Jacques Cousteau And The Ocean Film Studies Essay

Jacques Cousteau And The Ocean Film Studies Essay Imagine a world without oxygen. A dangerous world few have seen and few will ever see. A world filled with colors as bright as a rainbow and blackness as dark as any cave. A world with strange, never before seen creatures everywhere, waiting to be discovered. This is the Ocean. This is the world of Jacques Cousteau. Cousteau worked hard to make this ocean world more accessible to the world. He created movies, books, and films to allow everyone to see what lies beneath the oceans surface. He even invented new devices to allow people to go there. Making major advances in scuba diving and raising the publics awareness are just two of the ways Jacques Cousteau revolutionized ocean exploration. Jacques Cousteau made major advancements in scuba diving. Of his advances, his greatest was the invention of the Aqua-Lung. Before Cousteaus invention, diving gear consisted of airtight suits with lead boots, steel helmets, and an air hose that was attached to a ship at the surface (King). With this setup, divers had very little freedom of movement. Cousteau wanted to create a new system that would allow divers to move freely and allow divers to stay underwater for longer periods of time. He soon attempted this project and was unsuccessful. He tried using a gas mask, rubber tubes, and bottles of oxygen. Cousteau learned the hard way that pure oxygen becomes toxic to the human body at great depths. Cousteau had a seizure on a dive after breathing the pure oxygen for only four minutes. He decided that compressed air was a better choice, and went to his father for more advice (Cullen). Regular compressed air consists of 78% nitrogen, 21% oxygen, and 1% other gasses (Cullen). His father was an executive for a company that sold gasses, and Cousteau knew his father would be able to help. Cousteaus father said that a self-regulating valve would work best. The valve would allow divers to inhale and exhale through one mouthpiece without exhaling into their fresh air supply (Cullen). After hearing his fathers advice, Cousteau met with an engineer from his fathers gas company named Émile Gagnan in December, 1942. Together, they modified a self-regulating valve. They traveled to the Marne River and tested the valve with compressed air. At first, the valve did not quite work right. The valve only worked when the diver was horizontal. Within a few weeks, the pair finished their project. They called it the Aqua-Lung, and applied for a patent. Their finished Aqua-Lung weighed about 50 lbs., but still allowed divers to move freely in the water (Cullen). This invention changed the sport of diving forever, and Cousteau knew his invention could change the world as well. Soon after his invention of the Aqua-Lung, Jacques Cousteau began to set the limits for safe diving. Cousteaus First dive with his finished Aqua-Lung took him to a depth of about 60 feet (Charton). He knew that his new invention would bring many new dangers with it, so he soon began to set the limits for safe diving. Cousteau also tried using different gas mixtures with different ascension rates to find what worked best (Cullen). Soon, Cousteau began to push the limits of his Aqua-Lung. He wanted to see how deep he could safely dive. In 1947, Cousteau was able to reach a depth of 297 feet (Cullen). Cousteau began to discover new dangers that could threaten divers. Cousteau soon began feeling the symptoms of nitrogen narcosis. Nitrogen narcosis affects divers on deep dives and has many effects on the mind. One of its main effects is not allowing a diver to think clearly and could cause the diver to make mistakes while diving that could be fatal (Cullen). He also learned of decompressi on sickness when a man diving with Cousteau died while he was ascending. Cousteau set the safe diving limit at 300 feet after this event (Cullen). These guidelines for safe diving would protect the lives of thousands of divers for many years to come. Cousteaus invention of the Aqua-Lung in 1942 created many new possibilities for divers. The Aqua-Lung made it possible for divers to explore parts of the ocean that had never before been seen, such as underwater caves. Marine scientists were also able to study ecosystems in deeper parts of the ocean more efficiently. They saw things they could never before see (Cullen). The Aqua-Lung also had many more uses. These include finding and disarming German mines during WWII, clearing debris from ports, underwater photography, exploring caves and shipwrecks, and ocean research (Cullen). Cousteau even thought that the Aqua-Lung could be used as a way for specially trained soldiers to swim into enemy