Im Fine is a short film by Benjamin Erhart, which carries an important message about teen suicide in a uniquely educational and realistic manner. The main focus of the film is on a young teen who suffers from depression and low self-esteem both issues prominent among contemporary youths. The main character named Harper uses a journal to express her emotions; she writes about how she hates life and wishes for it to end. The film utilizes the techniques of limited narration and parallels to highlight its central message, which is that it is a good thing for young people to speak up and ask for help when they are struggling.
The use of limited narration makes the audience wonder what is happening to Harper until the content of her journal is revealed. The girls diary acts as a reflection of her mind, and it allows people to look beyond her words. The girl drops it on the way out of the class, and her classmate James picks it up and begins to read it. From James viewpoint, the viewers understand that Harpers family is going through a difficult period. In her journal, she writes phrases like My parents dont care about me ( Im Fine ). It becomes evident that Harpers mother left her and her father, and instead of supporting Harper, her dad rejects her, saying, This is all your fault ( Im Fine ). As James continues reading the journal, the audience gains more and more insight into Harpers life. Having seen her true feelings and emotions, both James and the audience understand why she is acting detached and stressed during classes. Harper feels lost, hopeless, and abandoned, and these feelings are translated to the audience through James point of view.
James experiences each event with Harper, as if he was there, which helps to evoke empathy in the audience and makes viewers worry about her life. As the boy skips to the final part of the journal, he finds the words I give up, written in capital letters at the end ( Im Fine ). James realizes that Harper is about to commit suicide and rushes to the window to see where she is headed. Seeing as Harper gets into her car, James follows her to a bridge and catches her before she jumps from it. He holds her close, and Harper resists for the moment before hugging him back. Jamess motives become apparent when he tells Harper, Im not losing my sister again ( Im Fine ). Harper looks at him questioningly before a chain of flashbacks begins.
The flashbacks shown in the film are similar to Harpers scenes, thus creating a parallel of the two stories. The flashbacks focus on the events leading up to Jamess sisters suicide. The audience sees her cutting herself, drinking, and being visibly stressed despite telling everyone that she is fine. From this parallel, it becomes evident that for every life saved, there is at least one life lost. James takes Harper to his sisters grave, saying that his biggest regret was not talking to her, and Harper thanks him for saving her.
Despite the simplicity of the plot, the short film Im Fine sends a powerful message to young people who are struggling through the use of limited narration and parallels. Harpers story shows how important it is to speak up and ask for help when you need it. Furthermore, the film also highlights the importance of looking out for one another and paying attention to the signs that a person is struggling with depression or suicidal thoughts. James is the hero of this film because he was the only one who paid attention to Harpers struggle. The creators of the film suggest that if more people were as attentive and caring as James, more suicides could be prevented. After all, it cannot hurt to make some extra effort and ask a person how they are doing.
This film is about an experiment in which doctors forbade the treatment of syphilis to patients because they were African-American and proved that they would die the same way as white people. By 1947, syphilis was successfully treated with penicillin, but scientists hid this information from the participants to continue the experiment1. Furthermore, researchers made specific efforts to prevent the participants from attending other medical facilities to receive syphilis treatment.
The Tuskegee study significantly undermined the black communitys trust in the US public health system. Numerous African Americans firmly believe that AIDS is a form of genocide2. In addition to that, the conspiracy theory claims that drug abuse is forcefully promoted in the black community by using HIV in a race war. Consequently, these people do not trust doctors and do not want to donate their organs after death.
It is essential not to allow such experiments in the future and to create international organizations to protect the rights of any person in healthcare. The 20th century was full of experiments on the black population, including the inhabitants of the Republic of the Congo, who endured the oppression of Belgium, and then the intervention of the UN. The methodological theory of WPTM turns to religion to show the equality of men and women of any race, and this is one of the right ways to get rid of discrimination. Another suitable solution is to develop a checking procedure to identify and cancel improper experiments. Finally, it is necessary to improve the existing education systems worldwide. It seems that racist beliefs exist because not everyone understands that all people are equal irrespective of their ethnicity.
Bibliography
Barrett, Laura A. Tuskegee Syphilis Study of 1932-1973 and the Rise of Bioethics as Shown through Government Documents and Actions. DttP, no. 47 (2019): 11.
Frazier, Cleothia. Its More Than Just News: Print Media, the Tuskegee Syphilis Study and Collective Memory Among African Americans. Journal of Historical Sociology, no. 3 (2020): 280-296.
Footnotes
Barrett, Laura A. Tuskegee Syphilis Study of 1932-1973 and the Rise of Bioethics as Shown through Government Documents and Actions. DttP, no. 47 (2019): 11.
Frazier, Cleothia. Its More Than Just News: Print Media, the Tuskegee Syphilis Study and Collective Memory Among African Americans. Journal of Historical Sociology, no. 3 (2020): 285.
Even though violence is a vice in almost all societies across the globe, it is always difficult to completely evade this phenomenon. Violence has often been used as entertainment, competition, and domination over others (Martinez et al. 671). It was involved in competitive games in Ancient Rome, such as gladiatorial games, mostly in the form of human sacrifice to the spirit of the dead (Hage 34). They were spectacular performances in which people fought to the death as they competed and entertained the audiences.
In modern times, real pictures are combined with virtual pictures of a violent world in the media. Virtual representations of real scenarios acquire a different, more convincing meaning (Grant, 171). From the point of view of the young audience, screen images of violence are perceived as reality, which can determine the impacts on perceptions and behaviors.
Scholars have attempted to explain that violence as entertainment in films attracts a huge audience. Viewers are not necessarily attracted by violence per se, but they expect some benefits, such as suspense and thrill (Martin 2298). Violent content attracts viewers because it satisfies truth-seeking motivations through meaningful insights into certain aspects of humans (Mariani 7). Hedonistic pleasures are part of the story of why people willingly expose themselves to scenes of violence (Martin 2298). Moreover, people are likely to watch such films if they feel there is meaning in confronting violent aspects in real life (Mariani 6). In the 2015 American film Sicario, violence is used as entertainment to appeal to the audience. The audience is introduced to the possibility of violent content as the film starts with an opening note explaining that sicario is slang for hitman. The film opens with two pointers of a violent world. One indicates a discovery, while the other points to a possible explosion, thus setting the stage for a satisfying thriller for the audience. Therefore, the filmmakers create a scene in which the audience expects suspense and thrill, which helps to attract viewers attention (Mondal 1). Consequently, analyzing a film of the kind of Sicario is both a literary and psychological/sociological approach. Here, the idea is to examine how and why people are attracted to violence that includes scenes of excessive violence and deaths, yet these are social vices that people avoid in real life.
Theoretical Perspective of Application of Violence in Films
Before embarking on on-screen violence, it is important to address the question, What is violence? The Oxford English Dictionary defines violence as the exercise of force to inflict injury or cause damage to persons or property. From a psychological perspective, violence is driven by negative emotions, such as anger and fear, that make a person to exhibit aggressive behavior towards people or property. Also, psychology views violence as a behavior that is reinforced by feelings of power and dominance where a person may draw pleasure from inflicting injury on others, which explains behaviors such as bullying (McNeill). From a sociological perspective, like other behaviors, violence is contextual and influenced by patterns of socialization. Socialization refers to the process through which a person learns and adopts the norms and customs of a society. Considering this, a person will engage in violent behavior because they have been socialized to view it as an appropriate response (Ritzer and Stepnisky 59). Thus, violent behaviors vary from one place to another because they are primarily dependent on how a person has been socialized.
Violence is graphically depicted in the 2018 film Sicario, a thriller film about an FBI task force that is committed to tackling the drug trafficking problem in Mexico. Throughout the film, there are strong and gruesome violent incidences that result from killings, fighting, shootings, and explosions as the FBI task force strives to take out drug lords. The film opens with indicators of a violent world that happens in suburban America. The FBI agent, Kate Macy, is investigating a kidnap victim and, in the process, discovers a dead body after a shotgun blasts a hole in the wall of the house. She soon discovers the home is filled with corpses. The discovery of the bodies depicts gruesome violence done by individuals who view violence as a means of communication. In the film, the viewer discovers the actions of the Sonora Cartel which kills and hangs bodies in public spaces, showing how it has normalized violence. The violence of the cartel is a learned behavior, as individuals who commit the acts do not show any remorse. They view it as a means of making threats and sending a message. Thus, one can argue that the cartel members have been socialized to view violence and murder as means of making threats and sending out a message.
On the other hand, the violence can be explained from a psychological perspective when one considers the actions of the FBI agents. Their violent acts are driven by negative emotions, which develop after learning about the horrible murders and tortures committed by the Sonora Cartel that have crossed the border. For instance, in the opening scene, Macy takes out a target as he unloads a gun in her direction. Macys actions can be attributed to the negative emotions she has developed upon learning that the target has kidnapped a person and committed other horrible acts. Macy and other members of the task force exhibit negative emotions throughout the film, which make them commit to violence, which is a major element of the intense scenes in the film. Thus, the film depicts both psychological and sociological perspectives of violence.
Entertainment through violence is not new. Rather, when used to entertain, blood, violence, and even death have historically pulled crowds. In ancient Rome, crowds would flock to the carnage in the Colosseum, and in later centuries, public executions of criminals were a form of entertainment in medieval Europe (McCarthy-Jones B4). Nowadays, violence exhibited on screens attracts millions of viewers worldwide, especially in films. In a recent study of high-violent films, it was established that 90% had a section or scene where characters are involved in violent acts (McCarthy-Jones B4). The question of interest in research is why people are attracted by scenes of violence in entertainment media.
