Portrayal of Asian-Americans in the Canceled Sitcom, All American Girl

Portrayal of Asian-Americans in the Canceled Sitcom, All American GirlEver since arriving in this country, Asian-Americans have been misunderstood and discriminated against. late things have gotten better, but there are still people trying to further improve their situation. Margaret Cho, a Korean-American, is one of them. In the late 1990s she got her own sitcom, All-American Girl. This was a perfect chance to improve the portrayal of Korean-Americans, and Asian-Americans in general. Positive AspectsAll American Girl showed many positive portrayals of Asians in a modern daylight society in California. The show is the first show in history to have a multi generational Asian cast portraying a Korean family in America. The grandparents are typical Korean people who came to America all the way down to their grandchildren who are all American (All American Girl).Despite often stereotypes present in the show, including the portrayal of an average Californian teenage girl chasing boys, All American Girl does show some of the general Korean traditions. In one episode, Margarets, the main character, mother is upset at her granddaughter for pursuing a non Korean boy romantically. The theme of Margarets romance continues into the next episode when her impudently Korean boyfriend wants her to be the typical Korean woman (All American Girl). Another example of Korean thinking in the show is portrayed when the naan blames the bad luck of family on bad feng shui. Feng Shui is probably a term that most Americans are oblivious about, and this show brings it to light.All American Girl make a easily attempt at trying to educate the American people on the Korean way of life and traditions. People living in America tend to ... ...owed to date?Hiltbrand (p.17) argues that the show takes cheap shots at Asian culture and makes unfair use of stereotypes. He says of the show, In its own warped fashion, this twisted sitcom reminds me of The Many Loves of Dobie Gillis -- only wit h rickshaw jokes. Grade C. Here you can see some of the negative sentiment that people had towards the show. Hiltbrand uses the example of Rickshaw Jokes to enjoin his opinion that when it came down to it, this show wasnt all that much better than all the other stereotypical portrayals of Asians in other shows, despite its good intentions.All American Girl, while having its positive aspects, was still seen by many as detrimental to the Asian-American community. It is unfortunate that because of network executives and ignorance in general even a show that has good intentions still leaves people out in the cold.

The Scaffold and Forest in Nathaniel Hawthornes Scarlet Letter :: Scarlet Letter essays

The Scaffold and Forest in The ruby-red Letter   Nathaniel Hawthornes work, The Scarlet Letter, focuses on the pocketable Puritan community of Boston during the seventeenth century. In the center of the t declare is a . . .weather darkened sustain. . . (234) where sinners are make to face the condemning public. The accused view strange phenomena while on the scaffold - some become braver, some meeker. And whether the public is looking at them or not, they become their true selves on the scaffold. In essence, everything that is real and true occurs on the scaffold, and everything that is illusion or hypocrisy occurs everywhere else.   The forest is also a condition where characters find the truth about themselves. most(prenominal) settlers to the forest are people who are outsiders from society. They are untainted by the views of the townspeople and can see beyond the lies and hypocrisy of the townspeople. The owns of the people on the scaffold and in the forest le nd themselves to a higher issue, reality vs. perception. In the Scarlet Letter, Hawthorne shows how people create their own reality with what they see.   The Scaffold is not all a high view point the in market place but a site where one(a) can see beyond the restraints of town and even time. For one person, . . . the scaffold of the expose was the point of view that revealed to Hester Prynne the entire track which she had been treading since her happy infancy (p65). The experience of the scaffold has a profound import on Hester. Living on the border between the town and the forest, she learns new freedom while seeing the conforming repression of the town. Hester sees what the townspeople ignore. She soon believes that because of her punishment on the scaffold and her perpetual reminder of it, the scarlet letter, she sees the sins of the entire townspeople and the hypocrisy of keeping them secret. Thus, her time on the scaffold has made her see the truth of the town and its lies.   Reverend Dimmesdale has a similar experience on the scaffold. Troubled by his sins and his failure to witness them, the reverend ascends the pillory in the dead of night to confess his sins to the world. Even though on one sees him, Dimmesdale feels .The Scaffold and Forest in Nathaniel Hawthornes Scarlet Letter Scarlet Letter essays The Scaffold and Forest in The Scarlet Letter   Nathaniel Hawthornes work, The Scarlet Letter, focuses on the small Puritan community of Boston during the seventeenth century. In the center of the town is a . . .weather darkened scaffold. . . (234) where sinners are made to face the condemning public. The accused experience strange phenomena while on the scaffold - some become braver, some meeker. And whether the public is looking at them or not, they become their true selves on the scaffold. In essence, everything that is real and true occurs on the scaffold, and everything that is illusion or hypocrisy occurs everywhere else. & nbsp The forest is also a setting where characters find the truth about themselves. Most settlers to the forest are people who are outsiders from society. They are untainted by the views of the townspeople and can see beyond the lies and hypocrisy of the townspeople. The experiences of the people on the scaffold and in the forest lend themselves to a higher issue, reality vs. perception. In the Scarlet Letter, Hawthorne shows how people create their own reality with what they see.   The Scaffold is not only a high view point the in market place but a site where one can see beyond the restraints of town and even time. For one person, . . . the scaffold of the pillory was the point of view that revealed to Hester Prynne the entire track which she had been treading since her happy infancy (p65). The experience of the scaffold has a profound effect on Hester. Living on the border between the town and the forest, she learns new freedom while seeing the conformist repression of the t own. Hester sees what the townspeople ignore. She soon believes that because of her punishment on the scaffold and her perpetual reminder of it, the scarlet letter, she sees the sins of the entire townspeople and the hypocrisy of keeping them secret. Thus, her time on the scaffold has made her see the truth of the town and its lies.   Reverend Dimmesdale has a similar experience on the scaffold. Troubled by his sins and his failure to confess them, the reverend ascends the pillory in the dead of night to confess his sins to the world. Even though on one sees him, Dimmesdale feels .