harbors and plant explosives on the hulls of ships (Madsen). The Aqua-Lung gave divers many more possibilities in the underwater world. Jacques Cousteau played a major part in raising public awareness for the ocean. He created many books, films, and T.V. programs throughout his life. All of these were used by Cousteau to make the world more aware of the oceans and showed how important ocean conservation was. Cousteau became interested in moviemaking when he was very young. He was amazed by the way cameras worked and also enjoyed taking them apart and rebuilding them. This interest followed Cousteau throughout his life, and he went on to make many award-winning films and movies (Cullen). Cousteau began to waterproof his cameras and began taking cameras with him on his dives. He soon released his first film, Eighteen Meters Down, which was very popular at the Cannes Film Festival in 1943 (Cullen). Cousteau began to improve his cameras. He built them to withstand the water pressure they would have to take during deeper dives. Using his improved cameras, he created many new films. He also tried color film and artificial light in his films for the first time (Cullen). The later years of Cousteaus life were spent creating film series and television specials. These include The Undersea World of Jacques Cousteau, Cousteau Odyssey, and Cousteau Amazon. Viewers were amazed by the images in these new films, and Cousteau received over 40 Emmy nominations (Cullen). By publishing The Silent World in 1953, Cousteau continued to educate the public about the ocean. The book was made popular because of its color photos and stories from Cousteaus dives (King). It also included Cousteaus first explorations of shipwrecks and underwater caves. The Silent World was instantly successful and became a best-seller (Cullen). The book was so successful that it was published in 22 languages and sold worldwide (King). A film version of The Silent World was released three years later, in 1956 (Cullen). The year of its release, the film won the highest award at the Cannes Film Festival, the Palme dOr. It was the first document ary to win this award, and only one documentary has won the award since (Collins). The following year, in 1957, the film also won an Oscar award (Cullen). Cousteau knew that in order to continue his research, he needed a research vessel. He soon found what he needed. Cousteau purchased the Calypso, a 400-ton minesweeper. The ship was converted into a floating laboratory filled with modern equipment and underwater television cameras (OLeary and OMeara). The Calypsos first expedition started on November 24, 1951. The mission was to research the Red sea. The Calypso was used to create many of Cousteaus films and documentaries. While researching the Red sea, the Calypsos crew filmed coral reefs, islands, volcanic basins, new plant and animal species, and recorded a new record depth of 16,500 feet. The new films created from the Calypso expedition amazed scientists, naturalists, and most importantly, the National Geographic Society, who agreed to finance one of Cousteaus future expeditions aboard the Calypso (Cullen). While onboard the Calypso, Cousteau created over 70 films and television specials (Cullen). The Calypso was also used as a w ay to document and record pollution and other human caused problems affection the ocean (OLeary and OMeara). At this time, few people were aware of how their pollution was affecting the ocean. Cousteau dedicated a large part of his life to promoting ocean conservation. He knew the importance of the ocean as a source of food, water, and minerals. In 1973 he founded the Cousteau Society. The society was created to teach public the importance of ocean conservation. The mission of the Cousteau Society is to understand, defend, and communicate about the Water Planet, and in doing so, protect the rights of future generations,(Jacques-Yves Cousteau). The Cousteau Society continues its mission, and still teaches ocean conservation today. Jacques Cousteau worked hard and put a lot of effort into raising support for the organization (Cullen). He gave his entire life to speaking out for the ocean, and convinced people around the world to take better care of the ocean. Cousteau achieved this goal through his films, books, and the Cousteau Society (OLeary and OMeara). In an interview for a magazine, Cousteau said, Our way of managing the Earth is wrongà ¢Ã¢â€š ¬Ã‚ ¦ the oceans are sic k, but theyre not going to die. There is no death possible in the oceans there will always be life but theyre getting sicker every yearà ¢Ã¢â€š ¬Ã‚ ¦ We need to outline what is possible and what is impossible with the nonrenewable resources on Earth, ( ).