Previous studies have shown that people are not necessarily attracted to violence per se. Instead, audiences are drawn to violent content as they expect other benefits, such as the creation of suspense and thrill. From previous studies have shown that hedonistic pleasures form only part of the larger story in a film about why people willingly expose themselves to scenes of aggression, violence, and death (McCarthy-Jones). Portrayals of violence on screens appear to attract large audiences because they promise to satisfy motivations of truth-seeking. Various theoretical and conceptual models have been used in many studies to explain this phenomenon.
The reversal theory, also called the theory of psychological reversals, applies to emotions, personality, and motivation. This theory emphasizes the changeability and inconsistency of human behaviors and experiences (Apter 43). The core principle in this theory is that people tend to reverse how they feel about something and their approach to situations through reframing. The theory examines the relationship between emotions and motivations, known as emotivations (Apter 43). People move from one motivation style to another and, in the process, want different things and see and experience things differently. When motivations are satisfied, a person feels good but changes to bad emotions when frustrated (Apter 43). A person can simultaneously be playful and serious or hold competing values at different times.
This theory can provide a rationale when exploring violence in Sicario. Essentially, the reversal theory explains that people can simultaneously behave in paradoxical or contradictory ways (Apter 47). Among the many paradoxes of human motivation and emotion is the paradox of enjoying bad or negative things. In violent films, people enjoy acts of aggression and violence by some characters against others. By watching acts of violence, one is motivated to satisfy the desire for such things as revenge as created in the movie. Nevertheless, there is a paradox: the same person does not approve of violence in real life. This is an important piece of narrative in Sicario, where violence is emphasized as inconsistency and framed through different perspectives.
Screen Violence in the Modern Cinematography
Sicario is one film that exemplifies the use of violence in the entertainment sector. Understanding what violence means in contemporary cinematography and how it is woven into contemporary cinema is vital to understanding the violence in Sicario. Ramesh asserts that its culture determines the ethical standards and desires of the 21st century. Screen violence can be defined as aggressive behavior toward a character with the risk of injuring him, as shown in films, TV series, or games (Ramesh 1). Unlimited freedom promotes the development of a specific personality and a culture consumer. The advancement of science and technology, which transformed labor into a leisure activity, is another factor.
In movies, violence is shown from both a moral and physical standpoint: Persuasive and amusing depictions of violence are not the goal; a moral evaluation of evil and moral teaching is. The life of human beings is seen as a hilarious journey because they must confront the futility of existence and must constantly guide themselves through life and the hardships they face within their lives. Hollywood films like Westerns, where the hero is compelled by society or circumstances to deliver justice through violence, maintain the role of on-screen violence (Hill 23). In cinematography, the general vector of change in the representation of violence, like painting, is directed from aesthetically smoothed images to spectacular, vivid scenes, which became characteristic with the beginning of the era of postmodernism. This is essential to the violence embraced by Villeneuve in his works. In Denis Villeneuves movies, violence is inserted into the story so that it starts to be seen as organic in this particular work, receives little attention, and is taken for granted because of its ridiculousness, lack of concentration, or, opposite, its excess. There are numerous possible eradication strategies.
The concept of violence as a phenomenon, extending beyond the comprehension of violence as an act, is explored in several other movies, including Sicario. The general public interprets violence in a strongly negative way. However, it offers a vast area for creating a foundation for this phenomenons interpretation. It is not uniform, like many philosophical occurrences (Goldstein 171). According to conventional wisdom, historical violence is the monad of history, its sole basis, of which the overall impression of time is created. History involves complicated cause-and-effect interactions, increased by specific territorial-climatic and anthropological factors, rather than just the aggression of the top over the poor and the weak over the strong.
Types of Screen Violence
To consider the definition of violence in different films from different directors, one can call the films of Alex van Warmerdam, which are full of violence and death, which occur unexpectedly, illogical and optional. Therefore, they are perceived by the viewer rather coldly. Another type of violence in cinema is exaggeratedly bloody scenes, which, unlike the previous example, cannot leave the viewer indifferent. However, they will not evoke such emotions as shock and disgust either. A striking example is the films of Quentin Tarantino of the Hollywood period. The third type of cinematic violence is scenes that are shocking with physiological naturalness and contain frightening images (Srjan Spasoevich Serbian Film). The spectacular violence in question is in demand and widespread in todays culture much more than the non-spectacular type of representation, including, for example, documentary films and photography. While non-spectacular violence is often used to protest and call for social and political change, the spectacular one appeals to intrapersonal problems and conflicts, as well as to the aesthetic feelings of the viewer. Sicario, in its turn, employs an intra-perspective approach to violence, not resorting to the limits of non-spectacular violence, but at the same time not exaggerating the bloody scenes, closely connecting them with the directors perspective.
Analysis and Discussion of the Movie Sicario (2015)
Directed by Denis Villeneuve, Sicario is an excellent example of a film that reveals the concept of violence in life, depicting violent actions as they would appear in real life. The film contains many scenes of violence. Still, there are elements of a psychological thriller and well-motivated characters whose actions can be analyzed to understand and explain the violence. In the example of this picture, scientists can analyze the use of violence in cinema and understand why people like to look at it.
It is important to employ various analytical tools to properly understand the film. This will aid in the proper positioning of violence within the overall conception and vision of the director. Strategic approaches indicate how the subject will be comprehended, e.g. within which settings the violence will be positioned. From the methodological point of view, it is important to define violence and indicate the theoretical background and position the reversal theory in the appropriate settings. Moreover, indicating the context will help to determine how the movie employs various forms of connection with the viewer.
All the works of Denis Villeneuve are distinguished by a particular attitude to the display of the surrounding world. Even the fantastic films Arrival and Blade Runner 2049 try to make the story as down to earth as possible, to make it closer to the realistic attitude familiar to the viewer. The reason for such a passion for realism is Ingmar Bergman, who changed the perception of cinema for the then-young student Villeneuve, forcing him to change science to the cinema at the university (Mondal 2). This led to a fascination with details of the environment, closely incorporating them with the key elements of movie plots.
Villeneuve Filming Methods
Each of Denis Villeneuves movies takes us on a journey of illumination with his characters. Villeneuve enjoys giving his characters and audience members a sense of suspense or uncertainty. Cinematography is one of the major tools he uses to do this. When the protagonists in the movie are in peril, Villeneuves use of negative or empty space is another distinctive Villeneuve trademark (Mondal 2). With his story and coverage, Villeneuve keeps the viewer in the dark, both literally and metaphorically. His use of shadow and light is outstanding and to keeps his movies enigmatic, making extensive use of silhouettes and shadows. Both the vivid colors and the mystery that Villeneuve conveys to the audience through the use of shadows are felt by the viewers in different ways.
An illustration of the unique work with light can be a scene in the films middle where Kate sits against a white wall in a light-colored robe (Villeneuve 1:50-1:52). The light in this scene is set so that no shadows are left in the frame. By this, the director symbolically shows that she has no secrets and no longer hides anything from the viewer. At the same time, Alejandro is hidden in those, and his figure is barely visible. Thus, his secrecy and variability of character are emphasized. The viewer subconsciously becomes clear about which character can be trusted and which is not yet.
The director creates tension with unusual shooting angles, color contrasts, music, and sound effects. His cinema makes the viewer go along with the characters in search of truth, and after watching, it leaves them with questions that need to be considered for a long time. Villeneuves methods for connecting the viewer with the narrative and the image on the screen are revolving around violence. The director believes that the shocking realism of the murders and beatings helps the audience feel the characters emotions. Especially in this, Villeneuve is helped by car accidents. Accidents occur in his debut film August 32nd on Earth, Whirlpool, Polytechnique, Enemy, and even Blade Runner 2049. One of the most memorable scenes in Sicario (the opening sequence, filmed by one frame) occurs on the border where the heroes are stuck in traffic. The director explains this by saying that car accidents are the most familiar cases to humanity that can lead to death (Mondal 1). Moreover, Denis Villeneuve has a way of making his audience confused, anxious and uncertain with his filmmaking techniques (Hage 33). The film Sicario shows a typical structure of consciousness that moves people in most life situations. It lies in the plane of the mind and is based on a logical analysis of the situation, the identification of objective patterns, and the development of an adequate model of behavior. We can conditionally call such a structure of logical consciousness.
Analysis of the Psychic Aspects of the Film
The contrast between good and bad, as well as between friend and foe, serves as the movies core idea and centerpiece, helping the spectator relate to the characters and react to violent moments more effectively. Within these settings, Villeneuves gradient that stretches from good to evil does not change from light to darkness. The life of special agents on the Mexican border is a gradient of shades of black. No matter how to correct the main characters moral qualities, when the external environment in which they have located changes, they themselves have to change and become murderers (Altamir 78). Villeneuve in Sicario oppresses morality with the help of situations he creates for the main characters.
In the film, the characters Alejandro and Matt think logically. From the beginning, the films main character has established herself as a person with sound moral principles who will not resort to unnecessary violence. This is consistent with Altamir, Women are more afraid of crime (p. 77). In the film, the viewer can see how these heroes jointly solve many complex problems and achieve success despite numerous obstacles from people guided by thinking with a predominance of emotions and reason. These people include the heroes of the film, Kate and Reggie (Mondal 1). Their type of consciousness is subjective, emotional, and lying in the field of the mental. It can be conditionally designated as mental. They are entirely at the mercy of their personal experiences and subjective ideas, which makes their actions inadequate, destructive, and predictable.
