Police Professionalism Essay - 776 Words

Police Professionalism Police officers have a very reputable job, meaning they must be professional at all times. The job of a police officer is to protect and to serve the public. Since most of their time is spent in the public eye, they are expected to maintain professional behavior. The first step in projecting their professionalism is their dress. They should be dressed neatly, and according to the uniform regulations of their department. Appearances say a lot since that is the first thing the public sees. An officer that does not look like he is well- kept portrays to the people that he does not take his job seriously. Good hygiene is also an important part of an officers personal appearance. An officer that is enthusiastic†¦show more content†¦When you approach someone during an incident, explain to them why you perform actions, and answer their questions. Engaging the public in conversation helps to make the officer a part of the community and helps gain the confidence of the public and imp roves the image of the police in the community. No matter where law enforcement officers are they should maintain their professionalism. For instance, it does not make a good impression on the public if an officer is off duty and out with his buddies at a bar getting drunk and belligerent. If other patrons know he?s a police officer, it damages his reputation and public image as well as the department he works for. Police should also always be careful of what they say. You never know who could be listening. Perhaps a co-worker?s wife stopped in at the department store for something and another officer made crude comments that were over- heard by the wife. Not only is an incident like that downright rude and unprofessional, it could also be interpreted as harassment. Police officers must realize that they are expected by the community to maintain a level of integrity that others are not held to. This off-duty behavior could be misread as the officer being insincere about his job when on duty. A police officer?sShow MoreRelatedPolice Professionalism And Police Officers Essay1376 Words   |  6 PagesIn the early 1900’s police professionalism was formed. Until then there was much corruption and police departments were unprofessional. Influenced by police departments in Europe, America underwent a progressive reform in their police departments. The first step towards police professionalism was to replace police boards with chiefs of police. During the progressive era, August Vollmer, Police Chief of Berkley, established a department code of ethics which included officers not accepting gratuitiesRead MoreThemes Of Police Professionalism1133 Words   |  5 Pagesand was a leader in policing. 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The neatly crisp ironed uniform of a police officerRead MoreHistorical Development of Police Agencies Essay1536 Words   |  7 PagesHistorical Development of Police Agencies CJA/204 August 8, 2011 Abstract Historically, policing in America mimicked that of the English. American ideas expanded on the English way of policing, to start an era of ever evolving police agencies. In the beginning policing was considered the civic duty of members of a community. These â€Å"drafted† officers were not paid or trained. Appointed Sheriff’s were motivated by money, and lost focus on enforcing the law. Policing was considered reactiveRead MoreHistory of Police1058 Words   |  5 PagesThe history of Police Paper Samuel G. Gilley CJA/214 – Introduction to Police Theory and Practices June 10, 2012 Judith Brodsky Abstract This paper is about the history of police in America. This paper will describe the impact of Sir Robert Peel on American policing. Also, it will discuss the different stages of police in America. In addition, it will analyze the relationship between the government and the policing organizations throughout the United States. Read MoreWhat Would Life Be Like Without The Police? Essay786 Words   |  4 PagesHistory of the Police. What would life be like without the police? Would it be survival of the fittest, the law of nature? What actually happens when police are not present? In a small town in Oregon, budget cut-backs caused the entire police force to be laid off. When this happened, was there anarchy? No. The citizens organized their own volunteer police force to take the place of the police (Henry, 2014). This shows that if there is no police presence, one is necessarily created by the citizensRead MoreHistory of Security in the Us1488 Words   |  6 Pagesneed for private security became significant, you’re likely to receive one of the two answers. Half would say toward the ending of World War II, because many of the man returning from the war had prior military police training and acquired work within the private sector as private police (security). While the younger individuals within the group will likely respond, private security became significant after 9/11; due to the Department of Homeland Security (DHS) being created in 2002 (Maggio, 2009;

