Analayzing Boston Bombing - Terrorism or not terrorism Essay

Analayzing Boston Bombing - Terrorism or not terrorism - Essay Example The deceased’s younger brother, 19-year-old Dzokhar fled the scene in an illegally possessed SUV and was discovered in a severely injured state later that evening by law enforcement personnel and shifted to a medical facility in Boston. Schmitt and Schmidt reported that the wound on the suspect’s neck indicated that Dzokhar had tried to kill himself at some point during his escape from the shootout scene at Watertown. Dzokhar Tsarnaev was charged with exercising the use of a weapon of mass destruction to cause death along with initiating malevolent devastation of property. Both these charges were levied on April 22, 2013 against the suspect in relation with the Boston Marathon bombings. If the charges against the suspect are proven to be true, it is expected that he would face the death penalty. The atrocity that was committed against the people of Boston on April 15, 2013 which claimed 3 innocent lives and injured over 260 people has raised several important questions for the state, the society and concerned authorities alike. Initial reports have concluded a possible religious motivation behind the attacks, Pearson, however has reported that the bombers could have been incited to conduct the attacks due to the U.S wars against terror in Afghanistan and Iraq. Building on the aforementioned information this part of the paper will assess and analyze the event at an International System level. This discussion entails an examination of the involvement of international and external organizations or institutions that may have influenced and shaped the mindset of the suspected bombers, Tamerlan and Dzokhar Tsarnaev to conduct such an atrocity as the Boston Marathon bombings. It is imperative to the discussion to outline the profile of the suspected bombers in order to explore their intentions and motivations with pertinence to the involvement of international forces and organizations. Born to Muslim parents, the suspects belong to Chechen-Avar ethnicity and their family emigrated from Kyrgyzstan in 2002. Reports on Tamerlan’s early life in the United States do not indicate any involvement or association with Islamic fundamentalism. The deceased’s educational background suggests that his failure to perform well in his studies led him to concentrate on a career in boxing (Finn). According to Waxman, Tamerlan supposedly experienced a drastic religious transformation in 2009. As suggested by the late suspect’s uncle Ruslan Tsarni in an interview, Tamerlan’s customary presence at various Islamic societies across Boston critically aided his transition towards the path of radicalization which was reflected in dramatic changes in his behavior and actions such as one incident in which the slain suspect assaulted his girlfriend and demanded that she veil herself and accept Islam (Kenner). Researchers have highlighted how accessibility to media such as videos, literature, websites and books that preach Islamic fun damentalism can immensely affect the psyche of an impressionable mind. The evidence of an influence of radical media such as the teachings of radical clerics on the psyche of Dzokhar and Tamerlan is quite evident. Fundamentalist leaders and preachers such as Osama Bin Laden have released several literature and books to incite

