Key conventions comprising works of writer and director christopher nolan

Key conventions comprising works of writer and director christopher nolan Chapter 1 Introduction I think audiences get too comfortable and familiar in todays movies. They believe everything theyre hearing and seeing. I like to shake that up. (The Auteurs, 2010) Christopher Nolan made his feature debut with Following in 1998 but it was the cult classic Memento, released in the autumn of 2000, which lead to his breakthrough in Hollywood. Despite only a handful of subsequent box office successes later, Nolan had soon established himself as both a blockbuster writer and director of the highest calibre. With Nolan rapidly constructing a key signature of his work that chronology would take a back seat to character with an identifiable undertone of film noir, is Christopher Nolan an auteur of the 21st century or merely a product from the likes of David Lynch and David Fincher? Consequently, this assignment will aim to answer this very question and will make a judgement on whether Christopher Nolan is in fact an auteur. In order to make a final judgement the dissertation will pursue the following procedure: Chapter three will aim to define what characteristics constitute an auteur, and will thus provide an informative analysis of the cinematic theory so that a context for the discussion can be established. This dissertation will benefit largely from the combination of both Alexandre Austrucs relatively elementary definition of auteurism as well as Andrew Sarris and John Caughies more modern, in-depth interpretation of the film theory. Employing approximately 50 years worth of academic analysis in regards to auteurism, a precise and thorough definition of an auteur will be produced, essential when drawing an accurate conclusion. Similarly, Chapter four will provide a brief summary of both the history of film noir and the neo-noir motion picture, informing the reader through an analysis and development of the genres codes and conventions. Joan Copjecs publication explores the origins of this classic period of Hollywood cinema and offers a perspective upon the films themselves, viewed in light of contemporary social and political concerns, and from new theoretical insights. She also analyses the re-emergence of noir cinema in recent years and how neo-noir remains a popular choice for the big film studios. Another publication which has been hugely beneficial during my research is that of Dr Frank Krutnik. Krutniks book combines both theoretical and historical research through the examination of individual films through a generic framework. In a lonely street is an extremely valuable text as it is especially successful in combining both historical research and textual analysis. It is important to note that Chapt er three and four of this dissertation are effectively the foundations before producing a smooth transition into the rise and success of writer and director Christopher Nolan. The vast bulk of the evidence gathered will be contained between Chapters five, six and seven. Chapter five will observe a number of Nolans cinematic trademarks, beginning with non-linear narratives. The International Society for the Study of Narrative states that narrative is the telling of a story or communication of a chain of events, fictive or real. Aspects of narrative include how the story is told, the context in which it is presented, and the construction of the story (Narrative, 2010). Therefore, in order to achieve an in-depth deconstruction of the non-linear narratives of Nolans first two motion pictures, Following and Memento, the aid of a narratological theory will be required whilst an analysis of all aspects of narrative must also be attributed. One narrative theory which has been specifically chosen is that of Tzvetan Todorov. Lacey (2000) argues that one name has become synonymous with that of Narratology over the years, Todorov, who simplified the concept of narrative while allowing a more complex interpretation of film texts with his theory of Equilibrium an d Disequilibrium. First proposed by Russian Formalists, there should be two individual narratological traditions: thematic and modal. According to research by Professor Meir Steinberg (Narrative, 2010) the former is largely limited to a semiotic formalization of the sequences of action told, while the latter examines the manner of their telling, stressing the importance of voice, point of view, transformation of the chronological order, rhythm and frequency. Numerous academics however, have insisted that thematic and modal Narratology should not be investigated separately as they both undoubtedly benefit one another especially when investigating the function and interest of narrative sequence and plot. Therefore, one must ensure that both a modal and thematic stance has been incorporated into the investigation of each text. The study will then progress on to observe the role of the morally dubious protagonist, a feature which dominates the majority of Nolans texts. For this purpose, Memento, The Prestige and Batman Begins have all been chosen for evaluation. This chapter will also undertake a vigorous breakdown of recognisable mise en scene traits and themes which will be identified throughout the volume of Christopher Nolans films. It will be this section of the study that will ensure a balanced debate as we look at the impact of other members within the production process such as Wally Pfister, a cinematographer, who Nolan has hired for all but one of his feature films. We also consider the influence of Chris brother, Jonathan, who has helped co-write several texts. The introduction to the conclusion, if you will, will help summarise and determine the significant influence the noir conventions that have been stated throughout this discussion have had on the development and originality of certain Nolan films. The dissertation will then conclude that despite the fact that Christopher Nolan, like many of his predecessors, has inherited a vast wealth of cinematic codes and conventions, his body of work, all be it relatively small, provides a unique stamp thus establishing Nolan as an auteur