Use of Self Impact of Past Experiences on Future Practice

ndividual Personality Attributes My main personality traits drawn from impacts of previous experiences include introversion, conscientiousness, agreeableness, openness, optimism and anxiety. Introversion, conscientiousness, agreeableness and openness to experiences are apart of the Big Five Personality Factors established by Goldberg (1990). Introversion describes an individual who is reserved, quiet and timid which I believe I am in a large amount of circumstances characterised by my tendency to spend more time listening and disliking being the centre of attention in large groups. Being introverted could be beneficial to my social work practice because it allows me to be client centred, engage my active listening skills and feel†¦show more content†¦This will have a potentially negative effect on my future practice, as it could potentially inhibit m work quality and interactions with clients and co-workers, to minimise its effects I will need to be aware and use coping te chniques to reduce anxiety and ensure feelings of confidence. Personality attributes affect on conflict management style Conscientiousness, agreeableness, introversion and openness to experience all contribute to my conflict management style where I value cooperation and collaboration. Which would place me into a cooperativeness style of conflict management as identified by Yelsma and Brown (1985) and a collaboration and problem style approach by identified by Daves and Hollands’ (1989) revision of Follett (1924) conflict styles approach. Personality theories created by Freud, Jung and Adler are constantly being refined by current researchers and have been used to link personality attributes to conflict management styles with the belief that individual behaviour is inherently influence by personality (Daves Holland, 1989). Introversion may be seen as a negative personality trait by some but I feel it will enable me in future social work situations to effectively listen and understand another persons view while agreeableness will allow me to display cooperation and understanding in order to obta in a positive outcome for both parties. Being open will allow me to be reflective and creative in conflict situations,Show MoreRelatedMajor Categories Of Direct Practice1306 Words   |  6 Pagescan competently implement, identify, and describe the four major categories of direct practice in my own practice. I can also competently articulate the correct application, focus, and desired result of direct practice theories presented in this chapter in my own practice. The first of the four major categories is psychodynamic theories, which attempts to connect the current problems a client is having to past traumas from an early time in life. The focus of psychodynamic theories is to translateRead MorePersonal Journal: Past Experiences Shaping Future Career and Life1500 Words   |  6 Pages Understanding the impact of past experiences, the resulting feelings and beliefs and the resulting impact on how individuals view the world effects the way individuals in a social work perspective approach practice (Chenoweth Mcauliffe, 2005). Gambrill (2005) argues about the importance of self-knowledge in understanding an individuals own strengths and limitations, while Thompson (2000) expanded on this idea including understanding how the use of self impacts on theory and knowledge. This essayRead MoreCat s Eye By Margaret Attwood1067 Words   |  5 Pagesbook Cat s Eye by Margaret Attwood, Elaine s identity and her perceived sense of self is unique. The positive and negative experiences in her life have helped shape it. My own life experiences have also shaped me into the person I am today. Our childhoods and our nurturing during this crucial time has a powerful impact on what kind of individuals we turn out to be. Elaine s experiences as a child had a large impact on the development of her identity. Before moving to Toronto, Elaine was very contentRead MoreMy Personal Goals to License Track Counseling Program895 Words   |  4 Pagestrack counseling program. I t will address how I will do my best to obtain experience through volunteer work. I will discuss in detail part of my life experience as well as my interpersonal skills that made an impact on my decision to become a Mental Health Counselor. 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In this paper I will go back and give a full reflection on ones development despite the fact looking at the effects of finishing up the degree program of future and current professional objectives. In this paper, I will argue ones interpretations of learning, effects

