Friday, January 24, 2020

Marc Forster’s Monster’s Ball Essay -- Marc Forster Monsters Ball Ess

Marc Forster’s Monster’s Ball Marc Forster’s Monster’s Ball is a depiction of one man’s journey to overcome his lifelong ignorance, but this seems to be the film’s only accomplishment. The grisly drama attempts to address pressing racial issues, but instead it creates a monstrous web of unanswered questions and unfulfilled plotlines cleverly masked by brilliant acting and cinematic beauty. The first half of Monster’s Ball revolves around a family of executioners responsible for the last days of a black death-row inmate. Billy Bob Thornton is striking as Hank Grotowski, a native Georgian who has spent his life following in his father’s footsteps both as a corrections officer in the state penitentiary and as a racist. Peter Boyle plays Thornton’s retired father and delivers a gritty performance that is a welcome change from his role as the wise-cracking Frank Barone on CBS’s Everybody Loves Raymond. Heath Ledger is Sonny Grotowski, Thornton’s son, a third-generation corrections officer who never lives up to the family’s tough-guy standards and dares to have black friends. Hank and Sonny are part of an execution team assigned to Lawrence Musgrove, a cop-killer skillfully portrayed by Sean Combs, whose impressive performance suggests that his acting career may have as much earning potential as P. Diddy’s current line of work . Thornton’s portrayal of Grotowski is flawless—his best since 1996’s Sling Blade—and helps one forget such disappointments as 1998’s A Simple Plan. He becomes Hank and leaves no trace of Billy Bob on the screen. Grotowski’s dialogue is limited and purposely lacks profundity, forcing Thornton to convey meaning through action. When Hank descends his front porch to meet his son’s two black friends with a s... ...m—when the â€Å"monster† himself, Lawrence Musgrove, is awaiting death. Chesse creates depth and parallelism between Lawrence and Leticia, bouncing back and forth between the activities on death row and in Leticia’s home. The scene is reminiscent of Dead Man Walking, but Combs’ Musgrove is a welcome departure from Sean Penn’s Matthew Poncelet in that Musgrove accepts his fate and doesn’t fight death. This allows him to be fully effective in conveying what is the film’s best line of dialogue as well as its main theme: â€Å"It truly takes a human being to really see a human being.† Monster’s Ball had the potential to be a gripping tale of love lost and love found, but that potential is lost in a sea of subplots that drowns the main narrative. Forster is left with a film that is little more than a star vehicle for Berry’s and Thornton’s most compelling performances to date.

Thursday, January 16, 2020

Topographic Map

MS 217 Dennis Borzakov Class 723 January 15, 2013 Problem HOW IS A TOPOGRAPHIC MAP MADE Hypothesis I think that to make a topographic map you have to see the form of the object from up top. To do this you need a satellite image. These images are called aerial photographs. Using elevation calculators and ground measures cartographers then make topographic maps. Materials †¢ Clay model landform †¢ Water tinted with food coloring †¢ Transparency †¢ Clear plastic storage box with lid †¢ Beaker †¢ Metric ruler †¢ Tape †¢ Transparency marker Procedure 1.Using the ruler and the transparency marker, make marks up the side of the storage box one centimeter apart. 2. Place the clay model into the storage box. The bottom of the box will be zero elevation. 3. Secure the transparency to the top of the storage box with tape. 4. Using the beaker, pour water into the box to a height of one cm. 5. Use the transparency marker to trace the top of the water line o n the transparency. 6. Using the scale 1cm=10m, mark the elevation on the line. 7. Remove the transparency and add water until a depth of 2cm is reached. 8. Map this level on the transparency and record the elevation. . Repeat the process of adding water and tracing until you have the hill mapped on the transparency. 10. Transfer the tracing of the hill onto a white sheet of paper. 11. Use the ruler to transfer the hill from the white sheet of paper to graph paper. Analysis The counter interval of this topographic map is 1cm is equal to 10 m. The distance between contour lines on the map show steepness of a slope on the landform model because the closer the lines are the steeper the hill is, the farther apart the lines are the more the gentle the rising of the hill will be.The elevation of Hill A is 80 meters and the elevation of Hill B is 90 meters. Elevation was presented on the map by the number of counter lines. The one with the most counter lines is the taller one. Conclusion I n this experiment we took on the job of a cartographer. We graphed clay model hills to express elevation. We traced images of the forms from the transparency to the white sheet of paper to express the difference in counter lines.

Tuesday, January 7, 2020

The Art of Public Speaking Chapter Study Notes 1-7 Essay

The Art of public speaking Chapter 1: Speaking in public Power of Public Speaking Greek Pericles: one who forms a judgment on any point but cannot explain it clearly might as well never had thought at all on the subject† Public speaking is consistently rated high on employers lists The Tradition of Public Speaking Historical people who used speaking effectively Similarities and Differences in Public Speaking and Daily Conversation Similarities Organizing your thoughts logically Tailoring your message to your audience Telling a story for maximum impact- building up your story Adapting to listener feedback Differences Speaking to groups is very highly structured Strict time restrictions Most don’t allow for question†¦show more content†¦Using such language is a destructive social force and will also make your audience doubt you entire speech and message Plagiarism- passing off someone else’s work as your own without credit Global Plagiarism- copying an entire document or speech verbatim Patchwork Plagiarism- piecing together more than one document and passing of as your own. 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