alongside the likes of Scorsese and Spielberg. Methodology. (3 pages) The following Firstly the information collected for this dissertation will be purely qualitative rather than quantitative as it focuses upon film theory through the form of textual analysis. The Secondary research will specifically involve the consultation of academic textbooks on the dissertation topic. This will be essential in developing prior knowledge on the subject and will allow discussion in order to reach the overall aim. The opinions of film academics and authors will be utilised in order to validate or oppose various issues raised within the dissertation. By using published or peer reviewed sources it increases the reliability of the information referenced and in turn the dissertation. The dissertation will also consist of narrative analysis of moving image. Stokes states that narrative analysis involves very close reading and is best conducted on a limited number of texts (2003, p. 69) which is why the dissertation particularly examines and deconstructs the works of a sole director and writer. However, there may also be a negative effect of investigating the work of one artist as Stoke (2003) claims there can become a danger of bias by steering away from a critical approach if you admire the work of the particular auteur. She states that one must go through a process of developing a critical distance and a way of watching which is detached and dispassionate. Therefore in order to ensure that the investigations results are as reliable as can be, one must aspire to analyse with complete objectivity. Whether or not this is entirely possible is another matter. Stokes (2003) also offers seven steps in order to conduct narrative analysis effectively. These guidelines will be extremely useful when deconstructing the narratives of Following, Memento and Batman Begins. Chapter 3 The Auteur Theory. More than a theory. In 1954 film critic and film director FranÃÆ'ois Truffaut coined the term auteurism, a concept which would later provoke much controversy and debate within the world of cinema. The politique des auteurs, later referred to as the auteur theory, originated in 1950s France as an abstract aesthetic rooted in the works of prestigious film journal cahiers du cinema. The fundamental works of this cinematic movement were Alexandre Austrucs Un camera stylo and Francois Truffauts Une certain tendance du cinema FranÃÆ'ais. Both of these concepts promoted the idea that as the author of a motion picture, the truly great directors must have a distinct visual style and identifiable themes which ingrain all of their work. (REFERENCE) Alexandre Astruc in his celebrated essay The Birth of the new avant-garde: the camera-stylo, announced that: The cinema is quite simply becoming a means of expression, just as all the other arts have been before it . . . After having been successively a fairground attraction, an amusement analogous to boulevard theatre, or the means of preserving the images of an era, it is gradually becoming a language. By language, I mean a form in which and by which an artist can express his thoughts, however abstract they may be, or translate his obsessions exactly as he does in the contemporary essay or novel (cited by Corrigan and River, 1999, p.159). Caughie (1988) states that as a term, Austrucs camera-stylo (camera pen) failed to take root, however the insistence on film as an individual self-expression, had a considerable polemical importance, forming the basis of Franca Truffauts cinema dauteurs. Traditionally, the reference to the auteur in French film criticism was associated with either the author who wrote the script, or, in the more general sense of the term, the artist who created the text. Before too long the latter sense came to replace the former and the title auteur was attributed to the artist whose personality had been written in the film. Inspired by the critics of cahiers du cinema, US film academic Andrew Sarris demanded a more detailed definition of the term la politique des auteurs and would later transform the notion of an auteur into an acclaimed cinematic theory. The auteur theory was never, in itself, a theory of the cinema, though its originators did not claim that it was. The writers of Cashiers du Cinema always spoke of la politique des auteurs. The translation of this into the auteur theory appears to be the responsibility of Andrew Sarris (Caughie, 1988, p.24). In his Notes on the Auteur Theory in 1962, Sarris proposed three key traits in order to identify an auteur; the first being the technical competence of a director as a criterion of value. The second; the distinguishable personality of the director. Over a group of films, a director must exhibit certain recurring characteristics of style, which serve as his signature. The third premise refers to a more mystic interior meaning: Interior meaning is extrapolated from the tension between a directors personality and his material. This conception of interior meaning comes close to what Astruc defines as mise-en- scene, but not quite. It is not quite the vision of the world a director projects nor quite his attitude to life. It is ambiguous, in any literary sense, because part of it is imbedded in the stuff of cinema and cannot be rendered in non-cinematic terms. (Cited by Pearson, 1997) It is fairly evident when scrutinising the words of Andrew Sarris, that there are in fact numerous weaknesses in regards to his academic approach towards the auteur theory. The first two traits are fairly self explanatory, as he claims that a director mustnt simply be a master of his craft but that he must also present a style which is clearly distinguishable as his own. The weakness in Sarris approach however, lies in his third and final point, as he produces a vague description of what he defines as interior meaning. This definition is simply too unclear making it near impossible for other film academics to evaluate and measure an auteurs interior meaning. This point is indisputable as Sarris himself claims that his third principle is in fact ambiguous (Cited by Pearson, 1997) to say the least. Once Andrew Sarris had developed the notion of the