These two types of consciousness correspond to the classical philosophical division of the personality into mind, soul, and body, which form a hierarchy. At the top of the hierarchy is the mind, which is the ability to intuitively contemplate ideas, values , and meanings and see their logical connections (Mondal 1). This is thinking in the highest sense, as it is as objective as possible and does not depend on subjective views and preferences. A step below is the soul, the psyche. It combines such abilities as rational thinking and emotions, which are related to the subjective components of personality.
Alejandro and Matt, in their actions, strive to increase consciousness to see the situation as clearly as possible. They introduce this clarity to other group members, increasing overall adequacy. Therefore, when Kate joins the team, they are teacher-intentioned to take her through a specific experience that would allow her to look more soberly at their work and as a result, at life in general (Mondal 1). However, Kate does not want to study because she is guided by mental attitudes that suppress consciousness in a person. Alejandro sees this perfectly, so he does not seek to explain anything to Kate in words. A person guided by the psyche treats words irresponsibly because, usually, words for him are a means of self-justification (Mondal 1). In general, for such a person, a word, a concept, or something that belongs to the sphere of an idea does not have an essential meaning. Therefore, Alejandro tries to immerse Kate directly into living situations that would help her come to greater consciousness through mistakes and their recognition (Mondal 1). Alejandro tells her that she will not listen to him, so she needs to keep track of what is happening, the actions, and their consequences.
However, like Reggie, Kate does not trust Alejandro and Matt because they unconsciously fear and despise such people. Such people, aimed at logical objectivity, can expose their false masks and, in a sense, are a threat to them. Therefore, Kate and Reggie are doing their best to prove to themselves and others that every objectively thinking person pursues his subjective interests and only thinks about how to humiliate or harm them. This becomes the representation of reversal theory, admitting the changeability of the behavior, which sometimes can be explained only by the inner perceptions of the human.
For a person with a mental, that is, a subjective system of consciousness, objective reality is limited only by its external manifestations. Therefore, the actions of people of this type primarily aim to create appearances (Williams 163). Such people work to create some external image, and their thinking is occupied solely with justifying their actions to strengthen this image. In addition, people with a mental system of consciousness are guided exclusively by the external, formal side of the rules and regulations they learned at the stage of training. The highest value for them is strict adherence to instructions. Their ideals are built on this, and their morality is based on it. They try to follow the letter of the law without rising to the objective spirit, which sees the limitations of the prescriptions and the impossibility of embracing all the phenomena of life with their help.
Therefore, Kate and Reggie are trying with all their might to play the role of moral and honest people pursuing idealistic goals. Moreover, although objectively, their actions testify to the contrary, their main thing is to maintain visibility and insist on their own formally correct interpretation of what is happening (Mondal 1). As a result of this attitude of consciousness, in the eyes of Kate and Reggie, all people who play this hypocritical game will be good. Consequently, Reggie considers the policeman working for the mafia a good guy, and Kate immediately shows sexual interest in him (Villeneuve, 54:00-55:34). This can make sense since they have many similarities in their attitude.
However, at the same time, subconsciously, she contempt the policeman because she intuitively knows that he is also a hypocrite as she is, showing her own dark side. Kates hypocrisy is manifested in the fact that she wants to fight crime only in such a way that she is thought of positively. She admits that legal actions do not affect the fight against organized crime. However, Kate does not want to change because her reputation may suffer. At the same time, fighting without changing the strategy leads to increasing number of victims. This makes Kate the exact opposite character of Alejandro, who is primarily thinking about how to destroy evil. Therefore, subjectivists internally despise almost everyone with a mental type of consciousness. Nevertheless, they will be especially hated by people who think the opposite of themthose who will expose their game and point to the actual state of affairs.
Hence, in her confrontation with Alejandro and Matt, Kate is trying to prove that they are acting dishonestly and unfairly, that they are bad people with low motives, and that she is a model of dignity and honesty. Therefore, she justifies her resistance to more developed professionals and unwillingness to learn from them (Mondal 1). Moreover, considering herself better than successful masters of her craft, she increases her self-esteem. Kate, therefore, will strive to do everything to drown out the voice of reason that she is inadequate and her actions are immoral because they harm the common cause. This reversal attitude is a key underpinning of the theoretical foundation of the analysis, which represents the inconsistency in human behavior and shaping the violence around.
Representation of Violence
The impact of violence in cinema has been the subject of ongoing debate for decades and often resurfaces after shooting tragedies. For example, after the 1999 Columbine massacre, critics questioned the role of shock rocker Marilyn Manson and other violent music played in the high school shooting. In 2007, similar questions arose after the Virginia Tech shooting when it was revealed that the shooter was an avid video game fan whose gaming preferences leaned towards violent shooters (Mondal 1). After two separate shootings at a movie theater in Colorado and an elementary school in Connecticut, attention is focused on the effects of film violence. On July 20, 2012, a gunman opened fire on a movie theater showing The Dark Knight Rises in Aurora, Colorado.
In Sicario, the director takes an approach to show the violence, with all its components and consequences for the main characters and their environment. Moral questions are brought to the fore, making the viewer look for answers and be shocked by their directness. Right from the start, the audience is introduced to the concept of violence in the content. The filmmakers ensure that they provide indicators that there will be multiple scenes of gruesome violence in the depicted world, perhaps to attract and retain the audiences attention. A note is provided that describes the title of the film and also associates it with violence (Martin 2298). It explains that sicario is slang for hitman in Spanish. The provision of a possible violent world and an explosion at the same time serves to set the stage for the satisfying thriller in the context. The world the filmmakers create is unpredictable in that violence can erupt abruptly and at any moment.
In the film, none of the parties is entirely on the side of evil or good, and there are many gradations of determining the moral aspects and qualities of the characters. Throughout the film, one can observe how the main character Kate, changes (Mondal 1). Simultaneously, changes do not occur without reason but under the apparent influence of external factors that shake it. Because of this, she loses faith in the justice system, which has to resort to cruel methods to solve problems. Similarly, the main character subconsciously understands that such tactics make sense because they show excellent results.
At the films start, the director exposes the audience to the kind of violence expected throughout the story. There is a large explosion that shows a man thrown by the force of the blast (Sicario 3:04). After the dust settles, the viewers see the victim dragging through the dirt with his head covered in blood (Sicario 3:14). A human hand, severed by the bast, is shown lying on the dusky ground (Sicario 3:44). The presence of the human hand indicates that there might have been several victims at the scene. In addition, an injured woman is revealed, with her head and shoulders bleeding profusely.
At the Mexican border, the film depicts various scenes of violence and death. Many people are shot at the border in just one scene, with the film showing a man being shot in the face through a window (Sicario 7:23-11:34). This scene also depicts the use of guns by the American security forces and the Mexican and some American drug cartels. Almost every character is armed and ready to shoot at any moment. The drug cartels and their subjects shoot several people at the border, and the bodies are shown lying in an open field.
In another scene, Alejandro shoots the family of a drug lord to revenge for the murder of his relatives (Sicario 21:16). In the scene, violence is perpetrated by a victim of violent actions on other innocent people. The audience can see that the family of the drug lord is innocent, yet they are exposed to violence because the patriarch is a criminal. Alejandro is subject to emotions and a thirst for revenge. Therefore, his meaning fades into the background. At the same time, he wants the villain to feel the same emotions that Alejandro once did (Sicario 23:17). The concept of morality and violence in Sicario is also emphasized using a suitable color filter that subconsciously presses on the viewers psyche. The events in the film themselves change and reshape the moral attitudes of the main character, after which she is ready to make a moral compromise.
While the films violence is overly realistic and believable, the agents actions seem justified in some cases. They find themselves in difficult conditions where people change through complex moral dilemmas. Sicario appeals to each viewers moral code, forcing them to think and form an opinion about where violence is used legally and where it is not (Mondal 1). However, some moments overflow with violence without benefitting the groups mission. For example, in the scene in which Alejandro shoots the children of the drug lord in retaliation for the fact that he killed his family (Sicario 23:18), the episode of violence does not bring any benefit to the overall goal. Still, it only satisfied the bloodthirstiness of one of the agents. At the same time, the scene of violence is because it partly shows what one act of violence leads to. A second one will follow it, creating a chain of cruelty that leads to numerous deaths.
In another scene, the film depicts mutilated corpses on the walls of a building. The camera focuses on these bodies to provide detail of the manner of death, which is attributed to violent murder (Sicario 33:27-36:08). The faces of the victims are covered with plastic bags coated in coagulated blood. The viewer can see several sustained shots of the bodies, which is thrilling to the audience. Following this scenario, the film shows numerous members of the SWAT team vomiting outside the building, an indication of trauma (Sicario 38:11).
Key Considerations on Violence in Sicario
Sicario is one of the finest instances of how the mere fact that violence is depicted in movies does not violate moral or aesthetic criteria. According to Villeneuves interpretation of his films cinematic images, it cannot and has no right to be peaceful or angelic (StudioBinder 4:52-8:24). Like many other movies, Sicario revives violence as a historical fact, one of the motivations for mans enduring drive for dominance. Furthermore, Sicario would not be any more credible than fairy tales if it attempted to convey a storyline in which there is no room for violence without using violent moments. Through the use of the story, the film aims to understand and explain the causes, manifestations, and effects of violence, demonstrating a complete approach to the problem.
Sicario does not in any way emphasize violence as the key representative of the plot and overall concept of the movie. Instead, it makes an effort to grab the audiences attention. It serves as the narrative backbone and is essential to how events unfold. While conveying the core of violence, the filmmaker was careful to preserve its beauty. The protagonists in the movie are constantly threatened with violence, and each choice they make might have a negative outcome. According to several research, the narrative that centers on murder and continual violence is the one that best maintains viewer attention (Mondal 1). This may make sense, but Villeneuve takes it a step further, identifying violence and violent action as a crucial motivators. This can be seen in the example of Alejandro who takes revenge on the head of the mafia for the death of his loved ones.