Personal free essay sample

Early in life, he was forced to take on small jobs to support his family, one of which was being a curtain-puller in a theatre called the Gandharva Natak Mandali. This was his first exposure to the film world and it had him so enthralled that he continued to do small jobs related to acting and film making, while picking up its fine points when he interacted with the top professionals of the time. Born: Rajaram Vankudre Shantaram on November 18, 1901 Place of birth: Kolhapur, Maharashtra Died: October 30, 1990 (aged 88) at Mumbai Years active: 1921-1987 Early career V. Shantaram’s film career began with him doing all sorts of odd jobs at Baburao Painter’s Maharashtra Film Co. , Kolhapur. He joined this company to learn the nuances of film making and acting from Painter. In 1921, he debuted in the silent film, Surekha Haran. In 1925, he played the role of a young farmer who revolts against the system in Painter’s Savkari Pash and then went on to direct his first film in 1927, titled Netaji Palkar. After nine years of working with the Maharashtra Film Co. , he quit to start his own production house, Prabhat Films. This famous production house was formed along with four partners, V. G. Damle, S. Fatelal, K. R. Dhaiber and S. B. Kulkarni. Now, his career was well on the upswing. All his partners were thorough professionals, but did not have a solid financial background. Prabhat Studios However, by sheer dint of their deep knowledge of film making and their eagerness to learn, they made a success of Prabhat Studios. Together, they made successful films such as Gopal Krishna, Rani Saheba, Khooni Khanjar and Udaykal, all directed by the legend V. Shantaram. In fact, Gopal Krishna, made in 1931, was brilliant for its times. This was when audiences loved mythologicals rather than films with social themes. Despite this, Shantaram and his partners used their ingenuity to cleverly fuse mythological drama with contemporary social themes. At this time, silent movies were slowly but surely giving way to the new phenomenon, the talkies. This meant that Painter’s glorious days had come to an end while his juniors’ stars were on the rise. In keeping with the demands of the times, Shantaram made Prabhat’s first talkie, Ayodhya Ka Raja in 1932. This film is based on the life of Raja Harishchandra and was made to honor Dadasaheb Phalke, whose film career debuted with a film on the same theme. This film is worth seeing for its visual beauty and very strong storyline. Durga Khote was launched in this film as Rani Taramati. Then came Amritmanthan, which he produced and directed. It tells the story of a very old society where Buddhism goes against orthodox ritualistic practices. Shantaram used this film to comment subtly on life and times in contemporary society too. This film is also important for introducing several talented artistes such as Durga Khote and Shanta Apte to a film-hungry audience. It is a milestone in Shantaram’s career for being one of his biggest hits ever. In 1933, Shantaram made Sairandhri and especially took it to Germany’s Agfa Laboratories to be processed there in color, but the pictures turned out to be very pale. If this had not happened, this film could well have been India’s first color film. However, on his return from Germany in 1934, he had an entirely different perspective while he shot for Amrit Manthan. This film was set in the Buddhist age and makes a strong statement against the practice of making human sacrifices. It uses several film techniques from German Expressionist cinema. Apart from all its notable achievements, this film is best remembered for its shot of the close-up of a priest’s right eye. The following year, he moved to Pune and continued to make historicals and mythologicals, in the style of Painter. A few hits later, Shantaram wanted to experiment with the new fad of the times—the color movie. New knowledge in this area led him on a tour of Germany, where he met the most knowledgeable cinematographers of those days. Here, he learnt all he could about film craft and he used all the techniques he learnt in his films. His interest in religion was evident in his 1935 film, Dharamatma. It was based on the life of the famous Marathi saint, Eknath, who spoke boldly against untouchability. Shantaram was