auteur theory, he began to break the boundaries set when analysing auteurism in cinema. He took note of films within Hollywood and the commercial system where a large number of directors whose work, displayed a consistency of under-lying themes and a style which Caughie believes was unusual as it was difficult for a director to express personality and uniqueness within the industries constraints: In fact, the struggle between the desire for self-expression and the constraints of the industry could produce a tension in the films of the commercial cinema which was lacking in the art cinema, encouraging the auteurist critics to valorise Hollywood cinema above all else, finding there a treasure-trove of buried personalities, and, in the process, scandalizing established criticism. Uniqueness of personality, brash individuality, persistence of obsession and originality were given an evaluative power above that of stylistic smoothness or social seriousness (Caughie, 1988, p.10). Despite the director as author approach becoming increasingly popular in the 1960s, its weaknesses soon became apparent as it wasnt long until the notion of auteurism had been extended to include both producers and actors. The auteur theory had now developed to the extent where it would only accept rigorous analysis of films as oppose to unclear references to themes and style; With its emphasis on the importance of systematically analysing a body of texts, auteur-structuralism conceives of the author as a set of structures identifiable within a directors films. (Crofts, 1998, p. 315) Film critics would therefore now attempt to deconstruct the common themes and style of a given director rather than simply producing a vague interpretation. Caughie (1988) states that a weakness of the auteur theory lays in the fact that it requires a means in which to measure value. Sarris suggests films become valuable in so far as they reveal directorial personality. He therefore does precisely what s hould not be done: he uses individuality as a test for cultural value (Caughie, 1988, p.27). After utilising a number of interpretations in regards to the auteur theory, a single definition must be produced in order to validate the conclusion drawn at the end of this investigation. The definition which has been selected is that of John Caughies as it is both simplistic yet precise. Caughie, is his text Theories of Authorship, stipulates that an auteur is purely a valued member of the production team whose personality can be traced in a thematic and/or stylistic consistency over all (or almost all) of his/her films (Caughie, 1988). It is therefore fair to suggest that a personality, arguably a synonym for auteur, simply refers to a number of unique codes and conventions which have been persistently drawn upon for a large percentage of his or her (in this instance, a directors) work. Chapter 4 A History of Film Noir and its progression into the Neo Noir motion picture. More than a genre Paris, summer 1946. This moment marks an incredibly important event in cinema history, not for production but for exhibition. For this was the summer when, after the hiatus of the Second World War, French critics were again given the opportunity to view films from Hollywood. The films they saw prompted the naming and theorisation of a new phenomenon: film noir (Copjec, 1993). Silver (2004) simply defines classic film noir as one of the most influential movements in cinema history. This definition seems rather basic, however, despite five decades of attempted classification and debate its categorisation still remains problematic as it is marked by what Krutnik (1991) coined as a division between opposing camps of theorists and historians. Perhaps it is easier to suggest what characteristics constitute film noir rather than attempting to identify it wholly as genre or a period of history. Silver and Ursini (1998) in their book Film Noir Reader claim that the boundaries of this classic period stretch from John Hustons The Maltese Falcon (1941) to Orson Welles Touch of Evil (1958) and emerged from crime fiction in the United States during the Depression. The iconic visual style of film noir set in the 40s usually tends to be low key lighting with use of dark, dramatic shadowy patterns. This style is particularly noticeable in Carol Reeds The Third Man. In an analysis of the visual approach of Kiss Me Deadly, critic Alain Silver (1995, p.222) describes how cinematographic choices emphasize the storys themes and mood. In one scene, the characters, seen through a confusion of angular shapes, thus appear caught in a tangible vortex or enclosed in a trap. Copjec claims that this new form of cinema that emerged in 1940s America reflected the anxieties of a country entering a new era, an era perhaps dark and ominous. Film noir had therefore become the antithesis of Hollywoods glamour productions of the 30s. Literally meaning black film, film noir was first introduced by the French critic Nino Frank in 1946 as he noticed how dark and often black the settings and themes of these Hollywood films were (Wolfgang, 2003). Unlike other forms of cinema, film noir has no elements that it can truly indentify as its own. Rather, film noir makes use of elements from other forms, most notably from the crime and detective genres, but often overlapping into thrillers, horror, and even science fiction (Copjec, 1993). The primary moods of classic film noir are melancholy, alienation, bleakness, disillusionment, disenchantment, pessimism, ambiguity, moral corruption, evil, guilt and paranoia (Wolfgang, 2003). Whereas much work has been published on classic film noirs, produced between 1940 and 1958, little criticism has been written about the newer films, produced between 1966 and 2010, defined as the neo-noir motion picture. For some there has been a tendency amongst film critics to exclusively use the term noir for the classic films of the 30s, 40s and 50s. Although in recent years, there has been an increasing flexibility in regards to the classification of noir, especially as far as a chronological broadening is concerned. Some film academics believe that the genre has expanded from pre-World War