A skillful interpretation of the film may frequently justify the use of violence in a scenario. The expectation of the audience during the movie is what happens, and the producer does not have a complex plot that makes it hard for the audience to grasp the main plot (Mondal 1). The audience interpretation is what is used to decide the meaning of the movie; the effects of violence are to be understood from the viewers perception and not what the producer intended to show. In most cases, the results of the scenes in the movie leave a tormenting effect on the audience and the moments that the viewers emotions are affected by experiencing the scenes in which punishment is given to the actors.
It is crucial to recognize the repercussions of violence in Sicario in order to properly comprehend how it is used and how crucial it is for creating a connection with the viewer. Sicario employs the reversal theory to subtly blend various forms of violence while also cautioning against it. The warning against violence is demonstrated by the fact that the film shows how negatively it affects peoples lives. According to the theory behind catharsis, a persons failures in daily life may lead to irritation and, as a result, violent conduct (Fox 4). To prevent the viewers antisocial conduct from materializing, the movie makes an effort to control violence through demonstrating the negative consequences of violent actions. Thus, the violence in the movie aims to lessen the possibility of cruel conduct.
Sicario appears to be nurturing the development of an aggressive action ready. This is a reference to the perspective on aggressive conduct that develops as a result of, on the one hand, the spectator being aroused by violent scenes (Goldstein 178). However, the notion that violence in interpersonal relationships is acceptable when specific occurrences are present seems to be somewhat unreasonable. Even if there have been many violent fights, each one has had an effect that cannot be undone.
Films featuring excessive violence are usually condemned because, through associating with the character in the film, the spectator unwittingly or consciously adopts certain habits. He can later apply the knowledge on the screen to a genuine circumstance. The lesson here is that being exposed to violent figures in popular culture increases the risk of engaging in antisocial conduct (Goldstein 178). Villeneuve highlights the reversal theory and the fluidity of violence because there is no cure for violent actions. Reinforcement theorists contend that most people are unaffected by screen violence because they are not predisposed to antisocial conduct (Goldstein 178). This factor protects people from the influence that violence in films can have.
Classification of Violence in Sicario
In the modern scientific community, screen violence refers to any form of violent image or action on television, film, video, and computer games. This includes real-life violence documented in documentaries or shown on the news, violent actions images and actions in films, cartoon violence, and virtual violence scenes and actions in computer and video games (Anderson et al. S142). Most of the violent scenes in these categories reflect the kind of violence and aggression that may occur in society due to various reasons. Some violent actions and images include explosions, physical violence, gun shooting, use of weapons, and murder (Anderson et al. S144). Moreover, there has been consideration of psychological, mental, and verbal violence in the extant literature, which includes the use of aggressive and abusive words against the victim (Hill 27). Consequently, these classifications of violence ought to be considered when categorizing the violent actions seen in the film Sicario.
In this film, acts of multiple scenes depict different kinds of violence perpetrated by all parties- drug cartels, the law enforces, and common citizens. Gun violence, murders, explosions, use of crude weapons, physical fights, and other scenes that depict violence are common throughout the film. Noteworthy, physical violence is more common in the films language as different characters seem to use such acts to achieve certain goals, such as revenge. Furthermore, non-physical acts such as the use of abusive language are common. This kind of violence does not yet bear pathological passion but rather corresponds to Erich Fromms acceptable type of violence, which is reduced to a display of dexterity. The game of this violence is played with the viewer, even though the destruction of a conceptual barrier between the movie and viewers it is not necessary in this instance. The main thing is the hypnotic involvement of a person in the process of screen violence (Mondal 1). Its rules are simple and strict at the same time. Such violence is usually supported by various technical means: special effects, explosions, slow-motion effects, and other editing techniques (Fox 3). Then, it must remain within certain limits; the violence is not presented in its most extreme forms, submitting to the certain moral limits.
The game with the viewer is based on the principle of closer farther : violence is always outwardly painful, but it is not committed to the viewer and does not invade the comfort zone. It is universal, absorbs all attention, and goes from visual to auditory forms and vice versa, but never goes borders. The essence of this element in the movie is to comprehend the viewers feelings and perception of the plot but not to guide him. The movie is not attempting to provoke violence or serve as a blueprint for similar actions. It sets its own borders by emphasizing the consequences of violent actions and what it takes to live through it.
The violence of intimacy appears in the cinematic arsenal as the most shocking and, simultaneously, the most natural form of the aestheticized cruelty of the movie screen. Such violence returns the directors power over the viewer, so most examples of intimate violence relate to auteur cinema (Mondal 1). The spectator, accustomed to genre cinema, to the fact that the screen is not only a means of transmitting an image but also a defense, finds itself in a shock situation when the director connects the incompatible.
Reasons why Violent Scenes Entertain People in Movies
Naturally, people like watching violence because it is one of their ancient instincts. Once upon a time, nature introduced it into living organisms as a conservation tool: someone elses experience helped to avoid dangers (Fox 3). However, since then, man has come a long way in evolution, adopted moral precepts, created masterpieces of creativity, and reached the heights of the spirit.
People usually do what pleases them or helps them avoid suffering. Watching scenes where another person is hurt causes most viewers to feel their pain subconsciously. At the same time, people do not like such sensations (Fox 3). From this, it can be assumed that there are two reasons why people like to see other people hurt: they either do not feel the pain of others, or they feel it, but it pleases them. There is another reason: even in the most harmless person, another can see a hidden threat to himself. Viewers, for example, may experience negative emotions for a character and therefore, enjoy when he suffers.
The changeable nature of Sicario can be one of the cause for enjoyment of its violent plot. The viewers can not expect how the plot will turn and the style of the director emphasizes that something can occur in any second. In the movie, there are no black-and-white heroes, and their motives are not shown to full extent. Therefore, the viewer can feel pleased when the violent action starts because of the seemingly unimportant event or psychological gesture.
The more people contemplate violence on the screen, the more they get used to it, and this becomes the norm, increasing tolerance for violence. For the violence in the films not to feel so disgusting, one can resort to its derealization because the less reality of violence causes less rejection (Fox 3). That is why the viewer, with great pleasure, will look at scenes of violence in science fiction films rather than realistic films about the war based on actual events. The film Sicario, with all its aspects, indicates its reality, and it is not difficult to imagine the events shown taking place in real life. Therefore, the scenes of violence in this film cause unique feelings of suspense, surprise, excitement, anticipation, and anxiety in the eyes of the viewer. Although the storyline in Sicario is fictional, the events shown are very realistic in depicting the work of special agents in the fight against drugs (Mondal 1). Thus, the emotions that the viewer experiences when watching the film are closer to real ones, which leads to a sharper reaction. Thus, the viewer feels that the film was shot perfectly because the scenes shown in it are realistic and reflect reality.
Combining real-life situations and talented use of modern technologies for screening proved to be the best course for action for the movie and its admirers. The viewers appreciate a mundane setting, correlated to the current issues, but depicted in an intriguing manner. Most of Villeneuve movies are aesthetically pleasing and filled with perfectly staged violent action scenes. Curiosity is another reason why people enjoy watching violent scenes in movies. People often stop on the streets to look at car accidents. In addition, many people look at scenes of cruelty and death to test their psyches for strength (Fox 6). Even though fear causes unpleasant emotions, it attracts people by becoming addicted to this sensation (Mondal 1). People are also often drawn to death scenes in movies because it is a phenomenon they do not understand, and they want to see what happens and get used to their mortality.
Often people watch violent films to feel a sense of control. The viewers have the opportunity to experience violent events while being in a safe place and not being in danger. In some cases, scenes shown in films can resonate with real-life threats in peoples lives (Goldstein 177). In such cases, people watch violent films, suggesting that they are gaining experience for future tests that may happen in their lives to control dangerous situations better.
Although a particular category of people described above enjoys seeing others get hurt, this is not typical behavior. Regular television viewers look at violence for various other reasons that have to do with the films plot, the directors skill, or the way the story is told. All these factors add to the film a degree of tension and drama that sets people on specific emotions. People feel better when faced with something that scared them before and overcome the feeling of fear in themselves.
Sicario, in this sense, represents and combines all the categories and criteria described to provide a viewer with perfectly shot and aesthetic violent action scenes. It nurtures curiosity, leads to dislike of changeable personalities and narrative, at the same time making connections to the viewers since the very beginning. Therefore, the violence represented in Sicario can be understood as an essential part of the movies essence, which guides and develops the understanding of the directors vision.
Conclusion
Violence in films and popular culture has always attracted large audiences. This happened for several reasons investigated in this work. People like to watch violent movie scenes mainly because of self-preservation. From the time when a person begins to develop, instincts tell him what to do (Goldstein 174). The audience is interested in what will happen if some action happens to a person that will lead to severe injury or death. This is because most people do not experience it in real life.
In the total number of average viewers who enjoy watching violent scenes in films, a separate category that differs from them can be distinguished. One who takes pleasure in watching the humiliation of another and inflicting pain on another is a sadist. Sadists feel another persons pain more than others and enjoy it at least as long as this pain lasts. After that, they may feel inadequate. In the public mind, sadism is associated with murderers and executioners, those who torture. Usually, they like violent films, are delighted with fights, and are interested in torture. There are a few such people, but not enough to ignore them. The on-screen violence of intimacy is still representative. It does not stab or cut the viewer but displays violence so that the viewers inner sphere merges with the external factors of cinema. The tools of such violence are less diverse than those of the game and institutional types.