asked to cut a few scenes that bore resemblance to Gandhiji’s name and his principles, but the director refused to do this. Finally, the distributors of his film made the required changes and released it. In 1936, he made Amar Jyoti, a social commentary on a woman who fights social injustice by turning into a pirate queen. It was a completely unusual film with action and stunts. The following year, Shantaram made a film on Sant Tukaram, a film known for its simple narrative style. It was the first Indian film to be honored abroad—this one was honored at the Venice Film Festival in 1937. Spurred by the success of Amar Jyoti and Sant Tukaram, Shantaram went on to make three of his career’s best films at Prabhat Studios. These films were Duniya Na Mane or Kunku in Marathi, the others being Aadmi and Padosi. Duniya Na Mane (1937) is the story of a young woman who refuses to accept her marriage with an older man. However, this presents its own problems for the young woman who is now widowed and subject to widowhood, a severe punishment in orthodox Hindu society. The film ends with the husband killing himself to set his wife free of him. Shantaram tells his story as realistically as possible, with background music limited to natural sounds. It was shown at the Venice International Film Festival. Aadmi (1939) or Manoos in Marathi is the love story of a policeman and a prostitute, and is perhaps the director’s best. When the policeman tries to bring her into mainstream society by marrying her, ghosts of her past begin to disturb her. As in Duniya Na Mane, here too, the ending of the film disturbs the viewer mentally. She goes back to her former life, thus leaving the film with a staid outlook and without a firm solution. The film is treated very realistically and is famous for its song, Kashala Udyachi Baat. Thematically and cinematically, this film is a work of art. Besides, Shantaram added a touch of his technical newness that he imbibed from Germany to show the mental conditions of his characters. Padosi (1941) or Shejari in Marathi is an appeal for communal harmony. In Padosi, the Hindu protagonist is played by Mazhar Khan, while Gajanan Jagirdar plays a Muslim in the film. Shantram used this platform to appeal to the people to give up bigotry and narrow sectarian feelings. After making this trilogy of films, Shantaram left Prabhaat Studios in 1942, when the country was in the grip of the Quit India Movement and started his own studios, Rajkamal Kala Mandir in Mumbai. Until then, he was Chief Producer of the Film Advisory Board (FAB) and had made a few films for this body, but when Gandhiji proclaimed ‘Do or Die’ in 1942, Shantaram resigned. Under his new banner, he first made Shakuntala (1943), in which he launched the beautiful Jayashree whom he later married, though he was married at the time. Dr. Kotnis ki Amar Kahani In 1946, he made the film he is best remembered for—Dr. Kotnis ki Amar Kahani. It was also the best film that he and his wife Jayashree worked in together. It was based on K. A. Abbas’ short novel titled And One Did Not Come Back which tells the real life story of Dr. Dwarkanath Kotnis who was part of a team of doctors in China during World War II. He was captured by the Japanese and died while curing an epidemic. The film is entirely patriotic and was an anti-Japanese war film in content. It had very effective nationalistic rhetoric which ends with the hero’s speech at his death in which he describes to his wife what she will see when she returns home. It was exhibited at the Canadian National Exhibition in Toronto in 1947. Marathi Tamasha and Lavani In 1946, he made Jeevan Yatra and the following year, Lokshahir Ramjoshi. This was the first of a line of films depicting the Marathi Tamasha style, which went down very well with the masses. By now, his film making style had matured to a great extent and he was able to capture the Tamasha art form in his films. His other very successful Tamasha films included Jhanak Jhanak Payal Baje (1955), Navrang (1959), Sehra (1963) and Jal Bin Machchli Nritya Bin Bijli (1971). All of them were rich in classical dances and starred Sandhya who was an accomplished dancer. In 1951, Shantaram ventured into the Marathi dance form, called Lavani, in his film Amar Bhoopali (1951). Here, the Honaji Bala’s Lavani-style music and its very famous classic song Ghanshyam Sundara Shirdara brought in the audiences to Shantaram’s films while also subtly inculcating regional pride in Marathi art forms. With his film Maya Machhindra, actor-turned-director Shantaram came out with an exciting and bold story, based on the story adapted from a Tantric legend about a sage by the name of