Two cinema to the modern day phenomenon of the Neo-noir motion picture. This therefore suggests that the label film noir now has over sixty years of film history behind it. The term Neo-Noir was first coined by Todd Erickson in the 1990s in his widely credited essay Kill Me Again: Movement becomes a Genre where he claimed that neo noir only became a genre in the 80s, when it emerged from its embryonic state in the sixties and seventies (Silver and Ursini, 1998). He also discusses the emergence of noir motifs in films subsequent to the canonical period and suggests studying them as a new genre. Contemporary film noir is a new genre of film. As such, it must carry the distinction of another name; a name that is cognizant of its rich noir heritage, yet one that distinguishes its influences and motivations from those of the bygone era (Silver and Ursini, 1998, p.321) Erickson expanded on his definition stating that Neo Noir encompasses films released after the classic period which fulfil central aspects of the genre but take other different generic approaches (Lee Horsley, Crime and Culture). These central aspects of iconography, to which Erickson refers, a re: The visual style, in terms of cinematography with the use of symbolic lighting on certain characters to portray a particular characteristic. Academic David Watt (2002) highlights these codes and conventions within a framework of David Finchers Fight Club. Watt argues that Fincher has accomplished a particular style of lighting through the relationship between the central characters. In various scenes, Jack is in the foreground of the shot lit in high key with Tyler in the background hidden by shadows, thus representing that Tyler is hiding something from Jack (Watt, 2002). Another piece of iconography within the narrative structure is the common use of flashbacks in film noir where the protagonist will narrate their own story. Watt states that Fight Club fulfils this narrative device and plays on it through creating a flashback from another flashback, setting the film further back and expanding on the convention (Watt, 2002). The third and final key element of film noir is the i nclusion of certain Character types who the audience recognise as a recurrent motif of the genre. For example, perhaps the most identifiable character type in film noir is that of the anti hero, a convention that will be discussed in greater detail later in this study. Watt proclaims in his dissection of Finchers Neo Noir Blockbuster that the anti hero: Poses as the central character but does not follow the rules of society in the diegesis and contrasts heavily to the typical high concept hero. Fight Club immediately introduces the audience to the anti hero through a typical film noir convention of the introductory close up. Fincher has taken this convention to its extreme though and begins the film from literally inside the protagonists brain and then spirals out, disorientating the audience as they are forced to identify with this nameless character. Jack acts as the anti hero but his traits of the character type are expanded and again, took to their ultimate extreme. He does not trust anyone and is a loner, so much so that his name is never clearly identified and he is only recognised as Jack through the narrative voice over of I am Jacks wasted life (2002). The similarities between both the protagonist in Fight Club and Christopher Nolans Memento will be hugely evident when we analyse Nolans use of the anti-hero in his own Neo Noir epic. If we return briefly to the genre itself, many of the Neo-Noir films, especially of those created in the 70s and 80s, including for example Chinatown released in 1974, are what Lacey (2001) considers as pastiches that knowingly, and fondly, recreate the style of earlier noir cinema albeit in colour and with a modern sensibility. These films express a retro and nostalgic avoidance of contemporary experience with the intention of escaping from contemporary issues (cited by Wolfgang, 2003) Horsley (2002) corroborates this statement by arguing that in recent years one question is frequently raised in critical debate, pondering whether the fashionable trappings of neo-noir are themselves symptomatic of commercial postmodern nostalgia. He moves onto suggest that the sense that noir created in the 70s and 80s was a retro and nostalgic avoidance of contemporary experience has been encouraged by the often-cited essay, Postmodernism and Consumer Society, in which Frederic Jameson assigns to fi lm noir a central role in the vocabulary of commercialized postmodernism. However, Lacey (2001) claims that there are also numerous Neo Noir motion pictures which push the genre forward and avoid pastiche. One director whose films arguably fit this mould is Christopher Nolan, a writer and director whose work has instigated this very investigation. Leaving aside for the moment the matter of nostalgic pastiche it could be argued that Neo noir is not so much a genre of film but rather an identifiable visual style which has been adopted by a large number of contemporary film makers. As an aesthetic and ideological set of principles, the traditional conventions of noir are very visible in the works of modern auteurs: David Lynch, Michael Mann and David Fincher. However, there is still an obvious difference between both Film Noir and Neo noir as they each have their own underlying social and political context which undoubtedly affects a films perspective. As stated earlier, Film noir is very much a response to post war disillusionment and can be categorised into certain distinct phases, Neo noir on the other hand is far more difficult to isolate as the genre itself continues to evolve. Despite the 60s and 70s providing some telling illustrations of Neo noir, it was not until the early 80s that the genre gained widespread acceptance and credibility. This could arguably be down to the success of Ridley Scotts Blade Runner which would later be followed by other influential directors David Lynch (Blue Velvet, Mulholland Drive) and David Fincher (Seven, Fight Club). As Lee Horsley suggests: The contemporary refashioning of noir themes is a manifestation of the flexibility