing it, paradoxically is making them directly play a role into fiction. It seems that, in Zizek? s augment fiction is more real than the social reality of playing roles.He supports the view that if in Kieslowski? s documentaries, the characters seem to play themselves, then his fictions cannot but appear as documentaries about the brilliant performance. 56 Zizek also makes very crucial questions in order to analysing Kieslowski? s. He asks; if his escape from documentaries to fiction was dictated by the ? fright of real tears? , by the insight into obscenity of directly performance real li fe intimate experiences? How fictions are even in a way even more vulnerable than reality? If documentaries show the hurt the personal reality of the character, that fiction intrudes into and hurts dreams themselves?Documentary has got its limits; â€Å"not everything can be described†, he said in â€Å" Kieslowski on Kieslowskim†. Turning camera on external events cannot capture the intimate experiences such as making love or dying he said. Analysing his fictions, the question this arises: â€Å"Could a feature describe better than a documentary? † The dominant characteristic of the fiction film is that it represent something what is imaginary of the director. However, the feature representation seems to be more realistic then in another field of art such as painting or theatre as those show effigies of objects, their shadows.When in a fiction, the setting and actors represent the â€Å"real† situation even if they played it of the certain number of film ed conventions which we recognize from our life. In â€Å"Blind Chance† , Kieslowski composed three version, which seems to begin as a dream; the young man running to catch the train to Warsaw. The movie starts, that the main character is screaming as he lost his father who wished that he becomes a doctor, however he loses his wishing whist he was dying, he tells to Witek: â€Å"You do not have to do anything†. And somehow his father? death frees him from necessity. Later in the same part he becomes a Party activist, in the second part he gets lost and in third one, he got marry, become a doctor and suddenly die in an aircraft explosion. â€Å" Witek 1 is shot with a Tarkovskian adherence to ? real time? : no time is edited out of any of the 56 Slavoj Zizek,â€Å" The fright of real tears. Between theory and post-theory†, British Film Institute, 2001, p. 75 sequences. The life of Witek 2 is edited more conventionally, highlighting the â€Å" key† moments † (†¦) The final version of Witek? life is edited most conventionally from all, virtually in the no-nonsense manner of a television movie. † 57 The end of the movie confers a sense of fantasy. â€Å" By beginning Blind Chance with Witek? s scream and by developing opposite scenarios that logically require a middle one to complete and close them, Kieslowski gives to his film a structure that preserves it from succumbing entirely to the dictates of chance. † 58 Start with a close-up of a man who screams â€Å" No† with a moving camera into darkness of his throat. This might be a scene of Witek? s flashback.Witold? s scream at the beginning, might be a replay on the end of the film, when a plane? s explosion occurs. Blind Chance seems to be more of the same elevated to an iconic Munch-like open-mounted scream with which the film starts, and exactly this scene realises at the conclusion of the film, when it means the death of the main character. As the res ult, the movie might be described as the binary of â€Å"catch† or â€Å" miss† the train: missing the train with positive outcome, missing the train with negative outcome, corresponding to the third story when he caught the plane.Catching or missing, determined his death. 59 The term Forking Paths created by Joseph G. Kickasola, where one character proceeding along a particular narrative trajectory that divides in several directions. One path might be a true, and the others just are alternative endings. 60 This term suits for Blind Chance as outcome the moment of contingency. Alain Masson refers to the construction of Blind Chance as a dilemma or trilemma, where Kieslowski invites the audience to puzzle over whether Witek? s experiences device from choice, chance or perhaps destiny.As he said in â€Å" I? m So-So`, â€Å" We are sum of several things, including individual will, fate and chance which is not so important. It is the path we choose that is crucial. â₠¬ 61 57 Paul Coates, â€Å" Kieslowski, Politics and the Anti-Politics of Colour†: From the 1970s to the Three Colours Trilogy† in The Red and The White. The Cinema of People? s of Poland†, Wallflower Press, Great Britain, 2005, p. 191 58 Inbid. , p. 192 59 Steven Woodward, â€Å"After Kieslowski. The Legacy of Krzysztof Kieslowski†,Wayne State University Press, Michigan 2009, p. 122 60 Inbid. , p. 69 61 Annette Insdorf,â€Å" Double Lives, Second Chances†, MIRAMAX, New York 199, p. 59 CONCLUSION In Poland in mid-1970s and 80s, Kieslowski was a leading documentary film- maker with the following output :The Office ( 1966), The Photograph ( 1968), From the City of Lodz ( 1969), I Was a Soldier ( 1970), Factory ( 1970), Before the Rally ( 1971), Refrain ( 1972), Between Wroclaw and Zielona Gora ( 1972), The Principles of Safety and Hygiene in Copper Mine ( 1972), Workers? 71: nothing about us without us ( 1972), Bricklayer ( 1973), X-Ray ( 1974), Curri culum vitae ( 1975), Hospital ( 1976), From a Night Porter? Point of View (1977), I don? t know (1977), Seven Women of Different Age ( 1978), Station (1980), Talking Heads ( 1980),Seven days a Week ( 1988). Kieslowski started from documentaries as a fight for a representation of the lack of an adequate image of social reality in Polish cinema caused by Communist regime. It seems that, he moved into fiction, as he noticed that when he let go of false representation and directly approach of reality, he lost reality itself in his documentaries. Notably, his documentary achievement has got unquestionable reflections on his fiction.Precisely, to feature films, Kieslowski moved â€Å"a criterion of authenticity† visible for example in â€Å" Personel†, where he made significant remark toward â€Å" authentic cinema†. For this production, he used improvised dialogue within the tradition of Italian neorealists, to cast non-actors for majority of roles. In the interview with Stok, he describes, how characters are true as they contradict the conventions of filmic stereotypes. Moreover, the next important tool in his movies is the tool of detail. Kieslowski, already started using this tool in his documentaries, whereby he developed within fiction.A detail in Kieslowski? s films, it is not just a construction of reality, but the detail plays crucial role in the transmission of reality. Furthermore, analysing Kieslowski? s films on the grounds of its documentary elements in his fiction, it is also important to interlace them with the term of naturalism which is closely associated with realism and which was not mentioned before in the paper. Naturalism fist came in the theatre of the nineteenth century with the work of Andre Antonie. He created a method of acting in order to get the actors to move away from the theatrical gestural.It means that the actors supposed to act as the audience was not there and audience feels as if it witnessing slice-of-life realism, which was also crucial for Stanislavsky? s method of acting. Actors enter the personae of their characters in order to not represent themselves. The essays describes the importance of naturalism, as Kieslowski? s actor appears to play in very natural and realist way and Kieslowski precisely stylised a life in a film. Especially, the Decalogue delivers naturally the conclusion for Poles- â€Å"they speak just like us†. The reality of what that might be seen in front of eyes, can drives nto the illusory nature of representation. It could be said that in this way, naturalism has got also an ideological effect of naturalizing. Therefore, it gives a surface image of reality. Always, aesthetic, social and moral concerns work together to deepen Kieslowski? s films. â€Å"Kieslowski? s work was prescient in all kinds of ways, that developed innovative narrative forms and stylistic methods to address pressing existential, moral and political issues ( †¦) with references to his social context and the tensions and conflicts that surrounded him. † 62Emma Wilson describes Kieslowski as a director of intimacy and interiority.Kieslowski in his movies guid