Mob Involvement With Prohibition :: essays research papers

Mob Involvement with Prohibition In 1917 Congress passed the Eighteenth Amendment to the Constitution which taboo the export, import, manufacture, sale, and transportation of alcoholic beverages in the United States. This new law is believed to take a leak had the greatest effect on the twenties creating a feeling of rebellion and ferocious behavior. Many concourse thought this law violated there right to live by their own standards and have a ripe time. The Volstead Act passed by Congress set up penalties to all violators of the Eighteenth Amendment. Prohibition is one of the best things ever done by the United States Government. It single-handedly created new commercial enterprise opportunities and brought people together like never before. It had in any case created a booming new industry, and created a new way of life for many people. Unfortunately, none of these things were good things. The new business opportunities were all in the organized crime realm. With the bannin g of alcohol they saw an incredible boom in business. No longer did they have to rely on robbery, brothels and cons. There was a whole new business pop out there and it was making millions. Prohibition also united the American people more than anything since the World War. Everyone, from the forgetful to the rich, united to break the law. Even the police, yeah sure they will serve and protect, unless they find a better deal. The police were let alcohol be made and sold right under their noses. The rich buy the booze to spice up their parties and the poor spend their time and specie in bootleggers houses getting drunk. Rarely do the rich and the poor agree on anything. But, prohibition contributed to an increased sense of community and neighborly love. Prohibition also brought big business to the small businessman. Alcohol making used to be done by all the large companies. With prohibition the big companies were put out and the small businesses had to meet the demand. This was wha t I was referring to earlier by creating a huge business opportunities for the hard-working little guy, rather than the large corporations. I suppose you could venture to pronounce prohibition was like a modern time welfare. By saying this I mean rather than making the rich richer and the poor poorer, prohibition helped the poor lift themselves from poverty without the help of the rich. Also prohibition had many benefits beyond the obvious.

Idle Minds and Wagging Tongues: Conversation in Anna Karenina :: Essays Papers

Idle Minds and Wagging Tongues Conversation in Anna K atomic number 18ninaPerhaps one of the most striking scenes in Anna Karenina is that of Kitty and Levins silent declarations of love to each other, etched out cryptically in chalk on a card table, with each understanding innately the occupy words the other was saying (362). With the relationship surrounded by Kitty and Levin serving as Tolstoys model for a strong and successful love, it appears odd that such a relationship should be founded on silence, and in such sharp contrast to the chatter of Society surrounding the couple at the party. How then are we to understand the significance of conversation in the novel, if the most sincere relationships and understandings are not founded upon dialogue, but on unspoken knowledge? Entire subplots and themes are conveyed through and through conversations between the charactersthe peasant problem and farm management, religion, marriage and faithfulness. Everyone is trying to grasp what a good life is, but the ideas expressed in conversation, however, appear rather often to contradict both the inner monologue of the characters and their actions, or fall pathetically short of expressing the power of the feelings of characters. For most of the characters, neither Society banter nor quick discourse does justice to their real passions, and even personal exchanges are steeped in insincerity. Unless they find a means to express their passions some other way, they are blamed to a life of dissatisfaction at best, or a tragic end at worst.Within the opening conflict of the novelStivas affair with the french governess and his wifes reaction when learning of itTolstoy first presents this tension between honesty and speech. Before Dolly and Oblonskys exchanges, Tolstoy interposes a short confrontation between Oblonsky and his son, Grisha. Oblonsky is conscious of not caring as much for the boy as for the girl, but does his best to treat them both alike (7). Although he sa ys, Good forenoon to Grisha, Oblonskys words are insufficient to mask his inner feelings, and his actions betray him through a cold smile (7). Grisha, significantly, does not reply. To reply with some sweet would be to pretend that Oblonsky was sincere in his greeting, and Grisha is too nave to use speech to do anything but to tell the truth. Short of accusing his father of not loving him, which he is already old enough to understand would be entirely inappropriate, he can only remain silent.

Comparison of Masaccios The Holy Trinity and Grunewalds The Isenheim

Comparison of Masaccios The Holy Trinity and Grunewalds The Isenheim Altarpiece The Holy Trinity by Masaccio was a flick done in approximately 1428. It is asuperb example of Masaccios use of musculus quadriceps femoris and perspective. It consists oftwo levels of unequal height. Christ is represented on the top half, in acoffered, barrel-vaulted chapel. On one side of him is the Virgin Mary,and on the other, St. John. Christ himself is supported by God the Father,and the Dove of the Holy Spirit rests on Christs halo. In front of thepilasters that enframe the chapel kneel the donors (husband and wife).Underneath the altar (a masonry insert in the painted composition) is atomb. Inside the tomb is a skeleton, which may represent Adam. Thevanishing blossom is at the center of the masonry altar, because this is theeye level of the spectator, who looks up at the Trinity and down at thetomb. The vanishing point, five feet above the floor level, pulls bothviews together. By doing this, an conjury of an actual structure iscreated. The interior volume of this structure is an extension of thespace that the person looking at the work is standing in. The adjustmentof the spectator to the pictured space is one of the first steps in thedevelopment of illusionistic painting. Illusionistic painting fascinatedmany artists of the Renaissance and Baroque periods. The proportions in this painting argon so numerically exact that onecan actually calculate the numerical dimensions of the chapel in thebackground. The span of the painted vault is seven feet, and the depth isnine feet. Thus, he achieves not only successful illusion, but a rational,metrical coherence that, by maintaining the ... ... wearing a small robe around his waist. The otherforms are depicted superbly. Their bodies are not lost behind the draperywhich they wear, yet they are not seen exactly either. The folds are muchdelicate, which create a calmer mood. (Christs rendering wa s alreadygiven). The forms are three dimensional, and also have weight. Theyclearly take up space, and where they are is clearly defined. As in The Holy Trinity, the composition is largely symmetrical,centered around the body of Christ. It is a frightful composition,because of the events taking place. Expression is shown on all of thefigures, who grieve Christs death. Overall, the two works are very similar. Masaccio, however, wasmore interested in the mathematical aspects of painting than Grunewald.Both works are superb, and have their own distinct qualities.

Comparison of Masaccios The Holy Trinity and Grunewalds The Isenheim

Comparison of Masaccios The Holy Trinity and Grunewalds The Isenheim Altarpiece The Holy Trinity by Masaccio was a painting done in approximately 1428. It is a glorious example of Masaccios use of space and perspective. It consists oftwo levels of unequal height. Christ is represented on the top half, in acoffered, barrel-vaulted chapel. On one side of him is the virginal Mary,and on the other, St. John. Christ himself is supported by God the Father,and the Dove of the Holy Spirit rests on Christs halo. In front of thepilasters that enframe the chapel kneel the donors (husband and wife).Underneath the communion table (a masonry insert in the painted composition) is atomb. Inside the tomb is a skeleton, which may represent Adam. Thevanishing point is at the center of the masonry altar, because this is theeye level of the spectator, who looks up at the Trinity and down at thetomb. The vanishing point, five feet above the floor level, pulls bothviews together. By doing this, an illusion of an actual structure iscreated. The interior volume of this structure is an flank of thespace that the person looking at the work is standing in. The adjustmentof the spectator to the pictured space is one of the first steps in the phylogeny of illusionistic painting. Illusionistic painting fascinatedmany artists of the Renaissance and Baroque periods. The proportions in this painting are so numerically exact that onecan actually take aim the numerical dimensions of the chapel in thebackground. The span of the painted vault is seven feet, and the depth isnine feet. Thus, he achieves not only successful illusion, but a rational,metrical coherence that, by maintaining the ... ... wearing a small robe around his waist. The otherforms are depicted superbly. Their bodies are not lost fag end the draperywhich they wear, yet they are not seen exactly either. The folds are moredelicate, which create a calmer mood. (Christs description was alreadygive n). The forms are three dimensional, and also flummox weight. Theyclearly take up space, and where they are is clearly defined. As in The Holy Trinity, the composition is generally symmetrical,centered around the body of Christ. It is a worthless composition,because of the events taking place. Expression is shown on all of thefigures, who grieve Christs death. Overall, the two works are very similar. Masaccio, however, wasmore interested in the mathematical aspects of painting than Grunewald. both(prenominal) works are superb, and have their own distinct qualities.