and responsiveness to social change that have characterised noir from its inception and of the continued vitality of the form. The transformations of the genre in neo-noir have helped to clarify some of the constant, recognisable elements of the noir vision, most importantly the moral ambivalence of the protagonist and his (or in neo-noir often her) ill-fated relationship with a wider society that itself is guilty of corruption and criminality. (Horsley, 2002) One director whose body of work notably contains recognisable elements of the noir vision is that of Christopher Nolan. Thanks to his unique, stylised, time-bending reformation of film noir conventions, Christopher Nolan has established himself as a creator of psychologically demanding films that defy categorization. When Nolan spoke to journalist Chris Roberts in October 2000 he was asked Have you always loved film noir?: Very much. Im a big fan, but interested in making those materials live for this time, this place. To create something new, whilst not abandoning the things I love about the genre. Which include the intrigue you can get out of that triangular relationship between three main characters. Who does what to whom is the driving force of both the narrative and the psychology. You judge them on their actions, rather than a lot of back-story and conversation. I just think it would be a marvellous thing for film-makers to have some of the narrative freedom that novelists have had for hundreds well, thousands of years. In other media, its always been accepted that you dont have to tell stories chronologically. In films, you have the flashback concept, but Stanley Kubrick and Nicolas Roeg were pioneering and pushing other boundaries in the Seventies, and it seems criminal to me not to keep using the freedoms they hard-earned. You should always be a little ahead of your time. I dont mean in a me dicinal, here-take-this-its- good-for-you way, but keeping people on their toes is a fun thing to do. Citizen Kane pushed things forward ambitiously, but in a real, instinctive, not gimmicky sense. And some of the aggressive, avant-garde devices Godard patented are accepted mainstream tricks now (Roberts, 2000). This insightful interview helps display some of Nolans key influences and motivations and yet the man himself remains in many respects an enigma. Before discussing the key conventions which comprise his work, lets begin with the man himself. Chapter 5 The Rise of Christopher Nolan More than a director Christopher Jonathan James Nolan was born in London on the 30th July 1970 as a child of a British Father and American Mother. Nolans introduction to film production began as early as seven when he began making war movies with his older brother using his fathers super 8mm camera and an assortment of male action figures. His passion for films increased with age whilst he is said to have been influenced to produce short science fiction films in the same vein of George Lucas space saga, Star Wars. After spending his childhood years residing in Chicago, Nolan returned to England to attend boarding school at Haileybury College, he then progressed to University College London where he studied literature. While an undergraduate, Nolan shot the surreal shorts Tarantella and Doodlebug with young actor and friend Jeremy Theobold starring in the lead for both films. Theobold would also take up the role in Nolans first feature film, Following, a no-budget black-and-white movie produced in London over a one year period. This ultra-low budget indie received wide acclaim receiving numerous awards such as the prestigious Rotterdam International Film Festivals Tiger Award and the Slamdance Black White Award. Despite Nolans success within Europe, it wasnt until he wrote and directed Memento (2000), a cult classic revenge story with its unique narrative structure, which held him up on the global stage. Hailed by critics, Nolans reputation almost changed overnight leading to him becoming a highly sought after talent. Returning in 2002 with Insomnia, a remake of Erik Skjoldbjaergs 1997 film of the same name, he proved he could direct some of the worlds top actors such as Al Pacino and Robin Williams. It was in 2005 however, with a reimagined take on a long-defunct film franchise, Batman, that propelled Nolan to the upper tier of Hollywood directors. His dark, brooding take on the avenging crusader was much more aligned with its original intention than any other subsequent incarnation. (Screenrush, 2010) With more recent box office successes, The Prestige (2006) and The Dark Knight (2008), Nolan has undoubtedly secured his reputation as a one of the top directors and writers working in Hollyw ood today. Now we know the man behind the lens, lets start dissecting the key conventions which comprise his work. We begin with Nolans use of the non-linear narrative. Chapter 6 Narrative More than a story. When Christopher Nolan released Memento in the autumn of 2000, few suspected the impact it would have on cinema goers worldwide and its significance not only on neo-noir as a genre, but also its effect on how audiences and critics perceive narrative within film. As a fragmented, non-linear narrative structure, Memento is a text which has received broad investigation in recent years. Its true meaning however, if in fact there is one, remains very much an enigma even a decade after its initial release. Nevertheless, the use of a non-linear narrative is nothing new, as stated earlier, as it has often been used in the past by noir directors to slowly reveal relationships among characters and circle the story back to a key precipitating event. What makes Memento special however is that its non-linear narrative structure puts the audience into the shoes of the protagonist. Through this device the viewers become detectives themselves. For the most part the audience struggle as much as Leonard does, creating a coherent narrative out of all the evidence they witness. Nolan gives the film noir genres tendency to confound the viewers expectations a conceptual twist by linking the flow of the narrative to the condition of the protagonist. (Wolfgang, 200 3) Memento would not be the first film Nolan would experiment with narrative structure as his first feature film, Following, applied this tool by using visual clues to aid the viewer in re-ordering the story chronology. This device would be something Nolan would return to in Memento, using the scratches on Leonards face as a marker-point for the time-line, rather than indicating the passing of day or night (Mottram, 2002, p.78). Christopher Nolan gives an insight into his trail of thought during the production process: When I had written the script, which seemed to work on the page, the feeling was if youre going to use this unconventional structure, such as the three time-lines in the Following, then my impulse at script stage was to teach the reader the structure, to do it very quickly with small scenes,