Foundation and Empire 10. The War Ends

Lathan Devers felt definitely uncomfortable, and vaguely resentful. He had received his own decoration and withstood with mute stoicism the turgid oratory of the mayor which accompanied the slip of crimson ribbon. That had ended his share of the ceremonies, but, naturally, formality forced him to remain. And it was formality, chiefly – the type that couldn't allow him to yawn noisily or to swing a foot comfortably onto a chair seat – that made him long to be in space, where he belonged. The Siwennese delegation, with Ducem Barr a lionized member, signed the Convention, and Siwenna became the first province to pass directly from the Empire's political rule to the Foundation's economic one. Five Imperial Ships of the Line – captured when Siwenna rebelled behind the lines of the Empire's Border Fleet – flashed overhead, huge and massive, detonating a roaring salute as they passed over the city. Nothing but drinking, etiquette, and small talk now. A voice called him. It was Forell; the man who, Devers realized coldly, could buy twenty of him with a morning's profits – but a Forell who now crooked a finger at him with genial condescension. He stepped out upon the balcony into the cool night wind, and bowed properly, while scowling into his bristling beard. Barr was there, too; smiling. He said, â€Å"Devers, you'll have to come to my rescue. I'm being accused of modesty, a horrible and thoroughly unnatural crime.† â€Å"Devers,† Forell removed the fat cigar from the side of his mouth when he spoke, â€Å"Lord Barr claims that your trip to Cleon's capital had nothing to do with the recall of Riose.† â€Å"Nothing at all, sir.† Devers was curt. â€Å"We never saw the Emperor. The reports we picked up on our way back concerning the trial, showed it up to be the purest frameup. There was a mess of rigmarole about the general being tied up with subversive interests at the court.† â€Å"And he was innocent?† â€Å"Riose?† interposed Barr. â€Å"Yes! By the Galaxy, yes. Brodrig was a traitor on general principles but was never guilty of the specific accusations brought against him. It was a judicial farce; but a necessary one, a predictable one, an inevitable one.† â€Å"By psychohistorical necessity, I presume.† Forell rolled the phrase sonorously with the humorous ease of long familiarity. â€Å"Exactly.† Barr grew serious. â€Å"It never penetrated earlier, but once it was over and I could†¦ well†¦ look at the answers in the back of the book, the problem became simple. We can see, now, that the social background of the Empire makes wars of conquest impossible for it. Under weak Emperors, it is tom apart by generals competing for a worthless and surely death-bringing throne. Under strong Emperors, the Empire is frozen into a paralytic rigor in which disintegration apparently ceases for the moment, but only at the sacrifice of all possible growth.† Forell growled bluntly through strong puffs, â€Å"You're not clear, Lord Barr.† Barr smiled slowly. â€Å"I suppose so. It's the difficulty of not being trained in psychohistory. Words are a pretty fuzzy substitute for mathematical equations. But let's see now-â€Å" Barr considered, while Forell relaxed, back to railing, and Devers looked into the velvet sky and thought wonderingly of Trantor. Then Barr said, â€Å"You see, sir, you – and Devers – and everyone no doubt, had the idea that beating the Empire meant first prying apart the Emperor and his general. You, and Devers, and everyone else were right – right all the time, as far as the principle of internal disunion was concerned. â€Å"You were wrong, however, in thinking that this internal split was something to be brought about by individual acts, by inspirations of the moment. You tried bribery and lies. You appealed to ambition and to fear. But you got nothing for all your pains. In fact, appearances were worse after each attempt. â€Å"And through all this wild threshing up of tiny ripples, the Seldon tidal wave continued onward, quietly – but quite irresistibly.† Ducem Barr turned away, and looked over the railing at the lights of a rejoicing city. He said, â€Å"There was a dead hand pushing all of us; the mighty general and the great Emperor; my world and your world – the dead hand of Hari Seldon. He knew that a man like Riose would have to fail, since it was his success that brought failure; and the greater the success, the surer the failure.† Forell said dryly, â€Å"I can't say you're getting clearer.† â€Å"A moment,† continued Barr earnestly. â€Å"Look at the situation. A weak general could never have endangered us, obviously. A strong general during the time of a weak Emperor would never have endangered us, either; for he would have turned his arms towards a much more fruitful target. Events have shown that three-fourths of the Emperors of the last two centuries were rebel generals and rebel viceroys before they were Emperors. â€Å"So it is only the combination of strong Emperor and strong general that can harm the Foundation; for a strong Emperor can not be dethroned easily, and a strong general is forced to turn outwards, past the frontiers. â€Å"But, what keeps the Emperor strong? What kept Cleon strong? It's obvious. He is strong, because he permits no strong subjects. A courtier who becomes too rich, or a general who becomes too popular is dangerous. All the recent history of the Empire proves that to any Emperor intelligent enough to be strong. â€Å"Riose won victories, so the Emperor grew suspicious. All the atmosphere of the times forced him to be suspicious. Did Riose refuse a bribe? Very suspicious; ulterior motives. Did his most trusted courtier suddenly favor Riose? Very suspicious; ulterior motives. It wasn't the individual acts that were suspicious. Anything else would have done which is why our individual plots were unnecessary and rather futile. It was the success of Riose that was suspicious. So he was recalled, and accused, condemned, murdered. The Foundation wins again. â€Å"Look, there is not a conceivable combination of events that does not result in the Foundation winning. It was inevitable; whatever Riose did, whatever we did.