The Lottery: Litterary Response

The Lottery, by Shirley Jackson, is a compelling story ab expose the human race and how it is stirred by its surrounding traditions. When the 27th of June arrives, a village is over issuancen by a two hour lottery, which includes the picking of stones, a black box and ends in a fight for the winners life. One of the self-aggrandizing themes in this story is human hypocrisy. Although most of the characters argon shown through their words and actions, one particular person stands out Mrs Tessie Hutchinson.At the arising of the story, Tessie heads towards the town square, stating that she forgot what day it was to her neighbour Mrs. Delacroix as they both chuckled softly. Soon enough, phrases are shared between Tessie and her soon to be rivals Thought we were going to take a shit to cut on without you, Tessie, (Mr. Summers), Your in time, though, (Mrs. Delacroix). Throughout the story, Mrs. Hutchinson doesnt seem to mind the fact that someone, close to her or non, will be stoned t o death.Her attitude at the start of the lottery is calm and cheerful Tessie is unaffecyed by what the outcome of the lottery might be, since she thinks that she wouldnt be in that situation. When it is her familys turn to pick up their lottery slate and finds out that her husband got the winning paper, her character completely changes. Mrs. Hutchinson starts to lash out at Mr. Summers, the lottery director, saying that you didnt give him time enough to take any paper he wanted. I saw you. It wasnt fair .Tessies character evolves by a simple change in the lottery her family becoming the stub of it all. She tries to find ways of getting out of this situation, like including her eldest daughter Eva and her husband Don, in her family, but, little does she k straight off that daughters draw with their husbands family. Tessie continues to state that it isnt fair and I think we ought to start over. I tell you it wasnt fair. When each member of her family takes turns to pick out their pap ers, Tessie becomes hesitant as her turn arrives.Her time is up as she is revealed as the winning ticket holder. She becomes upset and desperately tries to change everyones mind by saying her most famous last words It isnt fair Tessie now realizes that she is in the once ignored position that all the other unlucky winners ahve been in the past and, soon enough, her luck comes to an end as she is stoned to death. fraud is a very big part of our society everyday, someone is saying or creating false assumptions of an appearance of virtue or religion.They might indicate that its impairment to practice a certain religion when they do it themselves . Even if hypocrites are a part of this world, we can learn that not everyone is as they seem. The second prominent theme is sacrifices. This village is run by a very old tradition which includes the sacrifice of a human macrocosm to please the gods, who will accuse down fresh food and crops to them. Everyone in the village, including the kidren, take part in this sacrifice, wether or not they fully encounter why thay are doing this.Little Davey is handed a stone at the end of the story so that his mom can be stoned. He is a little boy, so he doesnt understand whats going on. Since he has been brought up in this society, he might start to accept that fact that at least he will have plenty of food on the table every day, even if the total number of people has gone down. This story shows us that the traditions we practice are console being questioned as a part of our society today. Such as imitating fath , going to church every Sunday because everyone else does.What happened in The Lottery was a needed sacrifice in their struggle for the meaning of this ritual. If this sacrifice didnt hurt or kill the person it was being done to, there wouldnt be any meaning to it. The villagers woulndt have sacrificed many innocent beings to please much(prenominal) gods. This all turns toward us our inability as human beings to qu estion such monstrosity is still an un solutioned question above our heads. Shirley Jackson is trying to tell us that sacrifices have been just about for centuries and arent uncommon, but our thoughts about them are common.A young child might ask,What gods are we pleasing? ,and, Are you sure we are doing the right thing? , but they would still get the same answer because the bible said so or , Weve been doing this for centuries. The Lottery illustrates that we are living in a world where you are ostracised for believing in nothing at all and being brainwashed into believing in another. The first technique present in this story is symbolism. Two items are used during the lottery a black box and stones. In a way, the black box holds each and every persons destiny and fate.The fact that it is black is a symbol of what they ahve witnessed every course death. Every year, the lottery is taken entrust and, at the same time, death makes its mark. It comes back to take whoevers been left behind. Like the old saying It is perpetually darkest before dawn, death hangs over them until they have pleased the gods until they have a lifetime supply of crops. This story brings us into the darker side of the lottery. The side where not everything is as it seems. If it werent for the color of the box, it would have been harder to interpret where the story was heading off to.The second items where the stones the young boys begin to gather their stones and make a mint in the corner, guarding them like their most prized weapon. The stones symbolize the beating of a person, in this case. Someone is going to get beaten to death by these stones, which is an all-important(a) part of the lottery. At least in the eyes of twisted beings. The second technique present is foreshadowing. Foreshadowing is found at the beginning of the story, where we are being introduced to a somewhat pleasant event that is about to take place.The fact that the lottery in this village takes less than two hours and, in others, two days, gives us an indication that this lottery is bigger than it seems it isnt some regular event, but a sinister one. While reading this story, a novel that shares one of the themes comes to mind. postcode, a book by Janne Teller, tells the tale of a boy named Pierre Anthon who has known, for a long time, that nothing matters, just realized that nothing is worth doing and decides to pay his classroom, climb a plum tree and stay there. His friends and classmates try, with every attempt, to get him down but he wont budge.So to prove to Pirre Anthon that there is a meaning to life, they set out to build a big money of meaning in an abandoned sawmill. Their plans slowly start to take a defferent turn when their heap of meaning includes the scarification of a beloved neighbourly dog, Cinderella. They give up all their particular(a) belongings to find out what the meaning of life really is until it gets out of hand they get upset towards Pierre Anthon for m aking them go through great lengths to discover the meaning, that they lash out and end up killing him.There is a primary connection between both stories the sacrifice of a human or animal to obtain food or to re-discover the meaning of life. Globally, sacrifices and traditions have been around for entiries. Theyve shaped the cultures that are present in this generation, such as one ancient tribe of our civilization the Hurons. Many decades ago, they used to have a special way of thanking the gods for the food they received. Every year, the attractor of the tribe would dress in elaborate, colourful clothing and lead a family up a sacred mountain.There, the leader would dress the middle child, a girl, between the ages of six and nine, in clothing similar to his. If the middle child was a boy, he wouldnt be sacrificed the family would conceal until they gave birth to a girl. The family of the child would then sit in a circle around a large fire as the leader recites prayers to the g ods. The child is then laid on the wood of fire and burnt alive. To this day, you can still hear the cries of the little girls, but those cries are memoirs of their lives. Memoirs on the sinister sacrifices that took place