Personality Attributes Essay

Locus of control  is a theory in  personality psychology  referring to the extent to which individuals believe that they can control events that affect them. Understanding of the concept was developed by  Julian B. Rotter  in 1954, and has since become an aspect of personality studies. A person’s â€Å"locus† (Latin for â€Å"place† or â€Å"location†) is conceptualised as either internal (the person believes they can control their life) or external (meaning they believe that their decisions and life are controlled by environmental factors which they cannot influence). Individuals with a high internal locus of control believe that events in their life derive primarily from their own actions; for example, if a person with an internal locus of control does not perform as well as they wanted to on a test, they would blame it on lack of preparedness on their part. If they performed well on a test, they would attribute this to ability to study. [1]. In the test-performance example, if a person with a high external locus of control does poorly on a test, they might attribute this to the difficulty of the test questions. If they performed well on a test, they might think the teacher was lenient or that they were lucky. [1] Those with a high internal locus of control exhibit better control of their behavior[citation needed], tend to be more politically involved[citation needed]  and are more likely to attempt to influence others than are those with an external locus of control. [citation needed]  They also assign greater likelihood to their efforts being successful, and more actively seek information concerning their situation. [citation needed] Locus of control has generated much research in a variety of areas in psychology. The construct is applicable to fields such as educational psychology, health psychology or clinical psychology. There will probably continue to be debate about whether specific or more global measures of locus of control will prove to be more useful. Careful distinctions should also be made between locus of control (a concept linked with expectancies about the future) and attributional style (a concept linked with explanations for past outcomes), or between locus of control and concepts such as self-efficacy. The importance of locus of control as a topic in psychology is likely to remain quite central for many years. Locus of control has also been included as one of four dimensions of  core self-evaluations  Ã¢â‚¬â€œ one’s fundamental appraisal of oneself – along with  neuroticism,  self-efficacy, and  self-esteem. [2]  The concept of core self-evaluations was first examined by Judge, Locke, and Durham (1997), and since has proven to have the ability to predict several work outcomes, specifically, job satisfaction and job performance 2. Machiavelllianism: Machiavellianism is also a term that some social and personality  psychologists  use to describe a person’s tendency to be emotionally cool and detached, and thus more able to detach from conventional morality and to  deceive  and  manipulate  others. In the 1960s, Richard Christie and Florence L. Geis developed a test for measuring a person’s level of Machiavellianism. Measured on the Mach-IV scale, males are on average slightly more Machiavellian than females  [6]  [8]. Motivation: A 1992 review described Machiavellian motivation as related to cold selfishness and pure instrumentality, and those high on the trait were assumed to pursue their motives (e. g. sex, achievement, sociality) in duplicitous ways. More recent research on the motivations of high Machs compared to low Machs found that they gave high priority to money, power, and competition and relatively low priority to community building, self-love, and family concerns. High Machs admitted to focusing on unmitigated achievement and winning at any cost. Due to their skill at interpersonal manipulation, there has often been an assumption that high Machs possess superior intelligence, or ability to understand other people in social situations. However, research has firmly established that Machiavellianism is unrelated to  IQ. Furthermore, studies on  emotional intelligence  have found that high Machiavellianism actually tends to be associated with low emotional intelligence as assessed by both performance and questionnaire measures. Both empathy and emotion recognition have been shown to have negative correlations with Machiavellianism. Additionally, research has shown that Machiavellianism is unrelated to a more advanced â€Å"theory of mind†, that is, the ability to anticipate what others are thinking in social situations. If high Machs actually are skilled at manipulating others this appears to be unrelated to any special cognitive abilities as such Self esteem: Self-esteem  is a term in  psychology  to reflect a  person’s overall evaluation or appraisal of his or her own worth. Conversely, low self-monitors do not participate, to the same degree, in expressive control and do not share similar concern for situational appropriateness. Low self-monitors tend to exhibit expressive controls congruent with their own internal states; i. e. beliefs,  attitudes, and  dispositions  regardless of social circumstance. Low self-monitors are often less observant of social context and consider expressing a self-presentation dissimilar from their internal states as a falsehood and undesirable.