Visual Elements of Arguments in Oreo French Ad Essay

Visual Elements of Arguments in Oreo French Ad - Essay Example This ad caught the attraction of people from all parts of the world. According to David Buckingham, â€Å"The Children’s market is potentially large† (Buckingham, p.594). Therefore, advertisers usually create child centered ads for the marketing purposes. This ad is a child-centered ad. The theme of this ad is that a cute little girl teaching her father how to eat Oreo cookies. Ethos, pathos and logos used extensively in this ad to catch the attention of the public. This paper analyses the Visual Elements of Arguments in Oreo French Ad. The beauty of this ad lies in the beauty of the cute girl acting in this ad. According to Jean Kilbourne sometimes the models in ads are children, other times they just look like children (Kilbourne p.471). The girl in this ad spreads the messages both as a child and also as a model. Her conversations with her father and efforts to teach him the way to eat Oreo cookies watched with huge interests by the viewers. In this ad each and every word is selected carefully. The dad asks the permission of his daughter to try the cookie. But the daughter denies him the permission saying that he is not yet ready to taste it. The creators of this ad remind us the fact that children have a specific way of eating cookies. While elders try to eat it fast, children always try to lick it first and enjoy the taste of each minute particle in the cookie. The girl indirectly says that the eating styles of elders are not suitable to enjoy the taste of Oreo cookie. She wants her father to lick it and enjoy the taste of this cookie fully. Here the creators or this ad tries to give pathos and logos to this ad. The daughter’s behaviour helps the viewers to know how emotionally she is attached to this cookie. She does not like the idea of eating it quickly. In fact, she wants to make a company with this cookie as long as possible before enjoying each part of it. The creators of this ad reminds us that there is no point in tasting an Oreo cookie just like other cookies. They wanted to spread the message that this cookie needs special attention while eating to enjoy it fully. Both images and words used carefully in this ad to catch the attention of the public. In fact the backdrops and the colour combinations of the dresses of the father and daughter are selected carefully. These colour combinations provide a pleasant feeling to the viewers. It should be noted that dark colour combinations may look vulgar while dull colour combinations may not catch the attention of the public. The p roducers of this ad knows this principle very well and used a meaningful and attractive colour combination in the pasteurization of this ad. Both visual and audio media blended carefully in this ad to catch the attention of the people. No complicated words or sentences used in this ad. In fact, this ad spreads great messages with the help of simple words. There are plenty of ads which are difficult for ordinary people to digest. However, this ad was created in such a way that even a layman can understand the ideas expressed in it. This ad can be enjoyed fully only of it is displayed in the visual media. Print media cannot communicate the message of this ad properly. It should be noted that the mannerisms and the childish activities of the cute girls catch the attention of the people. In short, the visual media helped the producers immensely in spreading the message of this ad properly. The girl says that eating an Oreo cookie is extremely complicated. In her opinion, there is a spec ial way to eat it. She says that first you twist it, then lick the cream First, you twist it, then lick it, then join it just like a kiss, then dip it milk and eat it. It should be not

Computer networks Essay Example | Topics and Well Written Essays - 3500 words

Computer networks - Essay Example Moreover, Cisco devices deliver integration features that will support compatibility and scalability issues with upcoming applications and services. For addressing, network security, again Cisco firewalls are implemented to protect the network from viruses, worms and probes. In summary, Cisco 3845 integrated service router is implemented for exchanging communication from the local area network interface to the WAN interface. The router provides productivity, integration and enhanced features along with Cisco 3845 (ISR) Site-to-Site VPN Support, Cisco 3845 (ISR) Remote Access VPN Support, Cisco 3845 (ISR) Network Admission Control support, Cisco 3845 (ISR) Digital Voice Call support , Cisco Unified Communication Support and Unified Survivable Remote Site Telephony (SRST) support. Moreover, data switches are also acquired from Cisco named as Cisco Catalyst 3750 that provides enhanced features. Moreover, for wireless networks, Cisco Unified Wireless network featuring Cisco Wireless Cont rol System along with Cisco 4400 Series Wireless LAN Controllers are deployed. Furthermore, the wireless network also supports Cisco Clear air Technology. For remote connectivity and scalability, Cisco service mobility engines are installed. For application support, SOAP and XML Support and Context aware Services are available. In addition, for addressing network security, Cisco ASA 5500 Series Adaptive Security Appliances (For Wired Network), AIP-SSM Intrusion Prevention Module and Wireless Intrusion Prevention System (W IPS) (For Wireless Networks) is operational. Fig 1.1 demonstrates the local area network of an organization below: Figure 1.1 (LOCAL AREA NETWORK) Structure and Cabling The current network is constructed on Star topology that is the most widely adopted topology, as it has many benefits when compared to other topologies. By implementing star topology, network engineers can administer and troubleshoot the network more efficiently and effectively. Star topology provid es a one stop monitoring screen that demonstrates activities on the local area network. Likewise, the cost of implementing and managing the local area network is comparatively low, as less resources and low network downtime occurs. Moreover, network security is addressed efficiently, as monitoring of each system or service is carried out