Machhindranath and his teachings about reality and desire and their illusionary nature. The film begins with the sage entering a kingdom of women who hate all men, but instead of being killed by them, he ends up marrying the queen and so bids goodbye to a life of celibacy. Appalled by these happenings, his student Gorakh goes to the kingdom to rescue the sage. But he too is caught and tortured by the women. Finally, it is revealed that this was but an illusion set up by the guru to test his disciple. The Spring festival depicted in this film is its special feature. Spurred by the success of his earlier films in Tamasha style, Shantaram went on to make Pinjra in 1972. This time round too, the film starred Sandhya, and is the story of revenge between an upright village teacher and a Tamasha artiste who, in the guise of love, involves the unsuspecting teacher in a murder. The ethical teacher is caught in a web of deceit and murder without realizing it or a pinjra or cage. This was Shantaram’s last movie of any significance and was based on the classic by Josef von Sternberg, titled, The Blue Angel, played by Marlene Dietrich and Emil Jannings. Here, Shantaram adapts the story to the Indian milieu by bringing in the robust folk dance of Maharashtra, the Tamasha. Dance epic of India—Jhanak Jhanak Payal Baaje Before he made his dance epic Jhanak Jhanak Payal Baaje in 1955, he also made Teen Batti Char Raasta (1953), Subah Ka Tara (1954) and Nightmare in Red China (1955). Made in 1957, Jhanak Jhanak Payal Baaje was Shantaram’s first color film and a runaway box-office hit. With this film, he proves once more that he is a master of his craft as he deftly combines an excellent screenplay with Indian dance. He uses this very fluid platform—film—to convey the message that one’s culture must be preserved and not frittered away by adopting Western manners. This is a tribute to Indian classical dances and is a veritable feast for all dance lovers. Sandhya performs Kathak dances, Bharatnatyam and Manipuri while a Shiv Tandav sequence is also one of the film’s highlights. Though this film was not the critics’ favorite, the public loved it, and it ran at Mumbai’s theatres for two years and more. He won the Filmfare Best Director Award for this film in 1957, and the President’s Gold Medal for the Best Feature Film of 1955. Social themes once again In 1957, Shantaram returned to making films on social themes with his Do Ankhen Barah Haath, which he not only directed but also acted in. A brilliant film, it narrates the story of a jailor who sets up a farm with the help of six murderers. He tries to reinstate them into society, considering the murderers are reformed and simple, much to the chagrin of nearby village folk who do not like their presence. This film is remembered for its story, cinematography, performances. The actor-director makes use of neo-expressionist imagery, and critics often say that this film is closest in technique to his trilogy of films made under the Prabhat banner. This film is worth watching for its trademark imagery and fantastic use of black-and-white photography. Even its music is haunting, particularly the scene of prisoners shown singing the bhajan, Ai malik tere bande hum, written by Bharat Vyas and composed by Vasant Desai. For its uniqueness of style, form and content, it won several national and international accolades, including the National Film Award for Best Film in 1958. It also won the Silver Bear at the Berlin Film Festival, the Samuel Goldwyn Award for Best Foreign Film and the Indian President’s Gold Medal for the Best Feature of 1957. In 1958, this film was exhibited at the San Francisco Film Festival. Emboldened by this success, Shantaram went on to make a dance-cum-fantasy in 1959, titled Navrang or the nine colors of life. This film is a product of all the colors that Shantaram saw in his blindness, caused in an accident on the sets of his earlier film, Do Ankhen Barah Haath. This film is very colorful, though his characters are stark black and white. It tells the story of a man and his family and his cultural ties which run deep. Here, an artist, in his fantasies glamorizes his wife to the extent of seeing her as his muse. However, Shantaram weaves together a likeable story with songs and dances in Tamasha style, which held his audiences spellbound for a long, long time. He gave them everything they would love to see—flashy colors, royal courts, rich costumes, fantastic locales, palace intrigues and the wonderful mind of a poet. What a rich kaleidoscope of entertainment and food for thought! Again, wonderfully acted by Sandhya, dances included. After this wonderful song-dance medley, he also