Contemporary Culture Seen Thru Post-War British Films

The British plastic motion-picture show of the Second creation war has typically been exemplified in terms of its depiction of the peoples war. The films which have attracted most of the essence(p) consideration are those which offered a picture of the British people at war, united regardless of class differences, and where the chronicles of individuals, heroic though they whitethorn be, were inspired into the greater base of the whole nation pulling together at a time of depicted object crisis. Curran and Porter (1983) have identified, for the first time in British feature films, a genuine, true-to-life image of ordinary men and women.Roger piecevell (1947)considered that films much(prenominal) as Millions ilk Us, San Demetrio, capital of the United Kingdom, Nine Men, The Way Ahead, Waterloo passage and The Way to the Stars showed pe ople in whom we could trust and whose experience was as genuine as our own. The reason for this pristine realism, according to Aldgate and Richards (2002) is ordinarily clarified through with(predicate) the impact of the documentary movement, the progressive left-wing sector of the British film manufacture, on the mainstream feature film producers. The British film industry endeavoured to open out overseas. J.Arthur Rank, of the Rank Organization, extended his hale ground-wide distri furtherion. The Associated British Picture Corporation or ABPC joined Warner Brothers to institute distribution in the United States. Perry (1988) noned that black lovage Korda acquired London leads and British Lion, the former from MGM. Kordas London Films had in 1933 created The Private Lives of Henry VIII. He established circulation of his films in the United States through Twentieth Century Fox. gullible (1983) illustrates that un resembling the aspirations of the highly financed studios, Ealing Studios foc employ its labours on a series of modest comic films.Teams of writer/directors made a series of remarkable films. The Bou lting brothers, John and Roy, inter miscellanyd as director and producer of a series of films, including Brighton Rock (1947), The Magic Box (1951), Lucky Jim (1957), and Im All Right, Jack (1959). The team of Michael Po wellhead and Emeric crushed leatherburger, operating under the label of the Archers and back up by J. Arthur Rank, made two specials, The Red Shoes (1948) and Tales of Hoffman (1951). The first popularised ballet while the second popularised opera.Powell and Pressburgers Stairway to Heaven ( as well as called A Matter of Life and Death, 1945) was the earn tale of a pilot who is misinterpretedly called to heaven so soon. One of the folklores that cropped up from war-weary Britain was a faith in the unity and equality of the residential district. The myth persisted for a brief time subsequently the war, stimulated by expectations for the Labour governments experiment, when recuperating English party felt the likelihood of progressing the unity experienced in the peoples war to decipher the nations massive social problems.The myth, in which all elements of society, steady those not normally associating with angiotensin-converting enzyme another, pull together, contend out in a number of films, such as the Ealing films of Hue and Cry, Whiskey Galore, Passport to Pimlico, and The Blue Lamp. Michael Balcon of Ealing Studios produced these films as fantastic escape. The thaumaturgy created was of a sense of familiarity prompted by the world war. The distraction was in fancy and departure from actuality. Hue and Cry was the first of what have become known as the Ealing comedies and it started the fantasy foundation of community.The setting in south London, an subject field devastated by the German blitz, was scheduled for enormous restoration in the years 1945-1953. In Hue and Cry, writer T. E. B. Clarke fixed on a London community of youths living and playing around a bombsite, who come together to overpower a gang of criminals. The you ng hero, Joe Kirby, spends time reading escapist pulp investigator comics. Through a series of imaginary and strange encounters, Joe ascertains a criminal syndicate of black market operators using comic books as a code. Joe, with the assistance of the community of boys, suppresses the criminals, led by the evil Nightingale.Manvell (1947) said that at the end of the war, British film was trapped in a struggle between its realist, documentary tradition and a pull toward the fantastic and expressionism. The anthology film Dead of Night (1945), co-directed by Alberto Cavalcanti, Robert Hamer, Charles Crichton and Basil Dearden, caught some of this resistance. The film modifies from the factual to the chivalric. It makes use of expressionist techniques, such as a powerful reflect scene. Landy (1991) described that realism was a primary trait of British cinema during the war.Realism was acknowledged with black and white, straight-forward narrative and characters. It was deep influenc ed by Britains documentary tradition. However, many post-war films were answers to realism. Of course, realism comes in many forms. Some films used realism seemingly to expand the baloney line, as in Michael Andersons The Dam-Busters (1954), the Boulting brothers sevener Days to Noon (1950) or Michael Powells The Small Back Room (1949). The Boulting film involved a reconstruction of the evacuation of London when the city is endangered by a scientist with an atomic device.Powells film integrated a long episode of the dismantling of a bomb. Ealing comedies, such as Hue and Cry and Passport to Pimlico, used realism as a framework for stories that were essentially non-realistic. In other films, such as Carol Reeds The Third Man or Odd Man Out, realism is used to heighten the drama and suspense. Other films used a documentary-style reconstruction, such as Charles Frends Scott of the Antarctic (1948). The documentary-style opening of The Blue Lamp was an intentional device, although the story propagated the fantasy of community.The documentary opening and closing of Whiskey Galore were essentially significant to the films satire. Realism, as a predominant style, resurfaced in the late Fifties, leading to new cinema or social realism. Dickinson and Street (1985) said that expressionism, rather than realism, dominated many of the British productions. Most of the literary were highly yet successfully stylized, including Leans adaptations from Dickens, Oliviers Shakespearean films, and Dickinsons The faery of Spades. Michael Powell and Emeric Pressburgers The Red Shoes and Tales of Hoffman are examples of the stylization.The films represent the nexus of several strands of film and literary tradition, including German expressionism of the 1920s, romanticism, Gothic, the combination of the arts, and the reaction of realism. The Red Shoes was a story by Hans Christian Anderson, derived from a story by E. T. A. Hoffman (1776-1822), a German romanticist, and influenced by life of Russian ballet director Diaghilev and dancer Nijinsky. It is the story of a ballerina torn between the control of two men her director, Lermontov, and her husband, Julian, a conductor.Her husband wrote the score for a ballet just for her The Red Shoes. Lermontov directed her in it. Although Vicki is tough at the start, able to return the gaze of Lermontov, she soon loses her capability to endure either man. The men, primarily Lermontov, are puppet masters, using manipulation to proceed the female to the males domination. Geraghty (1985) stresses that the battle of the masters is carried out on several levels. At the core of the struggle are the highly stylized ballet scenes, using images of Julian conducting, Lermontov directing and Vicki soaring on stage and in the air.The shoe maker in the ballet is, likewise, a puppeteer. The expressionistic ballet, a combination of music, art, dance and film, is adjoin by the narrative, in which the dancer shifts loyalties between herself, Lermontov and Julian. Lermontov manipulates both dancer and conductor. Vicki finally escapes by injuring herself and ending forever her ability to dance. Lermontov continues the final performance of the ballet without a dancer in the lead role. Green (1983) said that The Tales of Hoffman was based on an opera of the German expressionist Jacques Offenbach.It comprises film with little dialog. It recollects the universal visual speech of the silent film. The various characters of the opera, which challenge and defy Hoffman, a nobleman/poet, include an array of manipulators an eye glass maker, a master of souls, and a demonic doctor. The take opera originally had four episodes, though one episode, hence another manipulator, was cut from the film. The film represents creator as monster and tormentor as well as tormented victim. This theme, said to cast Hoffman as a metaphor for Powell, recalls Lermontov and his tries to gets in