† The Foundation magnate nodded ponderously. â€Å"So! But what if the Emperor and the general had been the same person. Hey? What then? That's a case you didn't cover, so you haven't proved your point yet.† Barr shrugged. â€Å"I can't prove anything; I haven't the mathematics. But I appeal to your reason. With an Empire in which every aristocrat, every strong man, every pirate can aspire to the Throne – and, as history shows, often successfully – what would happen to even a strong Emperor who preoccupied himself with foreign wars at the extreme end of the Galaxy? How long would he have to remain away from the capital before somebody raised the standards of civil war and forced him home. The social environment of the Empire would make that time short. â€Å"I once told Riose that not all the Empire's strength could swerve the dead hand of Hari Seldon.† â€Å"Good! Good!† Forell was expansively pleased. â€Å"Then you imply the Empire can never threaten us again.† â€Å"It seems to me so,† agreed Barr. â€Å"Frankly, Cleon may not live out the year, and there's going to be a disputed succession almost as a matter of course, which might mean the last civil war for the Empire.† â€Å"Then,† said Forell, â€Å"there are no more enemies.† Barr was thoughtful. â€Å"There's a Second Foundation.† â€Å"At the other end of the Galaxy? Not for centuries.† Devers turned suddenly at this, and his face was dark as he faced Forell. â€Å"There are internal enemies, perhaps.† â€Å"Are there?† asked Forell, coolly. â€Å"Who, for instance?† â€Å"People, for instance, who might like to spread the wealth a bit, and keep it from concentrating too much out of the hands that work for it. See what I mean?† Slowly, Forell's gaze lost its contempt and grew one with the anger of Devers' own.

Machete and Tron Review Essay

In this film Robert Rodriguez decided to pay tribute to B-movies of the 70’s and 80’s (the unsteady zooms, the clumsy edits, the continuity errors between shots), this is very apparent in the genre of the movie, exploitation films include excessive violence, gore, nudity and way too many corny lines. Art Direction wise the film also follows a 70’s 80’s kind of vibe, the cast also reminds us of that era. Costume design is amazing, all characters have a distinct very cartoony costume to them, the cheesiness doesn’t end here, the amount of weapons cannot be accounted for other than all the uzi’s minigun’s etc. etc. our main character can turn any household object, gardening tool or surgical instrument into a weapon of mass destruction! Special Effects are ABSURD (in the good way) what really stuck in my head is when our main Hero guts someone takes his intestines and jumps out a window using them as a rope! The Blood spurts and body parts cut off or crushed aren’t few either. Sound Effects have their parts of cheese; the most memorable one to me was when Torrez (played by Steven Seagal) pulls out his Samurai Sword (the effect is actually from the 1974 movie Six Million Dollar Man). Machete is a film that embodies all of the facets a 1970s blaxploitation film would have, but with the Hispanic culture. This is Mexploitation, with a resonant grindhouse feeling, complete with film reel scratches and fake political ads. But the violence and action in this is so extraordinary and unapologetically gruesome, with the extremity of it all not being taken seriously at all. The things they do in this film, guaranteed you haven’t seen most of them ever done before. Corkscrews, high-heels, weed-whackers, and, of course, machetes, are only a very small listing of all the tools and weapons used to dispatch characters in Machete. It’s over the top, absolutely ridiculous scenes that pop up every five minutes and make for a joyous film experience. There are too many be-headings, blood-splattering gunshots, and limb removals to count†¦. Don’t even get me started on the stabbings. The end Battle climaxes the gore, blood, and absurdity of the film. I’m going to get more in some of the Characters; Danny Trejo, the star of Machete, has a face that’s so rough, craggy, and etched with hard living that it’s like a natural rock formation. With a tattooed torso as thick as a refrigerator, and long oily black hair that frames his simmering coal-fire eyes, Trejo, like Mickey Rourke, is a freakishly hypnotic camera subject. Depending on which angle he’s shot from, he can look like the world’s toughest biker, a Native American shaman, or a very angry carp. As Machete (pronounced †ma-chet-ay†), Trejo is so badass he’s funny. Yet the movie, codirected by Robert Rodriguez and Ethan Maniquis, never treats him like a joke. When he slashes people with his machete, which he favors because he’s a true warrior (as opposed to the wimps who hide behind their guns), he’s an unholy ethnic