Denis Villeneuve suggests that cycles of violence are a fundamental aspect of human civilization. The films by Villeneuve just demonstrate that these cycles really occur rather than defending or denouncing them. It is totally up to the observer what meaning he or she makes of their existence. Cycles of violence begin at a certain point and, once they do, they feel at home in the background of daily life, regardless of the causesineffective legal systems, progressive crusades, or clashing philosophical views. Villeneuve prefers to educate the audience about the cycles on which he bases his movies rather than glorifying them. All of these cycles originate in various locations, but they all come to a tragic conclusion there. If this type of brutality is indeed the foundation of the society, action must be taken. People employ violence because they cannot think of any other method to accomplish their objectives, and as long as this is the case, daily cycles will continue.
Sicario refers to violence in all its manifestations, whether justified or not. The main characters are guided by their emotions and survival instinct. Violence was considered in the example of the film Sicario, directed by Denis Villeneuve in work. The film used violence frequently, and at some points, the scenes were gruesome and realistic. Nevertheless, the picture gained worldwide recognition and won several prestigious awards. The fact is that the violence there is shown so realistically that it frightens and repels the viewer. It makes people admire the work done and the vision of the creator. Nevertheless, this is only one aspect of why Sicario has gained such fame. The picture skillfully addresses its viewer through the psyche. Sicario shows how the characters change, especially the main character, which can be explained by the reversal theory. The director, being in line with the theory, emphasizes the changeable nature of violence and how human perspective can shape the behavior. At the same time, the film mainly appeals to the viewer psychologically, forcing them to ask themselves questions about how each of them would act in a similar situation.
Works Cited
Altamir, Ganindra Ahmad. Womens Resistance Against Sexual Violence in The Keeping Room Movie (2014). Litera Kultura: Journal of Literary and Cultural Studies Vol. 8 Chap. 3. 2020, pp. 76-83. Web.
Anderson, Craig A., et al. Screen violence and youth behavior. Pediatrics 140. Supplement_2 (2017): S142-S147.
Apter, M. J. Zigzag: Reversal and paradox in human personality. Troubador Publishing Ltd, 2018. Print.
Goldstein, Jeffrey, editor. Why We Watch: The Attractions of Violent Entertainment. Oxford University Press, Incorporated, pp. 179 211. 1998. ProQuest Ebook Central, Web.
Goldstein, Jeffrey. The Attractions of Violent Entertainment. Department of Media & Communication University of Utrecht. Media Psychology. Vol. 1, pp. 271-282. 1999.
Grant, Keith, Editor. Film Genre Reader IV. University of Texas Press. 2012, pp. 160 -177. ProQuest Ebook Central, Web.
Hage, Ralph. Violent Identity: The Coliseumand the Narrative of Death. Arts and Architecture Journal, 2(2), 29-42. 2021.
Hill, Annete. Shocking entertainment: Viewer response to violent movies. University of Luton Press, 1997.
Mariani, Luciano. Why do we pay to get scared? The paradoxical lure of horror films. Film Studies Dossier (2019): 1-9.
Martin, G. Neil. (Why) do you like scary movies? A review of the empirical research on psychological responses to horror films. Frontiers in psychology 10 (2019): 2298.
In the final scene of the movie Gone Baby Gone, the main character, Patrick Kenzie, encounters a moral dilemma and makes a difficult decision which ultimately impacts the lives of many people. Patrick is a private detective who was hired to investigate the case of a kidnapping. The mother of a kidnapped child, Helene, is a drug addict. Before the kidnapping, she mostly neglected her little daughter and did not demonstrate a bit of emotional bonding with her. First, it appears that the girl was kidnapped by a drug dealer whose money Helene had stolen. But, ultimately, it is revealed that the whole situation is planned by the uncle of the girl who deeply loved his niece and, wishing the best life for her, arranged the kidnapping to place little Amanda in the foster family of Jack Doyle, the police chief, and his wife. Even after Amanda was officially declared dead, Patrick does not give up the case he discovers the conspirators and ultimately arrives at Doyles house where he finds Amanda happy and alive. Without the consideration of the motives that triggered the kidnappers actions and their good intentions, Patrick decides that the girl should be returned from the house of a caring couple to the mother and calls the police.
According to Kants philosophy, the nature of human consciousness is comprised of two major aspects: sensuous gratification and social rationalization (Bustos 248). At the same time, he considers that morality can be defined by three factors: duty, inclination, and fear (Schapiro 231). Rational nature is regarded by the philosopher as an autonomous agent and as equal to universal validity of moral requirements (Reath 173), while the inclination is considered an anti-rational phenomenon (Schapiro 232). Therefore, from Kants point of view, it is moral to obey the voice of reason. Reason itself is a duty a requirement which arises from reasoning and determines individual obligations towards oneself and others, and humanity as a whole (Bustos 241).
Judging Patricks choice from a Kantian perspective, it seems that in his decision-making, he primarily relied on his rational, non-emotional nature. He was driven by the social principles of morality and regarded the case of kidnapping, even when it is motivated by the best intentions, as a crime an action that threatens social well-being. Therefore, at first blush, his decision to return Amanda to her mother can be perceived as moral and ethical. However, Kant also claimed that an action can be regarded as moral when it is performed only due to respect for duty (Timmermann 170). It means that if individual behavior follows the principle of moral duty but, at the same time, is motivated by an inclination (a need or desire that should be fulfilled), then it cannot be called moral. Since it coincides with duty, it is not immoral as well and, thus, Kant regards such an act as legal, i.e. made by law but exclusive of ethical content (Timmermann 171).
In the final dialogue with Doyle, Patrick says that he would never forgive himself if he broke the promise given to Helene and left Amanda with people who stole her. Thus, it is possible to say that to some extent his choice was made out of fear or the inclination to avoid unpleasant feelings. If so, then his decision contradicted Kants Second Maxim because he treated others not as ends in themselves but as a means to an end as a means to fulfill his inclination.
Overall, it is hard to say if Patricks choice was moral or immoral because by his decision he likely caused suffering to many people. Nevertheless, his action was not motivated by some positive inclinations and was not merely built on emotions. By Kants perception of morality, it was rational, based on reason and duty which was also confirmed with Patricks intuition. And from a Kantian perspective, the relative and subjective degree of human intuition equals the absolute dictate of moral requirement and, therefore, it is ethical.
Works Cited
Bustos, Keith. Defending a Kantian Conception of Duties to Self and Others. The Journal of Value Inquiry 42.2 (2008): 241-54. Web.
Reath, Andrews. Agency and Autonomy in Kants Moral Theory. Oxford: Clarendon, 2006. Web.
Schapiro, Tamar. The Nature of Inclination. Ethics 119.2 (2009): 229-256. Web.
Timmermann, Jens. Simplicity and Authority: Reflections of Theory and Practice in Kants Moral Philosophy. Journal of Moral Philosophy 4.2 (2007): 167-182. Web.
Chemistry is the branch of science that deals with chemicals are reactions. There are several aspects of chemistry, for instance, synchrotron radiation. Radiation is the energy that is emitted from a source as electromagnetic and travels via or through space or some materials. On the other hand, a synchrotron is a cyclotron where a magnetic field strength may increase with the energy of the respective particles keeping the radius of the orbit constant.
Therefore, synchrotron radiation may be said to be the radiation of electromagnetic that are emitted by particles that are charged and passes through a magnetic field. Synchrotron radiation is a chemical process that can also be used in the determination of the structure and composition of coating in a metal. There are several applications of synchrotron radiation. However, this is a research paper on how thin-film analysis using synchrotron radiation may be used to determine the structure and composition of coating in an aircraft metal. This report aims at investigating and utilizing synchrotron radiation to determine the structure and composition of the coat and develop an analytic plan for the sample used.
Literature review
Synchrotron radiation can be applied in several chemical processes. This process is important in scientific research and study, especially chemical-related research. The process can be applied in X-ray and determination f coating in metals among others. Furthermore, synchrotron radiation can also be applied in astronomy. Several factors can cause coating in a metal. Generally, coating in metals is rust. Rust is caused by a combination of oxygen and water on metal surfaces. This affects the quality of the respective metal and other effects among others (Mouse 2006).
Synchrotron radiation is concerned with electromagnetic emission that is transmitted through a surface or a particle. The coating on metal is caused due to electromagnetic emission. Several applications can be used in the determination of metal coats through synchrotron radiation, for instance, thin-film analysis. Therefore, the determination of structure and composition of coating on metal may be easy through the application of thin-film analysis using synchrotron radiation. Several properties can be used in the determination of synchrotron radiation, for instance, high stability. Synchrotron radiation is stable hence enabling it to easily be applied in several chemical processes.
This has also increased the reliability of the process in different chemical applications where it is used (Nelson 2006). Secondly, polarization, synchrotron radiation is polarized hence has both circular and linear properties. This enables synchrotron radiation to be used in different chemical application processes. Third, synchrotron has high flux. High flux in the synchrotron is characterized by photon beams of high intensity that are essential in rapid experiments. This enables the synchrotron to easily accommodate any chemical processes irrespective of its strength. This feature enables synchrotron to be applied in both strong and weak scattered crystals (Lyn 1995).