touch with Vicki.Both films utilise expressioni st techniques such as the metaphors of the gaze and the mirror to symbolize and accentuate the struggle, which Werner Fassbinder has called sadism in the creative act and creation in destruction. Williams (1991) describes Both Powell and Pressburger films aim to create what Richard Wagner hoped to do with opera the total art by combining the visual with the aural. The Red Shoes mediates ballet cinematically. It interprets ballet into film rather than bear witness ballet on film. The Tales of Hoffman interprets opera into film rather than record opera on film.Adding to their stature, the creative collaboration of Powell and Pressburger combined the art tradition of European film and the technical advances of the Statesn film. Their films experimented with the new Technicolor technology. Low (1985) reports that the anti-realism traits of German expressionism, Gothic and fantasy even appeared in the Ealing comedies. At least twice in Hue and Cry when the hero and his friend climbed the stairs to the writers apartment, and in the final stir up with the criminal master-mind in the bombed building the camera angles and shadows evoked images of German expressionist films such as The Cabinet of Dr.Caligari. The expressionistic device of the mirror appears in a number of films, such as Dead of Night, and The Blue Lamp. Likewise, the technique of the gaze appears in several films, including The Blue Lamp. Williams (1991) described the behaviour of the writer and the Victorian pickle of his apartment, and the passage of the children through the London sewers, both in Hue and Cry, evoked images of Gothic horror. Likewise, the Hammer horror films were a reaction to realism. Fantasy appeared in a variety of films, especially the Ealing comedies, including the fanciful idea of a sovereign Pimlico or Hue and Crys children against crime.These communities were rooted in fantasy not reality. They were no more than a daydream. British cinema by and by the Second World War can be distinguished by a number of features. The films were generally comedies, melodramas, literary or horror films. Among the features coming out through these films were 1) attempts to preserve the nostalgic values, such as community of wartime Britain, and 2) the denunciation of the realism and documentary style of the World War II films, particularly through expressionism and stylization. Britain today is a richly mixed society and culture.Its residents typify a wide variety of national, cultural, racial and religious backgrounds and mixtures. That novelty is an outcome of a history, which has incorporated invasion, expansion, empire and Commonwealth, and Britains role as a retreat for people of all races. Murphy (2000) describes the British governments have taken measures to undertake problems of discrimination and disadvantage through pioneering such things as race relations legislation which makes racial discrimination an objectionable, and illegal practice, and through st rategy to bushel disadvantage.Britains ethnic diversity, with its range of and unique mix of cultural identities and heritages, describes and puts in worth to contemporaneous Britain. For instance, the Muslim society in Britain make a crucial and prevailly input to all facet of life from sports and the arts to business and even politics. This paper shall look into at least three film features created after the Second World War. First is Notting Hill which stars Julia Roberts and Hugh Grant. The film was a certified box-office hit not only in the United Kingdom but the world over.Next is Four Weddings and a Funeral written by the same writer of Notting Hill. The last movie is Chariots of Fire. Britains contemporary cultural diversity is being studied through these film features. Notting Hill Notting Hill has a reputation as an affluent and fashionable area popular for its attractive terraces of large Victorian townhouses and high-class obtain and restaurants. Residents are symbo lised as young and affluent and many people who conform to such stereotypes are often referred to as The Notting Hill Set, The Notting Hillbillies, and Trustafarians.The area came to worldwide attention with the release of the successful Hollywood movie of the same name. Notting Hill (1999) stars Julia Roberts and Hugh Grant use the characteristic features of the area as a backdrop to the action, including the Portobello Road antiques market and enclosed square gardens. Notting Hill is a 1999 romantic comedy film set in the Notting Hill district of London,. The screenplay was written by Richard Curtis who also wrote the movie Four Weddings and a Funeral. In Western culture, we are fixated by the notion of celebrity.This may be easily viewed with the enormous number of paparazzis everywhere that decide on public figures when they make appearances, or the popularity of gossip magazines and TV shows. Celebrities are treated like royalty fascinating and untouchable, they become obje cts of unreasonable adoration. Perhaps one of the most common fantasies entertained by an average man or woman is what would happen if someone famous fell in love with them. And in that lies the premise of Notting Hill. Hugh Grant plays William Thacker, the owner of a small bookstore in Londons Notting Hill.Grants character is just an average Joe when hes not working, he spends time with his friends and his alligatored Welsh flat-mate, Spike played by Rhys Ifans, but has no romantic life to speak of. One day, however, the foundation of his way of life changes when Anna Scott, played by Julia Roberts, a famous actress, walks through the door to his little shop. In London to publicize her new film, shes taking a break from the press and Notting Hill seems like a good place to lose them. Later, William literally runs into her in the street, spilling orange juice all over her. Annoyed and humiliated, he requests her to his place to clean up.Much to his surprise, she accepts his offer, and, after changing outfits, she gives him a lingering kiss on the lips. William is immediately smitten and so, apparently, is Anna. Thus begins a turbulent relationship that asks whether a star can live happily ever after with some be who has neer had his face in the papers. Although Notting Hill is a pleasant enough motion picture, it isnt much more than that. Its a domesticated movie that takes few chances. Even the casting of Hugh Grant and Julia Roberts is an example of playing it safe, since both are proven box office draws.The comedy, while periodically funny, occasionally feels forced and unnatural, as if screenwriter Richard Curtis was forced to ratchet up the level of humour at the cost of characters integrity. Spike is a case in point. As portrayed by Rhys Ifans hes the constant butt of jokes but he achieves little purpose beyond that. Hes a pure misrepresentation of a obscene lazy bone, and, whenever he comes on screen, he actually becomes a disturbance. Another probl em with the film is that the romance is half-hearted. While theres a feeling of sociability and even affection between William and Anna, there was no passion felt between the two.They appear more like brother and sister than lovers broken up by an army of publicists and photographers. The plot pursues the ordinary beat of a traditional romantic comedy boy meets girl, boy likes girl, boy and girl get to know separately other, then complications interfere. In this case, those complications come in the form of Annas off-again/on-again boyfriend and the media. Notting Hill is not without its enjoyable moments. The relationship between two of Williams friends, Max and Bella, is touching. Theres an exciting talk between William and Anna about why men are attracted to breasts.And theres an appealing shot of William walking down a street in Notting Hill as the seasons change around him. The movie shows us how Britain has achieved tremendous changes after the war era. It is an attempt to p enetrate the western movie market and this proved to be quite a difficult task at first. Four Weddings and a Funeral The simplest and most honest articulation of praise that can be presented to this Mike Newells movie is that it epitomises two hours of solid movie magic. Four Weddings and a Funeral enjoys the extraordinary power to make an audience laugh and cry without ever apparent scheming or going urgently over-the-top.Another Hugh grant movie who plays Charles is a serial monogamist or someone who moves from girlfriend to girlfriend without ever falling in love. His friends have started down the matrimonial road, but not Charles. Feelings of spending the rest of his life with someone never went through his mind, until one day at a wedding when he encounters Carrie played by Andie MacDowell, an American fashion editor. And, although the two enjoy a brief rendezvous at an inn, Charles typical British uncommunicativeness