Political Philosophy and Paine Essay

1. Why do you think Thomas Paine writes Common Sense anonymously? How does he think his work will be remembered? Thomas Paine wrote Common Sense anonymously because the ideas he used in writing the book were contradicting the government at that time. If the government knew that he wrote it then they will take action against him to punish him. He probably thought that his work would remain as something memorable such as it was only there to raise the spirit of the colonist to fight back and to stand up against the government. 2. According to Paine, what is the difference between society and government? Paine states that society and government are completely different in purpose and also different in origin. Society is created innocently for the people’s happiness although the government is poison but necessary product made by desires of people to support people’s happiness by forcefully restraining desires of people themselves. 3. What is the meaning of ‘liberty’ in Paine’s thought? Equality? What is the relationship between the two? The meaning of liberty in Paine’s thought was the state of being free within society from cruel limits enforced by authority on one’s way of life, behavior, or political views. He described equality as the state of being equal in positions, rights, and opportunities. The relationship between the two is that they work hand-in-hand because everyone should have equal rights. 4. According to Paine, why is there a need for regulations and government in general? According to Paine, it is a necessary evil for two reasons. The first reason is for security and freedom, things that everyone wants, are the true intention and end of government. The second reason is a moral asset which is the foundation of society, but it’s incapable of governing. In other words government is inevitable, because it is there to supply the defect of moral asset. 5. Why does Paine consider the English monarchy to be ineffective? Paine considered the monarchy in particular to be ineffective because the king is not informed enough to match his power, he naturally will thirst for more and more power, he can ignore the people’ voices and more importantly, he doesn’t and sometimes, is incapable of making sure his words comes to the people exactly same as he meant them to be. 6. What is the view of Gideon that Paine uses as an example? â€Å"As the exalting one man so greatly above the rest cannot be justified on the equal rights of nature, so neither can it be defended on the authority of scripture; for the will of the Almighty† (Gideon). From this quote of Gideon, we can assume Gideon’s point of views. He thinks that all men are equal and no one man can be above the rest. He also thinks that only God can rule over people. 7. What does Paine think that America will gain by separating from England? According to Paine, America will gain by separating from England is that it would not get contaminated by the monarchy he has been criticizing. Then, America will gain wealth and most importantly it will gain independence. 8. Describe Thomas Paine’s life and background, including where he is originally from and what his reputation was before, during, and after writing Common Sense. On January 29, 1737, Thomas Paine was born in Thetford, England. His father had grand visions for his son, but by the age of 12, Thomas had failed out of school. The young Paine began apprenticing for his father, but again, he failed. So, by 1768 he found himself as a tax officer in England. Thomas didn’t exactly excel at the role, getting discharged from his post twice in four years. In 1774, by happenstance, he met Benjamin Franklin in London, who helped him immigrate to Philadelphia. Then in 1776, he published Common Sense. 9. What is Paine’s argument based on? What intellectual movement and why? Paine’s argument is mostly based on things that everyone in the colony would consider common sense. The intellectual part about the concept is that even though he demonstrated a great length of knowledge, he made it look like his knowledge is even with the colonists. The reason for that is he really wanted the colonists to believe that the book is written by but someone among the colonists. That way, it is much easier to move the colonists’ spirit. 10. What is the role, for Paine, of the wars in Europe on American independence? His role is to remind them and clear their desire to live a life without great changes so that they can stand up and fight for their own lives. Paine’s role in the wars was not that of a leader but a reminder of the people’s cause. Because of Paine, people started to remember to stand up and fight back for their rights. 11. How does Paine argue the opposing point of independence? How does he counter the â€Å"reconciliationists†? Paine explains why the current time is a good time to break free of Britain. Primarily, Paine focuses on the present size of the colonies, and on their current capabilities. He presents an inventory of the British Navy and gives calculations revealing how America could build a navy of comparable size. Paine recommends this as a way of ensuring America’s security and prosperity in trade. Paine also argues that America is sufficiently small as to be united now. 12. List the reasons why Paine thinks independence is necessary. What is â€Å"the most powerful of all arguments† for independence? Paine thinks independence because England is violently oppressive in way that it’s exploiting America for the good of England. Being a part of the British Empire will inevitably involve America in unnecessary imperial conflicts. And the most powerful of all arguments is that England is too far away to govern America effectively, even if it wanted to. 13. Paine begins his analysis from the state of nature. What is the rhetorical function of this? What political goals does this serve? What role does nature have in Paine’s thinking? Nature does not sanction division of men into Kings and Subjects. It is only customary. The State of Nature as tool of criticism because a government must not make things worse than they are in the State of Nature if they are to deserve compliance. 