made Sehra (1963), Stree (1961), Geet Gaaya Pattharonne (1964) and some others. Of these, Geet Gaya Pattharonne was special to him because he launched the film career of his daughter Rajshree as a heroine who was paired opposite the debutant Jitendra. Rajshree proved to be a consummate dancer rather than actress and being a classy woman, she opened the floodgates of Indian fashion to the West. This film has the characteristic vibrant colors that Shantaram appreciated, which he cleverly fuses with bold and dramatic choreography. Though he continued to make many more movies, two outstanding films of his career are Boond Jo Ban Gayi Moti and Jal Bin Machhli Nritya Bin Bijli. Of these, the former is a village love story, and is known for its excellent music, including the lilting Hare Bhare Vasundhare Neela Neela Yeh Gagan. Jitendra and Rajshri star in this one. Jal Bin Machhli Nritya Bin Bijli (1971) is the story of a girl who is passionate about her dance and how she fights every problem to celebrate the fusion of the two great arts, dance and music. Shantaram proves that he is the master of technique and execution and that he was indeed ahead of his times. That music and dance can transcend all earthly desires, life and death, human relations and materialism forms the crux of this film. Dance is spiritual, is the message of this movie. In 1986, he made Jhanjaar, his last film. All in all, he had an illustrious film career spanning 60 years during which he won not just the hearts of the people but also national and international acclaim. He was quick to understand and use the medium of films as a means of social change. No. 1 a number of times His Ranisahiba (1930) was the first children’s film in India. †¢ He was the first to use the trolley for his film Chandrasena (1931). †¢ He made India’s first color film, Sairandhri (1933). †¢ He was the first director to use a telephoto lens for his film Amrit Manthan (1934). †¢ He was the first director to use the technique of animation in his film Jambuk aka (1935). †¢ He was the first director to us back-lit projection in his film Amar Jyoti (1936). †¢ His films were the first among Indian directors to be exhibited abroad—Dr. Kotnis Ki Amar Kahani and Shakuntala. Acclaim and awards Charlie Chaplin, who saw his Marathi film Manoos, liked it very much. Shantaram won several awards in his career, the highest honor being the Indian film industry’s highest honor, the Dadasaheb Phalke Award, in 1985. In 1992, he was honored with the Padma Vibhushan. For being an outstanding Jain, he was honored with the Jain Samaj Ratna award. To honor Shantaram’s efforts, the Central government, the Maharashtra State government and the V. Shantaram Motion Picture Scientific Research and Cultural Foundation, jointly instituted the V. Shantaram Award for the Best Director of Hindi films. This award is presented every year on November 18, the Shantaram’s birth anniversary. He was also chairperson of the Children’s Film Society in the 1970s. Berlin International Film Festival 1958 †¢ Won, OCIC Award: for Do Ankhen Barah Haath (1957) †¢ Won, Silver Berlin Bear: Special Prize for Do Ankhen Barah Haath (1957) †¢ Nominated, Golden Berlin Bear: for Do Ankhen Barah Haath (1957) Cannes Film Festival 1952 †¢ Nominated, Grand Prize of the Festival: for The Immortal Song (1951) Filmfare Awards 1957 †¢ Won, Filmfare Award: Best Director for Jhanak Jhanak Payal Baaje 1955) †¢ Won, Filmfare Award: Best Film for Jhanak Jhanak Payal Baaje (1955) Writings His autobiography, Shantaram, was published in Hindi and Marathi. His biography, V Shantaram: The Legacy of the Royal Lotus, was written by Kiran Shantaram, Sanjit Narwekar. This genius director, scriptwriter, actor and creative person also inspired Shampa Banerjee to write his biography in her book, Profiles, five film-makers from India: V. Shantaram, Raj Kapoor, Mrinal Sen, Guru Dutt, Ritwik Ghatak. Personal life He was married three times—first, with Vimla, then to actress Jayashree, and lastly with Sandhya. Jayshree bore him two children—film star Rajshree and a son Kiran Kumar, a Marathi film director and sheriff of Mumbai. His third wife was his co-star Sandhya, with whom he made Do Aankhen Barah Haath, Jhanak Jhanak Payal Baaje and Navrang. From this marriage too, he had two children—Prabhat Kumar and Madhura Pandit. V. Shantaram is a legend with an exhaustive body of impressive work. His film making techniques and the themes his films explored are completely absent today. He holds an important place in the annals of Hindi films and inspires every newcomer to the Hindi film world. He is truly one of the pillars of Hindi cinema. On October 30, 1990, the creative