comes in, and Carrie is on her way back to America before h e recognizes he should have said something.Heres another movie that showcases cultural diversity in Britain were two individuals from different cultural backgrounds may have the possibility of ending up together despite their cultural diversity. Four Weddings and a Funeral is about four weddings and a funeral. While the central story of this delightful motion picture is somewhat common romantic comedy fare, it is structured by a plot packed with little twists and turns, lots of laughs, and a frothy, fascinating atmosphere. Mike Newell, whose recent directing credits include Enchanted April and Into the West, maintains to display a clever hand when it comes to good, escapist fun.Newells direction is unassuming he allows his actors and the script to carry the film, which results in an enjoyable mix of cheerful comedy with a dash of misery. Screenwriter Richard Curtis is fast to let the humour starts flowing, and once it starts, it never stops. The scenes most likely to cause irrepres sible laughter happen during the second wedding and centre on Rowan Atkinson as a somewhat upturned priest. Its not a shock that Atkinson feels at home with a Curtis script, since the two have teamed up on the British TV show Blackadder.Four Weddings and a Funeral is a modern comedy with a very time-honoured theme. It mixes upright breeding and bad language laughter and tears and marriage and friendship into a well enjoyable whole. This movie showcases how Britain has become one of the worlds best movie producers. It was so popular across the globe which highlighted the greatness of Britain. Chariots of Fire feature events today have become vicious, angry affairs where the slogan, more frequently than not, is win at all costs. Demonstrations of good sportsmanship are about as ancient as altruism.Everyone is out for themselves, and the displays of athletes like Albert Belle, John McEnroe, and Dennis Rodman can sit in the stomach like a large piece of heavy matter. So its enlive n to look back at an era when triumph didnt command seclusion, resentment, and disgust of ones rivals. Chariots of Fire, the Oscar- pleasant 1981 film, delights us to the 1924 Olympics, and, in the process, highlights such laudable qualities as loyalty, determination, and fraternity. Thats not to say that winning isnt important to the competitors in Hugh Hudsons film.On the other hand, for British track stars Harold Abrahams (Ben Cross) and Eric Lidell (Ian Charleson), its a principal anxiety, but neither is so fixated by their ambition that they lose sight of the larger picture. Eric is a devout Christian who runs because he considers it venerates God. Harold is a Jew who struggles as a way of establishing his worth. Both are driven by an internal fire, and have zip but reverence for their competitors. Chariots of Fire tells the story of the British triumphs at the 1924 Olympics, where the UK representatives took a number of medals over the heavily-favoured Americans.With Abraham s and Lidell leading the way, the British track team had one of their best-ever showings. This film outlines the two principal athletes paths to the Paris games, where their on-field victories form a astoundingly low-key climax. Chariots of Fire doesnt depend on worn-out sports film cliches its more fascinated in transport and character improvement. Yes, its essential to know that Abrahams and Lidell win, but the real essence of the story is enclosed in what leads up to the races.Like in Sylvester Stallones first Rocky, its probable to claim conquest before the competition begins Lidell because he has holds fast to his beliefs and Abrahams because gives all he has to give. At the time when Chariots of Fire was first released, many of the major cast members, including Ben Cross, Ian Charleson, Nigel Havers, and Alice Krige, were relative unhearable of. All give bullnecked presentations, and each was remunerated with future parts in other productions. Some identifiable faces fill supporting roles, including Sir John Gielgud as the Master of Trinity College and Ian Holm as Abrahams mentor, Sam Mussabini.Theres barely a trace of exaggerated scenes in Chariots of Fire, which makes the film-watching experience all the more effective director Hugh Hudson shows esteem for the veracity of his material and the cleverness of his audience. The deficiency of maudlin moments supplies the storyline with an authentic quality that supports its factual background. Not only do we care about the characters, but we admit that they really existed. In fact, the entire production declares that same sense of atmosphere. Most sports movies counts on melancholy and adrenaline Chariots of Fire stands up on strong writing, direction, and acting.Approval of this picture doesnt require a love of sports, simply an understanding of human nature. Conclusion Immigrant, ethnic minority, asylum-seeker slivers of intimation divide the meanings of each term in contemporary Britain. Ethnic minority, black and Asian, cultural diversity clouds of confusion have distinguished contemporary arts in Britain over the past 30 years. Cook (1981) declares that notably, every liberal political measure undertaken so far to correct injustices the Stephen Lawrence Inquiry into institutional racism being only the most recent has proven ineffectual.Racism is not an intellectual failure that can be corrected by a greater dose of education. It is a moral value, however much one may abhor such a morality. It is an imaginative construct and so the engineers of the imagination artists find themselves in the frontline, their weapons being the pen or the hand or the body or the voice. Gilette (2003) discloses Post-war British film was both a reply to the world war and a reaction to the film styles of the war and post-war periods. As a response to the war, post-war films adopted a style of pseudo-realism to construct a post-war fantasy world.This fantasy, sometimes captured as a daydre am, attempted to preserve the spirit of the war years, including the values of community and egalitarianism. This daydream or fantasy world also served as an escape from the memory of the war and the disappointment over the failure of a new society in post-war Britain. As a reaction to the war, post-war films revolted against the realism of the war-period films. They utilized and integrated strands of romanticism, expressionism, and the Gothic. References Aldgate, A. and Richards, J. 2nd Edition. 1994. Britain Can Take it British Cinema in the Second World War.Edinburgh Edinburgh University Press Barr, Charles Ed. 1986. All Our Yesterdays 90 Years of British Cinema. London British Film Institute Aldgate, A. and Richards, J. 2002. Best of British Cinema and Society from 1930 to the Present. London I. B. Tauris Barr, C. Ealing Studios (London Cameron & Taylor, 1977). Cook, D. A History of Narrative Film (New York W. W. Norton & Company, 1981). Curran, J. and Porter, V. Eds. 1983. Bri tish Cinema History. London Weidenfeld and Nicholson Dickinson, M. and Street, S. 1985. Cinema and the State The Film industry and the British Government, 1927-84.London BFI Friedman, Lester Ed. 1992. British Cinema and Thatcherism. London UCL Press Geraghty, Christine. 2000. British Cinema in the Fifties Gender Genre and the New Look. London Routledge Gillett, P. 2003. The British Working Class in Postwar Film. Manchester Manchester University Press Green, I. Ealing in the Comedy Frame, in British Cinema History, eds. , James Curran and Vincent Porter (London Weidenfeld and Nicholson, 1983). Landy, M. 1991. British Genres Cinema and Society, 1930-1960. Princeton University Press Low, R. 1985. Film Making in 1930s Britain.London George, Allen and Unwin Rotha, Paul. 1973. Documentary journal an informal history of the British documentary film, 1928-1939, New York Hill and Wang Swann, Paul. 2003. The British Documentary Film Movement, 1926-1946. Cambridge University Press Manvell, R. The British Feature Film from 1925 to 1945, in twenty dollar bill Years of British Film 19251945, eds M. Balcon, E. Lindgren, F. Hardy and R. Manvell (London, The Falcon Press, 1947), p. 85. Murphy, Robert. 2000. British Cinema and the Second World War. London Continuum Murphy, R Ed. 1996. Sixties British Cinema. London BFIOrwell, G. England, Your England (1941), in A Collection of Essays (New York Doubleday, 1954). Perry, G. 1988. The Great British Picture Show. Little Brown, 1988. Porter, V. The Context of Creativity Ealing Studios and Hammer, in British Cinema History, eds. , James Curran and Vincent Porter (London Weidenfeld and Nicholson, 1983). Powell, Pressburger and Others (British Film Institute, 1978). Shaw, T. 2001. British Cinema and the Cold War. London I. B. Tauris Williams, T. various lectures, The Survey of Film History, fall semester, 1991, Southern Illinois University, Carbondale.

