Portrayal of Terrorism in Film

Portrayal of Terrorism in Film Luke Costen Terrorism and the mutual influentially of the British film industry, the genre of satire Terrorism is an exceedingly ambivalent topic and one that becomes particularly ambiguous when attempting to define. When trying to comprehend the motivations of a specific terrorist organisation, one must start by considering the context of the acts of terrorism, by exploring ‘the historical, social, economic, ethnic and even psychological factors that have some influence on thought, behaviour and action.’ (Whittaker, 2012: 4) thus the notion of a universal and objective definition is virtually impossible. The dissimilarities between the United Kingdom’s and the USA’s definitions raise controversy over the evidently contextual and subjective nature of what terrorism is. ‘The use or threat, for the purpose of advancing a political, religious or ideological cause, of action which involves serious violence against any person or property’ (Whittaker, 2012: 3). This definition appropriately legitimises the existence of state terrorism, theoretically defining the USA as a state terrorist, due to the atrocities taking place in the Middle East over the past decade. Whilst the USA’s equivalent contrasts this idea, it states that terrorism must be surreptitious and committed by subnational groups. This essay will explore the notion of political communication, demonstrating the mutual influence between contemporary Terrorist organisations, particularly Jihadism and the satirical genre, within the British film industry. This essay will thus formulate the context of the following case study; an analysis of Four Lions (2010), a black comedy that provocatively satirises Islamic terrorism, humanising the British born anti-protagonist terrorists, exploring indoctrination, islamophobia, and police inadequacy when combating the issue of terrorism. The 7thJuly 2005 London bombings resonate throughout the text, creating a social commentary on the event and the obsession that the conservative western media have with Islamic fundamentalism, that further assist the feeling of estrangement of British born Muslims. The most important aspect in what politicises communication is not the origin of the message, instead it is the subject matter and the intentions of the message. (Denton and Woodward, 1990: 11) This defines political communication as accessible to anyone intending to make a statement about a political issue in society, emphasising that communicating politically is not exclusive to the government and the elites that control global and national politics. This therefore allows the public to convey political messages through any means possible, such as any form of media or even the body itself (the black or homosexual liberation). However this can be contested as acquiring a credible platform may require an already cemented position or political power, those who do, will find it considerably simpler to secure media coverage; hence it is far easier to express their message. (Wolfsfeld, 2011: 2) Film as well as other varying media can be seen as a process that allows an individual to reach a target audience as well as wider audience, in order to convey the intended political message, and can perhaps give some explanation to why bodies are used in extreme forms of political communication. Both acts of terrorism and the film industry can be equally seen as diverse forms of political communication, in an attempt to highlight prevalent issues in society. Respectively terrorism, specifically suicide terrorism is the most radical practice of political communication and one that is almost impossible to entirely understand. In the context of religious suicide, an unfamiliar concept in secular society is still far easier to understand then the secular suicide. The radicalised Muslim; mujahedeen will be profoundly rewarded for partaking in the holy war and, completing God’s will in destroying the infidel forces, his family will be cared for, and receive a payment for their loss a sort of life insurance. (Whittaker, 2011: 26) Although the practise of film-making in its original form is not inherently politically or artistically charged, its malleability and diversity as a creative media allow for artistic and political expression. It is the director or producers of a film text that can therefore express artistic and political visions creating an immersive form of political communication. Hunger (2008) follows Bobby Sands, an imprisoned IRA member who sees the sacrifice of his life as imperative for the gain of political objectives. Hunger seeks to alter views on IRA as in Britain intrinsically evil, viewing the group as freedom fighters searching for independence. Of course the act of terrorism in itself is evil, but issues of context tell a