14. For Paine, what is the relationship between law and liberty? Paine begins this section by making a distinction between society and government, and then goes on to consider the relationship between government and society in a state of â€Å"natural liberty†. He next tells a story of a few isolated people living in nature without government, and explains that the people find it easier to live together rather than apart; thus, they create a society. As the society grows, problems arise, and the people meet to make regulations in order to mitigate the problems. As the society continues to grow, a government becomes necessary to enforce these regulations, which over time, turn into laws 15. According to Common Sense, what is the basis of just government? According to Common Sense the basis of just government are Freedom, Happiness, and Efficiency 16. What point is Paine making when he argues, â€Å"Europe, and not England, is the parent country of America†? How does he use the national origins of English monarchs to show that the colonists’ English origins are irrelevant to the decision they now face? By grounding political authority in reason, Paine is able to make a persuasive argument undermining the foundations of British government, which is based in tradition, religion, and custom. 17. How does Paine reject the arguments of â€Å"men of passive tempers† who wish for reconciliation with Britain? Paine says that as a colony of Britain, America lacks respectability on the international scene. They are seen simply as rebels, and cannot form substantial alliances with other nations. In order to prosper in the long term, the colonies need to be independent 18. How does Paine answer the question, â€Å"Where is the king of America†? Paine answers this question by stating he reigns above in America, and the law is king. 19. How does Paine reject the argument that the colonies have â€Å"flourished† as members of the British Empire? What was Britain’s true motive in defending the colonies, and what does this motive reveal about the relationship between the two? Paine states that America has flourished under British rule, and therefore ought to stay under the king, Paine says that such an argument fails to realize that America has evolved and no longer needs Britain’s help. Some say that Britain has protected America, and therefore deserves allegiance, but Paine responds that Britain has only watched over America in order to secure its own economic well-being. 20. What did you learn from reading this assignment? What is your opinion of the work? The first thing that I learn from the assignment is the importance fighting back because Paine’s ideas were inspiring and knowledgeable and also that this was an important event for US history. In my opinion, the book common sense was by far one of the greatest historical books. Thomas Paine writing style is both fanatical and graceful, demonstrating Paine’s disgust, rage and passion without having to degrade his social status.

The Pregnancy And Sexual Transmitted Disease ( Std ) Rates...

We all want to see pregnancy and sexual transmitted disease (STD) rates among adolescent become nonexistent. But each year twelve million unfortunate adolescent contract in STD and more than one million teenage girls become pregnant (IDPH). Therefore, the government pushes abstinence-only programs on adolescent in hopes that this would be the solution to this difficult problem. Unfortunately, these programs do very little to stop the increasing rates, but now have only pushed teens to continue in their sexual behaviors, along with denying them the tools to properly protect themselves. Even though research has disproven that abstinence-only programs work, comprehensive programs are still not being used in school. This is because there is an†¦show more content†¦Even though these two STDs are treatable with antibiotics, for the majority of people who contract these infections do not experience any symptoms and it can go without treatment for many years. If left untreated chlam ydia and gonorrhea can leave the person with devastating consequences like Pelvic Inflammatory Disease, infertility, and other health problems. HIV is another epidemic among adolescents, so much so that young people ages 13 to 24 make up the 1 out of every 4 new HIV infections each year (CDC). Young adults diagnosed with this infectious disease are forced to carry it with them the rest of their lives because as of now it is incurable. HIV is a serious disease that if not treated properly can cause the person to become extremely ill and can even cause death. Herpes is not far behind HIV, with one in every five adolescent and adults become infected and two-thirds of that number are young adults under the age of 25 (Teen Help). This STD is also incurable and secretly lives in the body, leaving the person to only guess when an outbreak will happen. Because â€Å"many adolescents underestimate their infection risk and they have mistaken ideas about what protect them from STDs and what d oes not,† (Brà ¼ckner 277) many do not take the proper precautions necessary to protect themselves. This leaves â€Å"[o]ne third of all sexually active young people [to] become infected with an STD by age