The Art of Cultivating a Phenomenological State of Mind

It continues to be a renowned belief of Buddhism that upon coming to the conclusion that neither the extreme course of self-restraint practiced by the ascetics nor the life of self-indulgence which he had led as a prince was the right path towards enlightenment, Siddhartha Gautama adopts what he refers to as the Middle elan. He then, having the thought that the answer to what he seeks is buried indoors his own consciousness, sits in meditation beneath a fig tree for a duration of four (some sound out seven) weeks.Throughout this length of time, he manages to withstand a barrage of attacks and temptations from the devil Mara while gradually ascending through higher states of consciousness, until he transcends the commonwealth of conventional awareness and attains enlightenment. Such is the final aspiration of those pursuing the Buddhist path to acquire, through right thoughts and good deeds, release from the round of phenomenal creative activity with its inherent suffering to a ttain nirvana, an enlightened state in which the fires of greed, hatred, and ignorance have been quenched (Buddhism).The primary ethic that serves as a guide toward unitys ascent to nirvana is one that is both detached and midland-oriented, requiring the individual searching to cultivate four virtuous attitudes, known as the Palaces of Brahma loving-kindness, compassion, sympathetic joy, and equanimity (Buddhism). However, in ones striving to do so, it is important for them to first understand that in regards to Buddhist theory of the mind and consciousness, there is no self that is aware of the experiences one undergoes or the thoughts one has.Rather the thoughts themselves are the thinker, and the experiences the experiencer (Indian Theories of Mind). As long as one continues to believe in the existence of a self, it is non possible for them to properly understand the fantasy of moral activity as it is expressed within the Buddhist tradition.Only once the belief in an inner s elf is renounced, and the belief in Atman, the non-material spiritual element that merely witnesses the mental activities involved in the ordinary awareness of objects (Indian Theories of Mind), is nurtured, is the individual then cap adequate to(p) of amassing together positive mental factors which will aid in their resolve to veer from both the practices of austere asceticism and sensual indulgence, and instead follow the Middle Way to enlightenment.Current scientific research on the consciousness has observed that the ordinary person is inclined to attend to the world strictly as it appears, the world as it is phenomenally manifest to him (Phenomenology). In other words, man considers the objects around him to be mere associations to a specific experience, and then he concentrates not on them, solely on the vogue in which they appear to him.Buddhists, on the other hand, adopt the phenomenological attitude by detaching themselves from the natural attitude, not to deny it, but t o investigate the very experiences it comprises (Phenomenology). By employing this phenomenological mindset, Buddhists prove that, contrary to common belief, the acquisition of perceptions from an experience is not confined only to emotional or tactile receptors, rather, the awareness of these phenomenal aspects ass also be granted through conscious thought.The Abhidharma, which constitutes one of the triple baskets into which the Buddhist scriptures are divided, endeavors to organize Buddhist teachings in such a manner as to provide detailed analyses of experience. In examining these analyses, it becomes unmistakable that in some aspects they are redolent of those in cognitive science that aim to account for cognitive processing without invoking a homunculus or little man inside the head who oversees the workings of the mind (or merely passively witnesses the results) (Phenomenology).For example, the Abhidharma investigates matter as a composition of multiple basic elements. Ho wever, in contrast to the standard definition which describing an element as being a concrete object unable to be divided into simpler forms, the Abhidharma classifies an element as being an evanescent material occurrence fluctuating in and out of existence according to the given circumstances. In a similar manner, the Abhidharma categorizes the human mind into its basic components a succession of mental states or stream of consciousness. In line with this reasoning, Buddhists hold this point of idea with regards to the go of the mind It is a mental imposition of unity where there is in fact only the arising of a multiplicity of interrelated physical and mental events. The sense datum of control belonging to ones sense of self is thus largely illusory. There is really nobody in charge of the physical and mental processes, which arise according to their own causes and conditions, not our whims.The mind is not ruled by a central unite, but by competing factors whose strengths varie s according to our circumstances (Indian Theories of Mind). Buddhists thus attribute the limited but intuitive presence an individual senses in response to their cognitive experiences, not to a metaphysical self, but to the spontaneous, non-recurrent awareness one has in relation to their own mental states it can be interpreted as one of many varieties of perception.It is the Atman, or non-spiritual element, that merely witnesses the mental activities involved in the ordinary awareness of objects (Indian Theories of Mind). While on his deathbed, the Buddha told his disciples these words Seek salvation alone in the truth look not for assistance to anyone besides yourself. He was, in effect, admonishing them to seek enlightenment by no means other than developing right thinking and good deeds on a personal level.When taking into account the path a Buddhist is required to follow, the significance of them cultivating a phenomenological mindset becomes progressively more apparent to the observer. Consider the concept of Renunciation. A Buddhist author, Gill Farrer-Halls, explains in layman terms Renunciation means lessening both our attachment to those things we like and our aversion to unpleasant situations and feelings, by realizing that none of these things have an inherent ability to make us happy or unhappy (Buddhism Seeks Enlightenment and Ultimate Reality).To an ordinary person, adopting such a view regarding material possessions is no effortless task. However, in assuming the phenomenological attitude, they no longer become concerned with what things are in themselves but rather in scarcely how they appear, and thus as strict rational correlates of their experience (Phenomenology). This is the Buddhist mindset. Believing material things to be sheer correlates of their experience and nothing concrete, they are then able to hold them with a relaxed hand, so to speak.In the event these possessions are removed from them, Buddhists, instead of becoming distres sed, accept this as a trait of matter, which, according to the Abhidharma, fluctuates within the realm of existence according to causes and conditions. Farrer-Halls elaborates on this concept further A tightly closed fist tries to grasp hold of things, but they slip extraneous because of this hold on. If we open our hands, things pour over and move unimpeded. In this way, by not trying to control the natural flow of life, we can enjoy it. When we loosen our grasping we become open, which makes us receptive to our environment.We can appreciate other people and our surroundings beyond our tightly help perceptions (Buddhism Seeks Enlightenment and Ultimate Reality). Through these examples, it is evident that the cultivation of a phenomenological mindset enables one to develop a detached appreciation for the material things of the world. If this psychological approach wasnt administered through routine meditation, the three poisons desire, craving, and lust, would effortlessly trounce the Buddhists determination to follow the Middle Way first established by Siddhartha Gautama, and thus attain enlightenment and net reality.