Janus-faced story, ultimately humanising the individuals of a considerably inferior political group.Hunger(2008) demonstrates the political methods Margret Thatcher used against the IRA prisoners, she refused to politicise the IRA members. This would, firstly define t hem as political prisoners, but more importantly humanise the individual people behind the acts of terrorism, thus accepting that their political ideologies were legitimate and subjective value systems, with historical, social and cultural contexts. Ignoring this would further alienate the IRA from the British public, rejecting any potential sense of compassion or empathy, forcing a prolonged, futile and failed attempt to reclaim their independence from the imperialist head of state. The terrorist group sacrifices their life for the progression and development of their cause; they are generally oppressed over an elongated period of time and see the act as the appropriate and imperious motives so that collective institutions are able to prosper. (Whittaker, 2011:25-26) Consequently comparisons can be drawn in the attempts to combat Jihadism and a similar rhetoricis used by the mass-media in order to strip political legitimacy. However Thatcher’s rhetoric of rejecting the political was already in place, as Jihadism, is the collective union ofIslamicbrothers and the ‘holy war against the infidel.’ (Whittaker, 2011: 47) So the context of religion is what takes centre stage, thus comparisons to similar consequences can be drawn. However religion can be politicised particularly in the form of terrorism, as political objectives exist simultaneously with religious ones. Martyrdom is highly regarded for the fundamentalist, and believes they will be rewarded for completing God’s will, whilst the terrorist organisation benefits from political gain. (Noonan, 200: 97) The British mass media seldom politicise Jihadism terrorism, in order tomaintain the public’s lack of comprehension, and detachment of the individual, preventing the public from seeing a rational person with emotions and a conscience. A stereotypical Arabian image of Islam has now become synonymous with the inimical image of world terrorism, due to the Middle Eastern origins of Jihadism. The mass-media has thus created an archetypal enemy with distinguishable ideologies, belief systems, creating the illusion that they oppose our own, and finally an image that can be applied to Asian Muslims. This has produced cultural alienation, a prominent issue in multi-cultural societies, where British born Muslims become estranged from their nationality and society, thus become easily radicalised. Attacks are unforeseeable and committed discreetly by inconspicuous people. (Whittaker, 2011: 71) Essentially the film industries main purpose within a capitalist system is to make a profit, although the British film may have more artistic and political integritythanAmerican cinema, its inherent principles are fundamentally neoliberal. These values rivalIslamicfundamentalists of Islam, and represent USA’s and the UK’s dominating force of culture imperialism within the Middle East. In the wake of the Iraq war, markets previously out of reach of American influences, were placed directly under the control of a small group of American business’ by means of government contracts. (Harvey, 2005: 7) British film can be interpreted as mutually influencing with terrorism, propagating the view that the Western economic and political ideology is culturally superior to that of the East, and the contemptible notion that it is the duty of the western world is to civilize Islam, exploiting the economic gain of neoliberalising newly occupied nations and the continuous turning of the lucrative war machine. Thus western values inhabit underlining themes in film, such as the capitalist dream, the monetisation of practically everything, commonly denouncing religion, and neglecting equal ethnic diversity. The Terrorist Act [2000] considerably increased policing power, and ‘has no such provision,’ (unlike previous counter-terrorist measures) ‘and this is its chief danger’ (McGovern, 2010: 138). Counter-terrorism is a self-explanatory process; acts are put in place increasing the policing powers in order to prevent terrorism in the process. Conversely counter-terrorism acts can be abused placing too much power in the police force, this allows for the potential on infringement on civil liberties, thus placing too much power in the inevitable inherent prejudices that some police officers may have. It is therefore possible that this could cause a detrimental effect on society forcing an insurgence of‘ home-grown’ terrorists to emerge. It is conceivable to assume that the Muslim community can become disillusioned in British society due to ‘neo-conservative counter-terrorism’ in place. (Whittaker, 2011: 77)The