The youthful and unique style leadership approach Keating takes toward working with the students is inspiring, and is no doubt effective on their growing adolescent self-discovery. Leadership Approach of Taking Charge Without Taking Control Bennis describes the importance of taking charge without taking control to be an effective leader (Bennis, 2003, p
This paper analyzes and deconstructs several leadership styles and approaches through an examination of the films 12 Angry Men (1957) and Dead Poets Society (1997). Trait Leadership Approach The trait approaches emphasizes that research proves that there are specific traits that clearly differentiates leaders from followers (Northouse, 2010, p
Even with this, the general public gradually started to understand that the documentary film was a creation that is serious and that attempts to teach viewers something. The curious thing about this is that many documentary filmmakers believe themselves to be storytellers instead of journalists (Aufderheide 1)
Motion pictures like Workers Leaving the Factory produced a strong effect on viewers and made it possible for people to realize that this particular genre was especially important in having them learn more regarding society. It all started with short recordings showing various scenes such as "everyday life, circus and vaudeville acts, and skits" (Ellis & McLane)
assets inside critical intelligence centers (such as Russia) were disappearing. (Barkin, 2011, pp
A shootout ensues in which a number of triads are shot, while Chan escapes in a car. Wong's death is first of all a shock because he is arguably the only unequivocally likeable character in the entire film; though the audience undoubtedly identifies with both Chan and Lau, Wong plays a kind of idealized father figure to both, and, because the film is so concerned with doubles, this idealization is contrasted with Hon Sam, the triad boss (Covey, 2011, p
Though Infernal Affairs contains none of the slow-motion, dance-like gunfights popularized by Woo, the idea of a hero "who doesn't fit the conventional definition of good or evil" is integral to the film, especially because this hero is essentially split into the characters of Lau and Chan, who must come to grips with the dueling elements of their identities. Perhaps more importantly, though the actual aesthetic of violence in Infernal Affairs is markedly different from Woo's signature style, the use of violence as a thematic and narrative tool, rather than simple dramatic punctuation, creates a kind of artistic continuity between Woo's films of the 1980s and Infernal Affairs that owes more to the specific history of Hong Kong action films than any other trend in film-making (Khoo, 2009, p
Before examining Infernal Affairs in greater detail, it will be useful to provide a brief background of Hong Kong action films in general, in order to better demonstrate what makes Infernal Affairs so notable. While Hong Kong has a relatively long history of action films, it was not until the 1980s that Hong Kong action cinema transitioned from the kind of straight martial arts films made famous by the Shaw Brothers into action movies that, while frequently featuring martial arts, found their (Zhang, 2004, p
After this disorder, and after the criticism, Jiang was successful in convincing his husband to actively participate in the affairs of state. He started to rejuvenate late and he allowed Jiang to leave his chambers after sunrise (Chen 171)
The fact that this disorder was associated with him was something that constantly bothered her. She was often seen to tell her husband that this order was coming from her and that she had the courage to accept her mistakes (Jin-cang)
She also claimed that Deng always used to lend her a shoulder to cry on. Since Huang and Deng both had immense respect for Taigong Wang, they often ended up in having arguments over him, even though these arguments were quite minor and were often based on their discussion of who knew him the most (Yejiaoshou.)
" Roger Ebert, writing decades later, and looking back over several eras of film, notes on the other hand that Keaton's General is "one of the supreme masterpieces of silent filmmaking" (Ebert), a point which should be carefully considered. After all, if silent film was meant to stimulate the minds and emotions of the audience, Buster Keaton is noted today as being a master of silent filmmaking -- and yet the General bombed at the box office and Keaton was compelled to give up his independence by signing on to do studio talkies -- a move that is now credited with destroying his career, which was founded on his creative abilities (Dardis 196)
As Hall slightingly observes in his 1927 review of Keaton's silent film magnum opus, "The production itself is singularly well mounted, but the fun is not exactly plentiful." Roger Ebert, writing decades later, and looking back over several eras of film, notes on the other hand that Keaton's General is "one of the supreme masterpieces of silent filmmaking" (Ebert), a point which should be carefully considered
The General debuted in 1927, again, the same year as the first talkie, and served as a kind of farewell to the marvelous world of the silent film era. Described as a "Civil War farce" by New York Times reviewer Mordaunt Hall, Buster Keaton's portrayal of Johnnie Gray is viewed as "hardly the person who would be trusted with a locomotive" (Hall)
On the contrary, the experience was felt. In fact, the Lumieres provoked panic in their theater upon showing the train pulling into station: "the audience is said to have shrieked and ducked when it saw the train" (Mast 33)
At least, that is what Hollywood appeared to think: in fact, Hollywood, just like the rest of the nation, wanted to put on a veneer of purity and keep its sins in the closet. Not long after Arbuckle's trial and fall from grace, the Hays Code was rolled out to protect the integrity of showbiz (Sann) and the production of silent films
You will not cry. Those are not tears. The bell rings" (Kvashay-Boyle 170)
And cinema adds duration to the embalming of a single temporal instant in still photography. As Bazin puts it in ?the Myth of Total Cinema, this makes cinema the realization of a perennial compulsion, a virtually ageless dream of perfect realism, which would have to include duration (Bazin, 1971)
They wish to pose questions concerning the apparatus, the position of the spectator, and the specifically cinematic codes. These studies should apply, as well, to the understanding of other oppressions including sexism, class subordination, and anti-Semitism, indeed, to all situations in which difference is transformed into "other"-ness and exploited or penalized by and for power (Bordwell, 1997)
They wish to pose questions concerning the apparatus, the position of the spectator, and the specifically cinematic codes. These studies should apply, as well, to the understanding of other oppressions including sexism, class subordination, and anti-Semitism, indeed, to all situations in which difference is transformed into "other"-ness and exploited or penalized by and for power (Bordwell, 1997)