Observation and Reflective Feedback Worksheet Case Study

Observation and Reflective Feedback Worksheet - Case Study Example I frequently used paraphrasing by asking and repeating back when Ben told me there was Domestic violence in the relationship. I used open-ended questions when I asked about Jed Ben's son. I also used the appropriate facial expressions when Ben confided in me about various subjects. I asked Ben about the good times with Ellen and he told me how the good times were good and how they were happy and good friends, and how they used to go to the in-laws' but now he doesn't like them. Ben agreed that both he and Ellen needed to change to get their lives back on track. I recognised when Ben was using different emotions, and, during our discussion, he had a soft spot. I said to Bent that "you seem to have a soft spot for your son Jed." Ben agreed he did and that he loved his son. I also noticed Ben was very harsh towards Ellen at times. Ben did agree that he had good demeanour about, or a had a soft spot for, certain issues. I did notice and reflect this to the client that he had a change in his emotion. I did notice the way I would normally structure a session with a client at work. I couldn't apply it in the mock counseling situation. It didn't feel real and I was struggling to make a made-up scenario real. I understand the basic fundamentals but I find it easier in real life situations rather than mock situations. I feel I was relating well with the client and we were communicating well after the emotional wall he put up initially. Slowly I chipped away at it and he did open up eventually. I was able to talk freely with his values about Domestic Violence. However, the fact that he couldn't see how it was a problem for Jed and how it affected him, was difficult to explain to Ben so that he...I frequently used paraphrasing by asking and repeating back when Ben told me there was Domestic violence in the relationship. I used open-ended questions when I asked about Jed Ben's son. I also used the appropriate facial expressions when Ben confided in me about various subjects. I asked Ben about the good times with Ellen and he told me how the good times were good and how they were happy and good friends, and how they used to go to the in-laws' but now he doesn't like them. I recognised when Ben was using different emotions, and, during our discussion, he had a soft spot. I said to Bent that "you seem to have a soft spot for your son Jed." Ben agreed he did and that he loved his son. I also noticed Ben was very harsh towards Ellen at times. I was able to talk freely with his values about Domestic Violence. However, the fact that he couldn't see how it was a problem for Jed and how it affected him, was difficult to explain to Ben so that he understood. It wasn't until I mentioned that Jed could be removed from his care if he didn't stop the Domestic Violence that Ben understood the implications of his actions. I feel being blunt is a useful tool with involuntary clients.

Music Represents the Soundtracks of Life Essay Example for Free

Music Represents the Soundtracks of Life Essay Music is an unavoidable ingredient in everyone’s life. Whether its music we play by personal choice or music we hear in supermarkets or a retail store. Society will hear music. What comes along is what will affect the listener. Through time music has changed to meet the needs of society. In the past music was one of mans only form of entertainment, in many households the radio would play all day. Music changes as our lifestyle and environment changes, music was simple and very plain in the past but society could not live without it, the music was plain because their life was plain. As music developed, music started to split into different forms, now called genres. People created different genres to match their needs and feelings. Each genre reached out to a certain type of person’s personality and affects that person’s way of life. People listen to a specific type of genre to match their mood, for example: when a person is sad or grumpy they tend to listen to slow or depressing songs to match their mood, examples of these genres are blues and instrumental jazz. Different genres can also change your mood, at a club or party people play upbeat and fast paced music to get the people dancing and socialising. Rock or metal, a developing genre, is a very popular genre because of its distinct sound. Rock mainly consists of bands with a mixture of instruments and one or more vocalist. Music is not only heard on radios, cd’s or on the TV, music is constantly around us. One cannot imagine life without music because society is so used to hearing it. In movies music is used for effect and drama, a movie without music does not only sound dull and boring, it feels dull and boring. The music makes you shiver at the climax of a horror movie, the music makes you cry during a romantic scene. Driving on long journeys while listening to your favourite artist makes the trip feel a lot shorter and more enjoyable. Nature is one of the only places where you can hear natural music. Imagine walking through the forest without hearing the sweet sounds of birds chirping or the sounds the bushes and trees make when the wind passes by. Music makes life more relaxing and often is our source of inspiration. Music moves our body in many ways, but most of all it moves our souls and helps people to look deep inside themselves. Music will continue to grow and will never die. Music is the soundtrack of life.