way that film and terrorism in fluence one another is not solely negative. Simply the inclusion of thesubject matter of terrorism in British film is a significant discourse continually evolving the views on the existing ideologies around why people commit terrorism. A film with a strong political subject matter can influence the public’s perceptions, educating the inevitable confused and fearful opinion formulated by the mass-media’s outlook. Theoretically this can be viewed as a counter-terrorist measure, in an attempt to reveal contexts of a side of the narrative rarely explored, assisting in eliminating ethnic and religious divides and the sense of estrangement found in British-born Muslims. British Film often represents terrorism contrarily to that of the mass-media, creating thought-provoking representations of theindividuals behind the terrorist acts. Through the exploration ofcultural, political and social factors, British film generallyhumanisesthe terrorist but never legitimises or validates the actual acts. Conversely it understands that for oppressed groups there is usually no alternative course of action, showing that there is always more than one side to a narrative, usually told with a level of bias, in context to one’s own political agenda. ‘the term ‘terrorist’ is value-laden, and may be rejected by groups whose members may prefer to see themselves as ‘freedom fighters’ in ‘national liberation’ or ‘resistance’ movements, (McNair, 2011: 9)The Wind that Shakes the Barley(2006) authenticates the IRA struggle against the imperial empire and following young members of the IRA and the struggles again st British imperialism. Satire is the generic form of artistic and political expression typically used as a form of political communication, expressing itself through the use of humour and wit and critiquing existing social or political issues within the public sphere. The job of the satirist is to scrutinise the ubiquitous corrupt or immoral political issues in society. Satire was patented in the form of literary work but is now seen as ‘the process of attacking by ridicule in any medium’ (Hodgart, 1969: 7). British film often represents the terrorist as the freedom fighter, politically satirising the perception of the differences between the two.Brazil(1985)satirises the bureaucratic political system and the omnipotent authoritarian government. Harry Tuttle is an alleged terrorist; he illegally repairs citizens, thus breaking the rules of the bureaucratic state. In reality Harry Tuttle is a freedom fighter, liberating individuals from the endless administrative process that is required by the government. The terrorist attack on the Danish cartoons and more recently the murders of the CharlieHebdomagazine exposed the limitations of the freedom of expression, and the fine line between political satire and the incitement of hate. ‘It is an expression of free speech, [] Among the several tests by which we measure the extent of individual freedom, the right to ridicule must be included.’ (Freedman, 2009: 164) Forcefully instigating a reaction through the crass depiction of sacred figure will inevitably provoke a response fromIslamicfundamentals. Political satire of the ‘other’ is created in relation to the increasing social tensions regarding numbers of immigration, particularly in France were the rise of the far right-wing party in France; Le Front National, and a history of banning religious signifiers such as the Burka, create an unstable and fluctuating marginalisation of an already isolated Muslim community. When combined with the increasing and hostile isla mophobic rhetoric frequently used in the mass-media, forces the estranged and isolated members of the society to seek collective acceptance and meaning in extreme fundamentalism taking out the anger on the society that rejected them. Political communication is how each politicised text interacts with each other, and practically anything can be politicised. In political communication, it is not the origin of the message that deciphers whether or not something can communicate politically but instead it is the focus and the objective of that message. Through the examples of British film as mutually influential with the actions of terrorist organisations is the idea of humanising the individual member’s image of the terrorist. Underneath the terrorists political agenda is a person with thoughts and emotions, and reading deeper into the social, historical and cultural contexts help give the public or audiences they are attempting to shock a better understanding of the motives and intentions of committing such heinous crimes. Bibliography Denton, R. E., Woodward, G. C. (1990). Political Communication in American. New York, Praeger. Freedman, L. (2009). The Offensive Art. London: Praeger. Harvey, D. (2005).A Brief History of Neoliberalism. Oxford: OUP. Hodgart, J. (1969).Satire. Hampshire: BAS Printers Limited. McGovern, M. (2010). Ignatieff, Ireland and the ‘less evil’: some problems with the lesson. In: Discourses and Practices of Terrorism – Interrogating terror. London and New York: Routledge. McNair, B. (2011). An Introduction to Political Communication. 