Synchrotron radiation also has a broad spectrum. This allows users to easily select the desired wavelength for the respective experiment they are conducting. This has increased the application of synchrotron radiation in different chemical applications or experiments. Synchrotron radiation also has a pulsed time structure. This is considered among the most important characteristics or features of synchrotron radiation. It enables synchrotron radiation to be used in different chemical processes, but with the result being obtained at the same time or within the same time frame. The feature has enabled synchrotron radiation to possess the ability to allow for resolution of processes within the same time frame (Liveris 2000).
Several factors may cause coats on metals. Metal coats have several effects, especially metals that are in use such as motor vehicles and aircraft among others. Furthermore, components of coating on metals also differ depending on the cause of the coat. There are several effects of metal coats on aircraft. Generally, most of the coating on aircraft metals leads to accidents and aircraft failure during taking offs. There are several incidences of aircraft failure during taking off and landing due to the coats on the respective aircraft. However, there are other components and structures of coats on metals that can be controlled hence avoiding the risks associated with coats on aircraft metals such as take-off and landing failure. The coating on aircraft adds weight to aircraft leading to take off and landing failure (Lenox 2005).
Methodology
Several research methodologies can be used in the determination of structure and components of metal coats, for instance, quantitative and qualitative research methods. This section focuses on the research methodology of the study and the theory of research design in detail. There are different types of research methodologies that can be used in research methods, for instance, qualitative or quantitative. Choice of the research method to use in research depends on the subject matter or topic nature of the study and intended data to be collected among other statistical characteristics or features. Furthermore, the research should be designed in such a way that the study topic is effectively and adequately addressed.
The data collection method should also be reliable depending on the nature of the study and required data. There are two types of data collection methods, for instance, primary and secondary data collection methods (Kessler 2007).
Considering the nature of the transport industry, especially aircraft, the research should apply both qualitative and quantitative research methods. The application of both research methods will enable effective and adequate research on the study topic considering the dynamic nature of the industry and the subject of study (St. James Press 2004).
Moreover, the data collection methods should be both primary and secondary data collection methods. Data required for this research should be obtained from primary sources and secondary sources to enable comparison of the obtained data with past research on the industry because there are similar researches that have been conducted in the past and different results obtained. This will also ensure that the results are realistic and reliable hence used for future reference by other researchers in the field of study. The results of the research may also be useful for professionals in the transport industry especially those dealing with the safety of aircrafts (John 2011).
Problem statement
What are the components and structure of aircraft metal coats?
Desk research
Secondary sources search will be conducted with an aim of refining objectives and provision of enquiry lines for the subsequent stage of the research. This stage of research will assist in the evaluation of components and structure of aircraft metal coating that has been obtained in the past and a comparison made with the present result that will be obtained from the research study. This stage will also be useful and important because it will require the identification of characteristics that have been used in the identification of aircraft metal components in the past years. There are several objectives of this stage of the research though its main objective is comparison and evaluation of past results on this study topic and the present result obtained. Several procedures must be followed to ensure that the study topic is adequately and effectively handled (Patrice 2004).
This stage will be conducted after obtaining data from primary sources or after conducting the research personally and coming up with results. Results obtained from the primary data must be compared with results of past research on components and structure of aircraft coating. Several articles, research journals and books on the study topic will be useful in this area. It will also enable validation of the research results obtained from the research study (Jeffries 2011).
Desk research is a secondary data obtaining method. This is because it involves obtaining data or information from stored or electronic sources. It involves the use of past information. There are different components and structures of metal coating. However, this study must involve past research on components of metal coating that were determined through the synchrotron radiation process. It will also involve a comparison of other chemical application processes that synchrotron radiation have been used or applied and the result obtained (Hill 2000).
Quantitative research
The study will be quantitative research. Different quantitative researches methods can be used; however, this research study will incorporate the use of experiments. This is because results can only be obtained from this research after an experiment is conducted to determine the components and structure of the metal coat of the aircraft. An experiment procedure must be designed to ensure appropriate data is obtained from the research study. EXAFS, SIMS, XANES and XPS will be incorporated hence desired analytic information obtained (Goldblatt 2010).
Diagram illustrating the XANES experiment observation.Diagram illustrating XPS results obtained from the experiment.
Experiment procedure
A sample of the metal must be obtained and present in a laboratory for the experiment. Necessary chemicals must also be presented to ensure that the required equipment and materials are availed before the experiment is conducted. The experiment should be conducted in a scientific laboratory. The experiment to be conducted aims at determining or identifying features or characteristics of different metals and coating agents. There are different types of metals and coating agents. However, they have different reactions to chemicals. Therefore, the chemical will be used in the aircraft and observation made.
Thereafter conclusion was made on the possibility of the metal and coating used in the aircraft considering observations made and results of past research on the coating of aircraft and materials used in designing and manufacture of an aircraft and their chemical characteristics. Furthermore, the comparison must be made with the past result because several pieces of research have been conducted to determine the composition and structure of aircraft metal coating (Ferguson 2010).
Results
The research carried on components and structure of aircraft metal coating revealed that metal used for aircraft is steel with an electroplated metal coating. Furthermore, the steel used in aircraft is coated with chromium. The coating lacks nickel and copper thickness under layers. Generally, the aircraft metal coat was discovered to compose of steel and chromium. This is because the steel used in aircraft was discovered to be electroplated steel with chromium coating.
Furthermore, the results revealed that there were traces of nickel and copper. The nickel and copper were present as under layers. They were about 2mil in thickness. This made it difficult to easily determine their presence in coated aircraft metal. However, chromium was the most dominant component in the structure and composition of the coated aircraft metal. Generally, the structure of the metal was designed as follows, chromium, traces of nickel and copper about 0.3 to 2mil thickness and steel, which was the main metal being coated.
Discussion
Results obtained from the experiment revealed that the metal used in aircraft is steel. Furthermore, the steel is coated with chromium. This is because the metal coating is used to reduce the corrosion of metals and increase their durability in the environments where they are used. These results conform to past results on the composition and structure of aircraft metal coating. However, the earliest research on the study topic revealed that zinc was also used in the coating of aircraft metal before the electroplate coat was developed (Conley 1998).
Many metallic materials have been developed. There are different areas where metals are being used hence the use of a metal determines the choice of the respective metal to use. However, steel has been proved to be the best metal for the construction of different materials and equipment in the entire globe. This is due to its durability and reliability status. Basically, steel is commonly used in the manufacture of automobiles, industrial machinery and other appliances among others. Steel is exposed to chemical attacks on the environment. Steel can also be attacked by other simple corrosion available on the environment.
There are several corrosion components available in the environment. This has made it impossible or difficult for a single metal component to effectively resist corrosion in the environment. Therefore, this has necessitated the coating of metals used in the environment to increase or boost their durability and resistance to corrosion in the environment (Chart.com 2011).
Coating recommended for metals is considered with the respective environment where the coated metal is intended for use. Before choosing the metal coat to use for metal, several factors must be considered or put into consideration. Generally, the factors that must be considered include mechanical conditions where the respective metal is going to be used. Metal coats should effectively be able to resist mechanical threats and increase the durability of the metal. This will reduce the number of changes that have to be made and services required for the respective metal while in use in the respective field or environment, for instance, aircraft.
An aircraft requires a metal that has a coating that can adequately prevent the metal from mechanical conditions involved considering the nature of aircraft and the mechanical challenges exposed to aircraft (Sweeney 2010). Secondly, the environment, metals used in aircraft should effectively protect the aircraft from environmental corrosions. Several environmental factors lead to the corrosion of metals. Therefore, metal coating of metals used in aircraft should effectively resist corrosion caused by environmental factors. Aircraft are highly exposed to environmental factors that can easily cause corrosion considering nature of the transport and conditions under which aircrafts operate (Uche 2003). Finally, thermal, this is also considered one of the most important factors to be considered in choice of the coating to use in aircraft metals.
Aircrafts are not only exposed to environmental factors and mechanical conditions but also thermal conditions. Aircrafts operate both in air and land. This is because an aircraft has to land and fly to its destination. Different environmental conditions are prevailing in air and on land. Differentials in environmental conditions in air and on land have led to differentials in thermal conditions. However, metals used in aircrafts have to adapt by both thermal conditions prevailing in the air and that on land. This makes it difficult to decide on a metal coat to use for aircrafts. The coat should be able to effectively resist and adapt to the differential thermal conditions prevailing in air and on land (Bowdin 2009).
In the past, aircraft metals were zinc coated. However, due to improved technology and the development of other important and most effective methods of coating. An electroplated method of coating metals was adopted. Aircraft uses steel because steel is the metal that is used in most metal manufactured materials in the globe. However, due to environmental, thermal and mechanical factors consideration, steel cannot effectively be used and desired durability and efficiency achieved.
Therefore, the electroplated metal coating is the most effective and efficient coating that is recommended for aircraft metals. Generally, electroplated metal coat embraces the use of nickel and chromium plating because several materials were used but restricted by Environmental Protection Agency. The methods that have been banned by the environmental protection body are lead-bearing, cadmium and cyanide solutions.
Though nickel and chromium plates are the recommended metal coats used mostly, aircraft basically uses the chromium coating. This is because the chromium coating has low friction and anti-galling characteristics. However, chromium coating is usually applied without the incorporation of nickel or copper thickness under layers. The metal coating is an important factor in chemistry. This is scientific research that has been developed due to the high-risk exposure of metals to broadband corrosion (Brown 2011).
Steel is the metal that is considered best in aircraft use. However, it is exposed to corrosion due to thermal, environmental and mechanical conditions that aircraft are exposed to. This is because steel like any other metal is vulnerable to attacks posed by thermal, environmental and mechanical conditions. These attacks compromise the quality of steel use. However, coating of steel reduces corrosion risk and enables the steel to adequately resist corrosion. The coating also enables the steel to last long. Steel is extensively used in the manufacture of different appliances, for instance, aircraft and cooking materials among others.