avenger out of a ’70s walking-tall fantasy. Robert De Niro plays the role of Senator John McLaughlin; the character is your typical jackass Texas cowboy senator. Sartana Rivera is you basic torn cop that is realizing that some laws shouldn’t be enforced because they are just laws, Jessica Alba fits well in this role. In a side note her Nude shower scene was a fake she was digitally stripped naked, it was a decision she and Robert Rodriguez made together, which would serve his vision for the film, as well as honor her personal convictions regarding nudity. Torrez played by Steven Seagal , is a drug lord portrayed as if he thinks of himself as a Samurai, he even has his own Katana (the samurai Sword) Michelle Rodriguez plays the Role of Luz, at first she looks pretty normal but in the end scene she is reincarnated as the Mythical â€Å"SHE† leather pants, small top, eye patch and one hell of a Machine gun. Lindsay Lohan shines as April Booth, daughter of Michael Booth, she has 2 costumes in the hole film first one is, well, being Naked!!!! And the second is a full dressed Nun that surely comes with a Machine gun! Cheech Marin plays as Padre Cortez, your favored pastor; he uses 2 shotguns to blow off people’s heads off. Tron: Legacy Put together the old Tron with reminiscent Skintight suits with neon like lines that glow, new tech machinery called Light Runners, and some new and improved Light cycles(new gen Bikes)created out of sticks, think about the film score and music and you realize that it should be done by Daft Punk, I guess Kosinski realized this early on because when he was asked why he ecided to have Daft Punk do the film score, he replied, â€Å"How could you not at least go to those guys? †. The score is a mix of orchestral and electronic elements, this fits right on with the artistic feel of the movie. Daft Punk have created a sonic masterpiece worthy of the legacy of Tron. Their brilliant layering of ambient electronica with orchestral symphonics is every bit as avant garde in creating atmospheric digital soundscapes as Wendy Carlos’ score was for the origin al Tron. I only wish that they had incorporated some more of Wendy’s memorable themes. You can kind of hear a few familiar notes that recalls Tron’s theme in â€Å"Adagio For Tron† but that’s pretty much the only hat tip to Wendy’s vintage score. Like the film itself, Daft Punk have taken the music of Tron to a whole new aesthetic level by incorporating their unique style of techno synthpop along with their influences of electronic film composers like Vangelis on â€Å"Arrival† to the ominous Carpenter-esque â€Å"C. L. U. † and synthesizing them with traditional orchestral composers like Bernard Hermann and Max Steiner. â€Å"The Grid† is the only track with any words put to the music. With Jeff Bridges providing a voiceover for the first half of the track, the song acts as an introduction for anyone who may have missed the first film. As â€Å"The Grid† fades out and â€Å"The Son Of Flynn† opens with an arpeggiated synthesizer, listeners get their first taste of Daft Punks blend between their own unique sound and classical music. Although the majority of the tracks on â€Å"Tron: Legacy† utilize an excellent balance between the two styles, some of the tracks sway one way or the other, drastically changing the mood of the piece. Tracks like â€Å"The Game Has Changed† offer an almost exclusively classical instrumentation while transforming the percussion section into a series of powerful electronic hits, rattling the eardrums and taking focus off of the ominous strings hidden beneath. Although the London Philharmonic Orchestra provides all of the string arrangements, their true feature comes on â€Å"Adagio for Tron. † Sounding a bit like Hans Zimmer’s â€Å"Hummel Gets the Rockets† from the soundtrack for â€Å"The Rock,† Thomas Bangalter and Guy-Manuel de Homem-Christo of Daft Punk use his track as a means of showing off their prowess with orchestration, complete with a simple, yet beautiful cello solo. As the mood darkens, the music dives deeper into the electronic realm while still maintaining at least some aspects of a symphonic orchestra. Tracks like â€Å"End of Line† pull entirely from the electronic realm except for a sustained string part which would typica lly get lost in a Daft Punk mix, but because of their extraordinary presence on the rest of the album, they remain surprisingly noticeable.

The Golden Age Of Radio - 1134 Words

The Golden Age of Radio is a period of time when radio programs were at its peak popularity and became a part of daily life. It took place around the 1930’s to the 1940’s and helped provide entertainment and news in the United States, which was suffering from war and economic depression. It stated in http://www.pbs.org/opb/historydetectives/feature/radio-in-the-1930s/ and http://www.britannica.com/topic/Golden-Age-of-American-radio. It also stated that most households had a radio and the programs were aired at different times during the day with different programs for each family member, kids had shows like Little Orphan Annie and during the day housewives could listen to Our Gal Sunday. When something happened, everyone could be found listening to the radio to hear the news. Radio dramas were a type of radio broadcast which could be stories, or full-length musicals performed with no visual aspect, relying on dialogue, music, and sound effects. 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