5th ed. London and New York: Routledge. Noonan, J. (2010) Fundamentalist foundations of terrorist practice – The political logic of self-sacrifice. In: Discourses and Practices of Terrorism – Interrogating terror. London and New York: Routledge. Pollard, A. (1970). Satire: The Critical Idiom. Methuen Co Ltd: London Whittaker, D. (2012).The Terrorism Reader. 4th ed. Oxon: Routledge. Wolfsfeld, G. (2011). Making Sense of Media and Politics: Five Principles in Political Communication. Abingdon: Taylor Francis. Filmography Brazil (1985) Directed by Terry Gillingham [Film]. UK: Embassy International Pictures Four Lions (2010) Directed by Chris Morris [Film]. UK: Film4, Warp Films, Wild Bunch Hunger (2008) Directed by Steve McQueen [Film]. UK/Ireland: Film4 The Wind That Shakes the Barley (2006) Directed by Ken Loach [Film]. Ireland/UK: Sixteen Films, Matador Pictures, Regent Capital, UK Film Council 1

A Christmas Carol Essay example -- English Literature

A Christmas Carol Stave 1: Scrooge’s character is established early in stave 1. Dickens shows his popularity by showing us his relationships with people in his surroundings. We can tell scrooge is unpopular as the narrator portrays him as a â€Å"Tight fisted hand at the grindstone.† Scrooges name give us a similarity between the word scrounge what is to be tight with money and every opportunity to make money, this automatically helps us launch an understanding that he is tight with his money, what is necessary to associate him as nasty old man. When the narrator is describing Scrooge he uses words that help us negotiate an opinion that Scrooge is an aggressive and is detested by person. It helps us find out that scrooge is a bitter, mean, twisted, moody and selfish old man. The narrator Charles Dickens builds the foundation of our understanding of our knowledge that he is despised by referring to him as â€Å"a squeezing, wrenching, grasping, scraping, clutching, covetous old sinner† that helps us portray that scrooge is tight with his money. Dickens also tells us that he is â€Å"External heart and cold had little influence on scrooge† and also that scrooge says â€Å"no warmth, and no wintry winter cold chill scrooge.† In general scrooge is described to have poor relations with other people and literally he is a loner, but this is what he wants. Scrooge is known by people as a bitter old man, as when he walks down the street people avoid his wicked ways. In a way it as if scrooge wants to stay alone and he may enjoy being despised by others. Dickens goes on to mention how he was avoided on the street, â€Å"No beggars implored him to bestow a trifle† and that no one would dare give a greeting as they would only be ignor... ...d people are beginning to accept scrooge. Extension: The narratorial voice and Christian morality enrich the reading experience of â€Å"A Christmas Carol† by making the play more enthusiastic. On the first page of â€Å"A Christmas Carol† dickens narratorial voice comes across when he describes Marley as â€Å"dead as a door nail.† The Christian morality in this story helps us navigate a decision that Dickens is a very true Christian. The moral of this story is hidden in the depth of the story, the moral is to be kind hearted and to be generous. These shows to be weary of what can happen if you are not generous and that, you will be punished and will feel guilty if you persist on being the same. In the form of scrooge it shows us that you can be happy and the richest man in the world for helping people, maybe not in the form of money but in the form of happiness.

Marriages are Made in Heaven

Wearing the school uniform, Yu arrived at the food shop operated by her parents in Taichung. â€Å"Mom,† said Yu, â€Å"Give me a sandwich for lunch†¦ quick please! I'm going to be late.† â€Å"So why didn't you have your lunch in school? You won't be late if you did do so†¦Ã¢â‚¬  The mother mumbled. â€Å"I'm sorry.† Yu dared not to argue with her mother. After fetching the sandwich, she had to rush to school in a hurry. She's only young once. That year she was a seventeen-year-old girl in Taiwan. That was a sunny day. When Yu was on her way home, she saw a group of people filming movie in the street. â€Å"Action!† A man with sun-glasses shouted. Driven by curiosity, Yu stood aside and watched. Suddenly a man came into her sight— he was ordinary and was about twenty something years old. He sat on the stairs nearby for taking a rest. Yu noticed that he hurt his leg. He was bleeding! Being always kind-hearted, she went in front of the man, gave him a tissue paper and then asked him softly, â€Å"Are you alright?