The most appropriate coating technique for steel is electroplated metal coating. Though there are different types of electroplated metal coating, the application of each depends on the mechanical, environmental and thermal conditions the material is exposed to, for instance, cooking equipment (USC Marshall 2011). The best-electroplated metal coating method suitable for food handling or cooking equipment is nickel coating.
This is due to thermal, mechanical conditions and environmental factors or risks the materials are exposed to. Nickel is best in heat regulation and other factors that may cause corrosion for steel while in use. On the other, chromium coating is the best-electroplated metal coating method that can be used in the protection of steel used in aircraft. This is because chrome can effectively resist thermal, mechanical conditions and environmental factors that aircraft are exposed to (Abram 2009).
Conclusion
Several coating methods can be used in metals. The metal coating is used to reduce the corrosion of metals and increase their durability. Though steel is extensively used in the manufacture of different materials and equipment, it cannot effectively resist corrosion. Metals are also used in different environments hence exposed to different corrosion threats. Environments, where metals are being used, determine the corrosion possibility of the respective metals.
In the past years, zinc coating was extensively used in the coating of steel. However, due to increased research, the electroplate coating method was developed. Due to environmental preservation and concern, some certain materials or components are prohibited for use in electroplating, for instance, lead-bearing, cadmium and cyanide. Other materials are recommended for use but nickel and chromium are the commonly used coating materials. Choice of the coating material to use entirely depends on the environment where the material will be used and the corrosion threat it is exposed to. An experiment was conducted to determine the composition and structure of aircraft metal and it was discovered that the metal used was steel. Furthermore, the steel was electroplated with chromium.
Traces of nickel and copper wire with a thickness of about 0.3 and 2mil was detected. These components also had importance in protecting the metal from thermal effects especially heat that aircraft are exposed to. They were also important in ensuring control of mechanical conditions that aircraft are exposed to. Basically, the steel used in aircraft is electroplated with chromium because chromium is the most suitable coating material that can effectively and efficiently resist corrosion that can be caused by thermal, mechanical conditions and environmental factors that an aircraft is exposed to.
Furthermore, chromium is effective in corrosion resistance if used with copper and nickel because they assist in thermal control and mechanical condition that aircraft are exposed to. Therefore, considering thermal, mechanical conditions and environmental factors and past research and design of an aircraft. An aircraft is indeed made of steel that is electroplated with chromium. Additionally, thin-film analysis using synchrotron radiation was the best method to determine the composition and structure of the aircraft metal coating.
List of References
Abram, D 2009, Modern techniques of physical science. Indiana: Pearson Education.
Bowdin, F 2009, mass spectrometry principles and applications. New York: Springer.
Brown, A 2011, Atkins physical chemistry. U.S.A: World Future Society.
Intended audience: The documentary is intended for geologists who wish to expand their knowledge and skills, specifically regarding how planet Earths geography has revolutionized over time.
Purpose
The purpose of the documentary is to disclose that geology is a crucial discipline in delineating world formation, structure, and evolution. It should help people make future wise decisions that can help safeguard the planet. The director intends to enlighten the audience on the importance of Scotland and Scottish geologists in promulgating the discipline of geology. Accordingly, the documentary supports the notion that Scotland-based people and Scotland-born people have primarily contributed to the global view of geology (The Royal Society of Edinburgh, 2016). The documentary additionally reveals that the Scottish enlightenment alongside the intellectual thought among Scottish scholars helped promote many great ideas about the planet.
Prior Knowledge of the Subject
I had little information about Scotlands contribution to world geology through notable figures whose participation extensively improved the field. Scotlands geographical features and landmarks also add meaning and understanding to world geology. I hoped to see a lot of scientific deductions and quantitative analyses that would result in empirical findings. Besides, I expected inferences based on calculations and some scientific elements, like charts and graphs. My previous question about the subject is how geology contributed as a scientific discipline in academics. I have learned that geology is a derivative science that employs concepts from all the other sciences to create meaning and understanding.
Documentary Summary
The documentary is structured in three phases that outline the planet Earths tour, focusing on Scotland and Scottish researchers. The first phase identifies a world in motion and reveals a continually changing planet characterized by a revolution over thousands of years. The second phase of the documentary discusses a succession of worlds. The documentary portion tells of a real-time gap that is only evidenced in rock formations and layers piled over millions of years (The Royal Society of Edinburgh, 2016). The third phase explores the anthropocentric world and reveals that humans are a significant driver and influence the current and future world instead of the natural factors that initially defined the planets geology.
Camera Works and Special Effects
The sound effects are impressive because they add to the continuity and set in a proper transition between the various phases and parts of the documentary. The sound effects also arouse emotions in the viewers, particularly in the region that reveals the thunderous and scary nature of the Victoria Falls on the river Zambezi. The images are sharp and show a clear picture of the intended scene or object. Besides, the better part of the documentary was filmed in shoulder-level and eye-level shots. Still, high-angle and low-angle shots were equally used during filming. Unfortunately, the documentary did not focus on any interview but mainly consisted of a professional talk from Professor Iain Stewart. Special effects have been used in the documentary, mainly when the professor explains the crystal growth after volcanic eruptions that created the massive rocks evident to date.
Personal Comments and Recommendations
The best part of the documentary is the part that outlines the Victoria Falls on the river Zambezi. The scene is beautiful and frightening at the same time but lovely to watch. I learned that the foundations of the African continent could be traced from the region, and I was surprised to learn that the Vitoria falls descend over 100 meters below the surface. One drawback of the documentary is that it featured a passive audience that is not part of the documentary. Overall, the documentary is educative and reveals a lot of adventure, and therefore, I would recommend it to my friends.
For data to be meaningful, it has to be arranged in what Levi and Rubin call meaningful pattern[s] (p.10). In this work tables and other statistical graphics are used to plan, collect and prepare data on the US smartphone market and the movie industry.
The US smartphone Market Statistics
The table below summarizes Arik Hesseldahls story appearing on Bloomberg about the eye-catching quick rise in Googles Android market share in the US. It shows that RIM and Apple hold the largest market share and that all players apart from Google Inc. registered a reduction in sales.
US Android market share
Manufacturer
Qtr 1 2010
Qtr 2 2010
Change
1
Google Inc.
12
17
5
2
Research in Motion Ltd (RIM)
41.1
39.3
-1.8
3
Apple Inc.
25.1
23.8
-1.3
4
Microsoft Corp.
14
11.8
-2.2
5
Palm
4.9
4.9
0
The conical histogram below gives a visual presentation of what happened.
The green corns representing activity during the second quarter show that Google gained sharply while the rest of the players experienced decline in market share. The fact that the other players experienced negative growth is a strong indicator that the market preference is quickly shifting from blackberry to androids.
Movie production statistics
The frequency table below summarizes movie production studios whose movies hit the top 50 most watched movies. It ranks the movie makers according to how prolific they were in 2010. The data used in this table is collected from the Yearly box office charts in the article Lees Movie Info (leesmovieinfo.net).
The pie chart below shows that 51% of the best 50 movies produced in 2009 and best 50 movies in 2010 are within the $1 to $100 million class.
Conclusion
There is a saying that a picture speaks a thousand words. If research is done to collect meaningful data, statistical tables and graphics can be used to bring out information that is easy to understand.
References
Hesseldahl, A. (2010). Google Androids U.S. Market Share Jumps as RIM Falls, ComScore Data Shows: Bloomberg. Web.
Levin, Richard I. & Rubin David S. (1991) Statistics for Management. Englewood Cliffs, N.J., Prentice Hall.
Yearly box office charts. (2010) Lees Movie Info. Web.
The Orthodox branch of Christianity in Russia acquires bizarre features, characterized by many rites, signs and traditions. The population in large cities of Russia lives a secular life, despite the fact that many Russians are religious. In remote settlements, especially among indigenous peoples, traditions that appeared on this land many centuries ago are preserved. Werner Herzog visited the most remote corners of Russia to give an insight into the unusual rituals in the movie Bells from the Deep.
One of the most unusual traditions is baptism: the childs head is dipped in icy holy water. According to Orthodox tradition, the mother cannot be present at the ceremony (Herzog, 2012, 00:14:00-00:15:00). In the old days, baptism had to be carried out the sooner the better, and the mother could not be in the temple for the first 40 days after childbirth. Another interesting moment is connected with holy water: Russians carry five-liter bottles of water to the temple in order to receive holy water on major church holidays.
One of the beliefs that has existed in the Orthodox world for several centuries is the legend of the city of Kitezh, an analogue of Atlantis. According to the myth, the conquers wanted to capture Kitezhgrad; however, the streams broke out of the ground and the city went under water. Since then, believers have been trying to find evidence of the existence of this mythical place (Herzog, 2012, 00:30:00-00:55:00). Only those who are pure in heart and soul can find eternal peace in Kitezhgrad.
Not only the religious traditions of the Orthodox are interesting, but the history of religion in Russia in the last century. During communist rule, religion became illegal and churches were demolished or misused. Nevertheless, the Russians did not cease to be believers, the rites of baptism, weddings, funerals were still held. When industry grew in large cities and factories were built, in remote villages people continued to live in the old way, to be treated with rituals and to pray.
Thus, religiosity manifestations in Russia can take on bizarre features. Orthodox rites may seem strange, but they are an integral part of the culture of many Russian peoples. The religiosity of Russians is strong, and it did not transform even during the ban on faith. Despite the fact that Russia is a large multinational country, all people are united by a special reverent attitude towards their traditions.