genius, V. Shantaram died in Mumbai at age 89. His films, however, continue to inspire and inject enthusiasm in anyone who cares for a free and modern society, free of all social ills. Filmography Fire – Director 1986 The Sea Wolves – Services Supplier (India) (as V. Shantaram) 1980 Chaani – Director 1977 Chaani – Director 1977 Chandanachi Choli Anga Anga Jali – Director 1975 Pinjra – Director 1972 Pinjra – Director 1972 Jal Bin Machhli Nritya Bin Bijli – Director (as V. Shantaram), Producer (as V. Shantaram) 1971 The Blessing – Dedicatee (as V. Shantaram) 1968 Boond Jo Ban Gayi Moti – Director (as V. Shantaram) 1967 Ladki Sahyadri Ki – Director, Producer 1966 Geet Gaaya Pattharonne – Director (as V. Shantaram) 1964 Sehra – Director (as V. Shantaram), Writer (screenplay), Producer (as V. Shantaram), Editor (as V. Shantaram) 1963 Stree – Director (as V. Shantaram), Actor 1961 Navrang – Director (as V. Shantaram), Writer (screenplay) (as V. Shantaram) 1959 Do Ankhen Barah Haath – Director (as V. Shantaram), Adinath, the young warden (as V. Shantaram) 1957 Jhanak Jhanak Payal Baaje – Director (as V. Shantaram) 1955 Nightmare in Red China – Director (principal footage), Dr. Dwarkanath S. Kotnis 1955 Great Soul – Director 1954 Subah Ka Tara – Director, Actor (as V. Shantaram) 1954 Teen Batti Char Raasta – Director 1953 Parchhaiyan – Director (as V. Shantaram), Actor (as V. Shantaram) 1952 The Immortal Song – Director 1951 Dahej – Director 1950 Your Country – Director 1949 Lok Shahir Ram Joshi – Director (as V. Shantaram) 1947 Matwala Shair Ram Joshi – Director (as V. Shantaram) 1947 Dr. Kotnis Ki Amar Kahani – Director, Dwarkanath Kotnis 1946 Mali – Director 1944 Shakuntala – Director 1943 Padosi – Director (as V. Shantaram) 1941 Shejari – Director 1941 Life’s for Living: Aadmi – Director (as V. Shantaram) 1939 Manoos – Director (as V. Shantaram) 1939 Duniya Na Mane – Director 1937 Kunku – Director 1937 Amar Jyoti – Director 1936 Chandrasena – Director (as V. Shantaram) 1935 The Holy Year – Director 1935 The Holy Year – Director 1935 Amrit Manthan – Director (as Shantaram), Writer (dialogue) 1934 Seeta’s Wedding – Director 1934 Sairandhri – Director 1933 Sinhagad – Director 1933 Agnikankan: Branded Oath – Director 1932 Ayodhyecha Raja – Director, Editor 1932 Maya Machhindra – Director 1932 Chandrasena – Director 1931 Khooni Khanjar – Director 1930 Rani Saheba – Director 1930 Thunder of the Hills – Director, Shivaji 1930 Gopal Krishna – Director 1929 Netalji Palkar – Director 1927 Savkari Pash – Actor 1925 Sati Padmini – Actor 1924 Sinhagad – Actor (as V. Shantaram) 1923 Surekha Haran – Lord Krishna 1921

A beautiful life written response Essay Example For Students

A beautiful life written response Essay Performance reflects the performance style, dramatic techniques and conventions, conveys ideas and develops a response from the audience, and reflects the historical and social background.  A Beautiful Life by Michael Futcher and Helen Howard is a deliberate and artificial construction based on a number of stories of real life. The play is a dramatic theatrical exploration of the issues suronding Australian society and multiculturalism. Using an  Innovative approach to convey and construct these issues an array of different dramatic forms and techniques are used. My group performance has taken theses techniques/conventions to engage an audience and reflect on the styles, techniques and convention A Beautiful Life explores to depict the epic human tale of a little man against forces much lager then himself. A Beautiful Life is the story of the dramatized evens of an Iranian refuge musician and his family; the fictitious character of Hamids experiences in gaol in Iran where he is tortured and forced to witness human rights abuse before making a dramatic escape to Australia in the 1980s where the hardships of his previous life follow him to a protest outside the Iranian Embassy in Canberra. Again he is arrested for his passionate act of protest which leads to misunderstanding and hostile charges of terrorism. His Subsequent trial takes us on a heart wrenching journey of his families many horrific and powerful experiences he has been faced with throughout his lifetime so he can now have what he calls a beautiful life. Interweaved with this story is the account of the Iranian refugee raid on the Iranian Embassy in Canberra as 4/3/1992, an aftermath 500 Mujahidin freedom fighters slaughtered by Irans governing regime. The Founders of Matrix Theatre Company Michael Futcher and Helen Howard have merged these two gripping stories to create a compelling story full of prejudice, injustice and brutality. On April 6th 1992 a raid on the