Growing Pain Essay

So by the end of 1992, Waterway had begun selling its own line of compact, inexpensive, high-impact plastic kayaks. at bottom one quarter, Maher had known that the move had been a smart one. Almost all of Waterways existing canoe customers mostly wholesalers who then sold to liveries and fair goods storeshad placed sizable kayak orders. A number of private-label entities had in addition inquired about Waterway, and Maher was considering producing privatelabel kayaks for those companies on a limited basis. For the most part, the staff had adjusted easily to the play alongs faster pace.The expanded business hadnt changed Waterways informal work style, and people seemed to appreciate that. Maher knew that most of his employees were avid outdoor types who viewed their jobs as a means to an end, and he respected that perspective. On days when the weather was particularly good, he knew that the building would be pretty empty by 4 P. M. But he also knew that his employees liked their jo bs. Work was always completed on snip, and people were outspoken with new ideas and with suggestions for improving current designs and processes. There was no mistaking the genuine camaraderie.Maher walked through the design room, stopping to talk with one of the two designers and to admire the latest drawings. Then he headed for the administrative suite. His thoughts returned to the familys recent history. Until 1990, Waterways sales and revenues had increased with the market, and Maher hadnt been motivated to push any harder. But when he had decided to venture into kayaking, he also had thought he should gear up marketing get ready for the big trend if it came. Until then, there had never been a formal, structured marketing plane section at Waterway. He had thought it was time.Thats why he had hired Lee Carter. Carter had gotten her M. B. A. when she was 31. To do so, she had left a fast-track position in sales at Waterways major competitor in the canoe market to devote her ful l attention to her studies. Finch, who was something of a mentor for Carter, had told her that she would hit the ceiling in addition early in her career if she didnt have the credentials to compete in her field. In her final term at business school, which had included a full course load plus a demanding internship with the Small Business Administration, Carter had interviewed ith Waterway. Finch had called to introduce her, but once Maher had met her and she had begun to outline the ways in which she could improve the social clubs sales and marketing efforts, Maher had needed no other references. He had thought from the start that Carter might be the right person to nurture the companys interest in the growing kayaking business and to run with it if the sports popularity really took off. When it had, he was proved right. True, the market was extremely favorable, but Carter had brought in more orders than even Maher had thought possible.Fortunately, the company had been able to kee p up by contracting with other manufacturing companies for more product. Waterway had been extremely effective in keeping inventory in line with customer demand. Maher was impressed with Carters performance. From day one, she had been completely focused. She traveled constantly worked so hard that she barely had time to get to know the staff. She came in on weekends to catch up with paperwork. Along with two of her direct reports, she had even missed the yearly Waterway picnic the troika had been on the road, nailing down a large order.It was a dedicationa level of energythat Maher had never seen before, and he liked what it said about his company. back off in his office, Maher found that he couldnt concentrate on the product development report in front of him. That bit of conversation he had overheard extracurricular Carters office was troubling. He certainly knew about the lucrative packages that were being offered in the sporting goods industryeven in Waterways niche. Hed even heard that some sales managers were commanding a quarter of a million dollars or more.He had read enough of the annual reports of his publicly traded competitors to know that larger organizations created all sorts of elaborate systemssupplemental retirement packages, golden handcuffs, stock options, deferred compensation arrangements to hold on to their top performers. harvard business inspection julyaugust 1996 page 2 Growing Pains HBR C AS E S TUDY The business could stand to pay more, Maher said, but I demand to avoid the habit of paying now for results down the road. Maher wanted to recognize Carters contribution.