This course has significantly influenced my understanding of religions throughout the world. I had a basic understanding of each of these religions. However, because religion is a challenging subject to address, I did not have a more profound knowledge of what is at the heart of religious beliefs. The movies Malocchio and Buddha Realms and literature encountered in the course offered me a more attractive explanation for religious traditions. They cleared me of the uncertainty I had about specific behaviors and practices. Now that I have a complete understanding and a newfound respect and admiration for each religion.
The film Malocchio was interesting due to the versatility of the history and comprehension of the evil eye and because it recounts some of the more compelling stories related to the phenomenon. Throughout her years of research, the Agata de Santis encountered numerous people that experienced magical qualities of the issue. She explained why most people agreed on the truthfulness of its effectiveness but refused to believe in evil eyes. The film goes into great depth regarding the amulets, incantations, and other forms of protection that people employ to combat the malocchio. This film was a realistic depiction of how diverse religious beliefs are and how broad the term can be.
After watching the film Buddhist Realms and reading relevant publications, I gained a better grasp of Buddhist traditions and their contemporary effect on the western movement. Even though the two faiths have quite different doctrines, it is feasible to draw a close connection between Buddhism and Catholicism since the latter is built on the relationship between humankind and God, while the former is not. The Three Jewels and the Holy Trinity are emblems that are comparable. The Three Jewels provide protection and direction to Buddhists. The Buddha serves as a guide, Dharma illuminates the road via Buddhas teachings, and the Sangha is the Buddhist community.
Both faiths contain eternal spiritual beliefs regarded as the source of all good things. Both The Son and Buddha lived among people and preached The Golden Rule: treat others the way one would treat themselves (McMahan, 2009). Meditation in Buddhism leads individuals in the correct route (McMahan, 2009), whereas prayer in Catholicism reflects Christs life (Lester, 2005). Meditation is used to halt the mind from racing through a stream of ideas. Meditation clears our minds of delusion, ignorance, prejudice, jealousy, and other stumbling blocks to good judgment.
However, religion may be viewed outside the current framework of shared ideas and literature, local venues and scheduled times for worship, and educated ministers and academics. Contemporary religion package of characteristics which wide distribution reflects many centuries of economic growth and colonial control, post-colonial state-building, and the role played in both by some modern European religious concepts (Bowen, 2018). As a result, Im even more driven to understand how to handle religious ideas and history, particularly in light of religious minorities.
The book Religions in Practice made the most significant contribution to understanding religions distinctiveness and adaptability, especially in light of the shift to online practices. My attention was piqued by the growing importance of virtual communities in modern religion and its early stages. It helped me understand religion as an institution that evolves through time rather than as a set of long-established traditions. Virtual religion is ever-changing, but for the time being, I have found it beneficial to separate three types of activities from the plethora of sites: disseminating information from authorities to students, encouraging contact among followers, and doing worship or other effective acts.
References
Bowen, J. R. (2018). Religions in practice. Routledge.
Lester, R. J. (2005). Jesus in our wombs: Embodying modernity in a Mexican convent. University of California Press.
McMahan, D. L. (2009). The making of Buddhist modernism. Oxford University Press.
It now became a commonplace practice among many political scientists to refer to at least a good half of African countries, as failed states. After all, it is not only that, after having gained independence, these countries failed at improving the living standards of ordinary citizens, but also many of them in fact regressed back into the primeval savagery, while being turned into nothing short of a battleground for the never-ending tribal warfare.
One of the reasons for that, is that regardless of what happened to be the specifics of their political views, African leaders do not seem to understand what the concept of statehood stands for, in the first place. In my paper, I will explore the validity of this suggestion at length, in regards to the Nigerian film Do or Die Affair, while explaining my reasons to believe that neither of the characters of politicians, featured in it, can be considered a good model of leader for African countries.
Probably the main psychological trait of a true leader is his or her ability to prioritize the interests of nation/people above all. This is the reason why ordinary people tend to think of individuals who exhibit such a trait, as being somewhat odd even in their private lives; these individuals tend to spend most of their time thinking how they can contribute to the well-being of their co-citizens.
Films politicians, however, represent an entirely opposite breed of people. All they do, throughout the course of the film, is trying to seduce each others wives and figuring out the ways to blackmail their opponents.
The very external appearance of these politicians (with the possible exemption of the character of the President), betrays them as being just about anything but leaders, as they are clearly overweight. This is because those who expect that they will be able to serve their people, while in the position of a leadership, must be capable of keeping their animalistic urges under control including the urge to turn consuming food into their main preoccupation in life.
Another trait of a true leader is his or her existential sovereignty. That is, people who aspire to become leaders must not allow their relatives to affect their opinions, when it comes to decision-making. Unfortunately, neither of the politicians, featured in Do or Die Affair, appears to be capable of thinking independently of what happened to be the opinions of their wives/mistresses.
In it is specifically the films female-characters, who seem to be in the actual charge of what is going on in the country, because unlike what it happened to be the case with their husbands/lovers; they know how to take advantage of other peoples psychological weaknesses.
After all, Do or Die Affair features a plenty of scenes, in which supposedly secondary female-characters masterfully endow men in high governmental offices with the sense of jealousy hence, causing these men to act as buffoons. It is needless to mention, of course, that a person that can be easily blinded by the sense of jealousy may hardly be considered a responsible leader.
Individuals, who aspire for the position of leadership, must necessarily be endowed with the sense of modesty. This simply could not be otherwise, because in order for would-be-leaders to be able to win the respect of ordinary citizens, they must adopt the posture of humility. In the film, however, the characters that aspire for leadership are shown driving around in luxurious SUVs, which cost $100.000-$200.000 apiece.
That is in Nigeria the country where the overwhelming majority of employed citizens is paid no more than $100per moth. This alone disqualifies the featured politicians from being considered leaders, because such a way of acting, on these peoples part, exposes them as such that are being deprived of even the rudimentary sense of nobleness not to mention the fact that, just about anyone who drives a luxury car in the country stricken by poverty, is automatically assumed a corruptionist.
In order to have the moral right to lead people, individuals of a high social prominence must necessarily be self-made. This is because, their reputation of self-made men will naturally inspire the potential followers to hold them in high regard, as persons who successfully addressed life-challenges, which will automatically legitimize the claim of leadership, on the part of these individuals.
However, even the character of Osondo (the self-proclaimed candidate for the Presidency) clearly does not fit the criteria. There is the memorable scene in the film, where he states: I have business-interests in fifteen countries. All due to my brain and my guts. Of all fifteen, I only inherited six from my father (00.46.33).
This remark, on Osondos part, points out to the fact that he does not have the right to be considered a self-made man. There is even more to the above-quotation it implies that it is specifically moneymaking, which represented Osondos foremost agenda in life. True leaders, however, cannot be affiliated with money-generating pursuits that is what businesspersons do, and not those who consider themselves being in a position to inspire trust in people.
True leaders always rely on the support of the majority of people. Therefore, in order for would-be-leaders to be able to ensure such a support, they should be spending most of the time socializing with ordinary citizens.
However, neither of the featured politicians does it. Instead, they are being shown sitting in their luxurious palaces and conspiring against each other. The only representatives of ordinary people, seen in the film, are security guards. The validity of the earlier suggestion can also be illustrated, in regards to the scene, in which Osondo proclaims his intention to run for the Presidency, in front of curiously dressed tribe-elders (00.10.50).
Apparently, Osondo could not care less whether ordinary folks would support his candidacy or not. All he cared about was ensuring the support of elders. Yet, in the scene where he is being interviewed by journalists (00.20.05), Osondo never ceases to repeat over and over again that, by having decided to participate in the Presidential elections, he acted on behalf of common Nigerians.
True leaders are expected to radiate intelligence. After all, in order for just about anyone to be able claim that she or he has what it takes to lead people towards a particular goal, the concerned individual needs to understand what accounts for the full scope of affiliated challenges.
It is understood, of course, that while running for President, the potential candidates, featured in the film, will be claiming that they indent to set Nigeria on the path of progress (throughout the course of the film, many characters make a deliberate point in referring to Osondo as a progressive leader).
At the same time, however, they are all represented wearing Nigerian national mens costumes, which look rather ridiculous, to say the least. Obviously enough, by doing it, these individuals strived to accentuate the sheer strength of their commitment to the Nigerian traditional values. Apparently, it never occurred to them that the notions of progress and tradition do not quite correlate.
The reason for this is apparent an ongoing progress necessarily results in ritual-based traditions being exposed as obstacles, on the way of the societys betterment. This is the reason why, those who simultaneously praise both notions, can hardly be referred to as intellectually advanced individuals.
The validity of this statement can also be shown, in relation to the fact that the semantic content of the featured characters conversations implies the sheer primitiveness of how they perceive the surrounding reality. Even while discussing politics, they tend to do it within the framework of their clearly tribal worldviews. This, of course, once again points out to the fact that there are simply no good models of leader in Do or Die Affair.
I believe that the earlier deployed line of argumentation, in regards to the discussed subject matter, is fully consistent with the papers initial thesis-statement. Politicians, shown in Do or Die Affair, are not any different from those that have been leading African countries for the duration of the last fifty years, while contributing to the process of these countries becoming progressively less affiliated with the notion of civilization.
Therefore, it will be appropriate to conclude this paper by reinstating once again that there are no objective reasons to believe that either of the main characters, featured in the film, can be referred to as such that is being endowed with the qualities of a true leader.
Works Cited
NollywoodLove. Do Or Die Affair. YouTube. 5 Jul. 2011. Web.