Iranian Embassy in Canberra was staged in response to the reported hundreds of killings of the Mujahidin freedom fighters. Those who participated in the event were labelled terrorists and faced the danger of being deported back to the very country they despised simply because officials failed to understand the cause for these protestors passionate actions. The MeK is an organization for the liberation of Iran, working towards overthrowing Ayotollah Khmeinis (Iranian religious leader, scholar, politician, and the leader of the 1979 Iranian Revolution) and replacing him with their own secular government system. The MeK is the dominant member of the political Coalition of Iranian opposition groups known as the national council of Resistance in Iran and considers itself to be a government in exile. The organization in run by a woman named Maryam Rajavi and her husband and their objective is to create a secularist government which supports gender equality, political pluralism and the separation of church and state. These aspirations all deemed illegal in the current regime, the punishment being death if one was to be found being associated with any part of what the MeK stands for. On April 6th 1992 there was a delinquent impression of those who protested against the murders of these people in their homeland from the Autralian community because they could not comprehension or understand the situation, therefore labelling the protest an act of terrorism.  Our play exemplifies the predicament and hardship these refugees faced in order to come to Australia, the protest at the Iranian Embassy and the trial of those accused of terrorism and the destitution of their homeland as portrayed in A Beautiful Life. A Beautiful Life like our play conveys the ideas of prejudice, injustice and brutality through a variety of dramatic forms and techniques, one of these techniques being the language barriers between Hamid and Jhila, Stephanie and Brendan and the Australian public. Hamid and Jhilas inability to speak Fluent English causes a barrier between themselves and the Australia public. Being unable to articulate themselves causes them turmoil as they are unable to justify themselves and help others to understand their actions when they are arrested for displaying acts of terrorism. An example of this is in Scene 2 of our play, Hamid uses the words madness when he means anger, which causes Brendan to think he is insane. Another example in the same scene also shows two Australians in Iran who are unable to effectively communicate with some Iranian Guards. .ue26e498d1a4a89adcbba68181c71a877 , .ue26e498d1a4a89adcbba68181c71a877 .postImageUrl , .ue26e498d1a4a89adcbba68181c71a877 .centered-text-area { min-height: 80px; position: relative; } .ue26e498d1a4a89adcbba68181c71a877 , .ue26e498d1a4a89adcbba68181c71a877:hover , .ue26e498d1a4a89adcbba68181c71a877:visited , .ue26e498d1a4a89adcbba68181c71a877:active { border:0!important; } .ue26e498d1a4a89adcbba68181c71a877 .clearfix:after { content: ""; display: table; clear: both; } .ue26e498d1a4a89adcbba68181c71a877 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ue26e498d1a4a89adcbba68181c71a877:active , .ue26e498d1a4a89adcbba68181c71a877:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ue26e498d1a4a89adcbba68181c71a877 .centered-text-area { width: 100%; position: relative ; } .ue26e498d1a4a89adcbba68181c71a877 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ue26e498d1a4a89adcbba68181c71a877 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ue26e498d1a4a89adcbba68181c71a877 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ue26e498d1a4a89adcbba68181c71a877:hover .ctaButton { background-color: #34495E!important; } .ue26e498d1a4a89adcbba68181c71a877 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ue26e498d1a4a89adcbba68181c71a877 .ue26e498d1a4a89adcbba68181c71a877-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ue26e498d1a4a89adcbba68181c71a877:after { content: ""; display: block; clear: both; } READ: A Worn Path by Eudora Weltey EssayThey say We cant understand you, speak English please. As a result of this Language barrier the two Australians are Arrested and taken for questioning. This technique displays the virtuality of language to the play. It conveys the many problems and misinterpretations such a language barrier may cause, and hence lead to creating prejudice. In comparison to this we have Amir who comes from both worlds and is the narrator of the story. He gives us insight into both societies and is a bridge between the two worlds. A deliberate technique the composers have used to convey both sides of the story in way audiences can understand and empathise wit h.