† â€Å"Thanks,† The man nodded and smiled, â€Å"I'm fine. It doesn't matter.† It was about half past six already. Yu could not go back home too late or else she would be punished, â€Å"I need to go now†¦ bye!† â€Å"Bye,† the man responded. â€Å"What a lovely girl!† he thought. It had been one week since the day Yu met the man. From that day onward, Yu went and watched the movie filming after school everyday. She did enjoy watching it. But, somehow she found that chatting with that man named Paul was indeed much more fun. â€Å"Yu, why are you so late again?† mother asked. â€Å"Sorry mom,† Yu answered, â€Å"I have so many things to do in school these days.† Yu returned to her bedroom, writing her diary: â€Å"Watching the movie filming after school has become part of my daily life! Paul is so humorous! He told me lots of things today. Surprisingly, he was born in a poor family in Hong Kong; this made him not to have the chance of studying in secondary school. Therefore, he started working when he was just about 14 years old. With relative low educational level but has a great knowledge in Chinese kung fu, he applied for the movie stunt man†¦ Well I think Paul's life is extra-ordinary. By the way, he got much better now. I mean the new cut on his hand has healed up already! Thanks God! Besides, he†¦Ã¢â‚¬ ¦Ã¢â‚¬  Paul gave a bunch of red roses to Yu. â€Å"Happy birthday!† he said. Yu was glad, â€Å"thank you so much! This is my first time receiving flowers†¦Ã¢â‚¬  â€Å"Yu,† Paul felt a bit embarrassed, â€Å"Could I†¦ have dinner with you tonight?† â€Å"Sure!† Yu answered, â€Å"But let me go home and get dressed first.† â€Å"Okay. I will wait for you in front of the Good Luck Restaurant. See you!† Paul said. Yu was really excited. Paul always gave her a surprise. He was great. So far, he was the only one who would give her such special feelings. â€Å"Mom,† Yu said, â€Å"I need to go out for dinner†¦Ã¢â‚¬  â€Å"With whom?† mother wondered, â€Å"And why? We have prepared something to celebrate your birthday already†¦Ã¢â‚¬  â€Å"With my friends†¦ I mean my classmates. They have booked a table in the restaurant to celebrate with me, that's why I couldn't refuse them. I promise you, I will go back home before ten o'clock and then celebrate with you again†¦Ã¢â‚¬  Yu went out of her bedroom. She was already dressed and prepared to go out, â€Å"I need to go now. Bye mom!† She went out quickly, leaving her mother looking at the bunch of roses questioningly, â€Å"What's going on with my daughter?† Paul and Yu were sitting at the table near the windows of the Good Luck Restaurant. â€Å"Yu, do you know†¦ it has been thirty-three days since I first met you.† Paul said. â€Å"Oh you still remember?† Yu was delighted. â€Å"Yes I do. I remember†¦ every moment being with you†¦ always.† They smiled, looking at each other. After that Paul abased his head, â€Å"actually, the movie filming is going to finish within these few days.† â€Å"Oh†¦ where will you go then?† Yu was nervous. â€Å"I will go back to Hong Kong†¦ I may not see you in the near future. Therefore, I want to tell you something important before I leave†¦Ã¢â‚¬  Paul said it seriously, â€Å"Yu, I don't want to be your friend†¦Ã¢â‚¬  â€Å"What?† Yu didn't understand. Paul fixed his eyes on Yu, â€Å"I mean, I want to be your boyfriend!† â€Å"Boy†¦ boyfriend?† â€Å"Yes. Because I love you†¦ truly love you that I c an no longer treat you as my ordinary friend!† Time was still. It seemed that they were the only two people in the whole world†¦ Yu had got into a big trouble. Those days without Paul were lengthy and lonely. Every time when she thought of the time being with Paul, every time when she thought of the words Paul told her on her birthday, every time when she thought of the promise made by Paul†¦ it was really a kind of torture! Nothing would be sadder than two people who love each other so much being separated. Paul had gone for nearly a year already. In these days, Yu could only communicate with him by writing letters. If it was possible, Yu would phone him. They missed each other a lot and their love never stopped growing. Sometimes, when Yu was in a weak moment, she wondered if the relationship between her and Paul could keep long. Paul was in Hong Kong whereas she was in Taiwan. She promised him she would write many many letters to him, but was it enough to maintain their love? Would their love be a â€Å"soon got, soon gone† one? He promised her he would marry her when he got enough money, but was it a joke? Would it be fulfilled? Hardly could Yu see her future through a mist. Anyway she would wait for Paul. Yu's mother noticed her daughter's suspicious acts, having checked her daughter's diary and letters, she knew that her daughter had fallen in love with a guy called â€Å"Paul†. She started questioning and arguing with Yu, â€Å"tell me!† she shouted at Yu, â€Å"who is Paul? You think that I know nothing else right?† Yu was angry too, â€Å"I want to ask you too! Why did you read my diary and letters without asking me? You never respect me!† Yu cried, â€Å"I don't understand why you never give me the freedom to do what I want to do!† Mother bemused. Never could she think that her daughter would talk to her in this way. The â€Å"cold war† between Yu and her mother thus broke out. They stopped talking to each other for nearly half month. Yu's father, who was always a clam but a mind reader, understood everything clearly and tried to do something rebuilding the relationship between Yu and her mother. â€Å"Yu,† father told her, â€Å"you should tell your mother what you feel. And, if it can be done, introduce that guy to your mom.† Yu was worried, â€Å"Paul will come to Taiwan again next week. He said, he's going to marry me†¦Ã¢â‚¬  â€Å"And do you wish to? Are you sure? Marry in haste, and repent at leisure†¦Ã¢â‚¬  Yu's father was shocked, but he kept calm. â€Å"I did think about it deeply before.† Yu said, â€Å"Marriage is a lottery. Once you meet your Mr. Right, you should not give him up. I truly know what I am doing, what I am looking for.† â€Å"So bring him here,† Father promised, â€Å"I will always support you.† A tense atmosphere. Sitting on the sofa, mother stared at Paul. â€Å"Yu told me that†¦ you are a movie stunt man?† â€Å"Yes auntie† Paul answered politely. â€Å"Maintaining a family is not easy. It is the responsibility for a man to take good care of his family†¦ provide all the best for his family†¦ you know what I mean?† â€Å"I have stable salaries. And, I live in a flat in Hong Kong with my mom†¦ though it's not very big. I have the ability to take good care of my family— I'm sure, though I'm not rich†¦Ã¢â‚¬  Paul stressed. â€Å"So have you studied in any university†¦ or any secondary school?† Mother was being so mean. â€Å"No,† Paul replied, â€Å"but I don't think that it's a big problem— at least, I can earn a living now†¦Ã¢â‚¬  â€Å"Fine. Do you think that Yu can accommodate herself to a strange place? If she goes to Hong Kong with you†¦ I will†¦Ã¢â‚¬  Yu's mother couldn't control her emotio n. She was in tears. â€Å"Mom,† Yu also melt into tears, â€Å"I know you love me so much†¦ But the point is, I don't want to marry a person that I know that I can live with; I only want to marry someone that I cannot live without!† In silence. Yu's father touched her wife on the shoulder, â€Å"let her go†¦ she has the right to choose.† In the wedding ceremony, the bridegroom and the bridge were a good match. â€Å"Yu,† Paul said, â€Å"I will make a good match for you.† Yu smiled, â€Å"later, I can prove to my dad and mom that, I had made a good match too.† This is the end of this story. However, it is just a new start between Paul and Yu. Their own story will continue, until the end of their lives.

Fashion Essay Queen Elizabeth I - 1013 Words

During the mid to late 1500s, Queen Elizabeth I revolutionized dress in England, just as other women of power had done throughout the world. As a queen, Queen Elizabeth I’s clothes were reflective of her dominance, opulence and symbolic of her character. It was imperative that the queen’s appearance to the people was impeccable, otherwise she would be criticized as weak and underserving. Catherine L. Howey contends: â€Å"Elizabeth had to present herself as a chaste, virginal woman to prove that she was morally worthy of holding the traditionally masculine office of monarch.† (Dressing as a Virgin Queen pg. 201) Due to a thriving economy, English fashion rapidly transformed as residents longed for finer, imported clothing; thus, Queen Elizabeth†¦show more content†¦Her hairstyle makes Queen Elizabeth I the center of attention, as none of the other women in the room wear the hair down. Additionally, the queen’s straightened hair reflects the amount of time that went into preparing for the occasion; furthermore, she could afford the time to sit around and be pampered. Straightened hair shapes the face and emphasizes the length of the forehead; moreover, during this time period, large foreheads denoted class and wealth. Lastly, the queen’s choice of hairstyle could have simply served to highlight her beauty. As Queen Elizabeth walks down the red carpet, all eyes are locked on to her long cloak, which drags along the floor as she walks. An event such as the coronation is centered around the queen, so her dramatic cloak is appropriate for the occasion. The cloak is a subtle light brown and is embroidered with elaborate designs. Again, the design of the cloak denotes the severity of the coronation because the cloak itself probably took a decent amount of time to create. 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