Design and cost analysis to build a 3 storey new offices with construction

Design and cost analysis to build a 3 storey new offices with construction 1.0 INTRODUCTION This report is presenting two vacant sites which are located at Aberdeen City, Grampian (the edge of the city) and the other one at Edinburgh City, Scotland (city centre). This report content is the design and cost analysis to build a 3 storey new offices with construction to start as soon as possible. This new office will be approximately 1,500m ² which included offices, reception area, all ancillary spaces to accommodate staff, a board room to sit 50 and five meeting rooms to sit 10 15 people. The facilities required is air- conditioning offices and CCTV protection, and the proposed construction is steel frame with pitched roof. 1.1 Aim This report is to: Ø Decide whether city centre or outskirts which more suitable for cost saving. Ø Provide an outline cost plan for the project site mentioned. Ø Advice on sustainability aspects of the proposed project. Ø Provide breakdown by comparing few location before any decision taken. Ø Achieve a firm price by looking into the design of the offices. Ø Recommend the strategic location to the client. 2.0 BACKGROUND OF PROPOSED OFFICE BUILDING Proposed 3 storeys high quality offices block together with external works including reception area, a board room to sit 50, five meeting rooms to sit 10 15 people, services, security and CCTV protection and site lighting. Besides, solar heating panels are proposed for this project. Slimdek steel system is selected for frame work with steel pitch roof with aluminium standing seam cladding is proposed. 3.0 BCIS DATA DISTRICT PROFILES Based on BCIS historical data, analysis and the details of selected six (6) similar project of (new office building) are as below: i) Elemental analysis number 24828, A-3-1,253, this is 3 storey office block together with external works including precast concrete and macadam paving, steel mesh fencing, brick walls, landscaping, services, drainage, site lighting, cycle racks and bollards at Wilmslow, Cheshire, Massclesfield. ii) Elemental analysis number 23877, 3-7,600, this is 3 storey office block together with external works including paving, enclosures, landscaping, services, drainage and minor buildings at Merthyr Tydfil, Mid Glamorgan, Merthyr Tydfil. 3.0 BCIS DATA DISTRICT PROFILES (Contd) iii) Elemental analysis number 25344, A-3-2,045, this is 3 storey office block together with external works including block paving, fencing, walls, landscaping, services drainage, site lighting, cycle store and bat roost at Banbury, Oxfordshire, Cherwell. iv) Elemental analysis number 25163, A-3 (2) -718, this is 2 and 3 storey office block together with external works including landscaping, services and drainage at Aylesbury, Buckinghamshire, Aylesbury Vale. v) Elemental analysis number 22434, A-3 (4) -3,887, this is 3 storey office block together with external works including access roads and car parking, landscaping, services, drainage, bin and cycle stores at Oxford, Oxfordshire, Oxford. vi) Elemental analysis number 22437, B-3-6,652, this is 3 storey office block together with external works including macadam and block paving to provide 167 parking spaces, extensive landscaping, services and drainage at Uxbridge, Greater London, London Borough of Hillingdon. Item Location Analysis Index/yr quarter Original Cost per m ² ( £) Preliminary (%) Contingency (%) GFA (m ²) /Storey Location Factor 1 Wilmslow, Cheshire, Macclesfield 247 / 2Q2008 1,125.98 21.68 2.93 1,253 / 3 Storey 0.97 2 Mid Glamorgan, Merthyr Tydfil 221 / 1Q2005 1,607.93 14.52 3.04 7,600 / 3 Storey 0.98 3 Banbury, Oxfordshire, Cherwell 246 / 3Q2008 1,482.95 19.24 1.06 2,045 / 3 Storey 0.99 4 Aylesbury, Buckinghamshire, Aylesbury Vale 241 / 2Q2007 1,726.46 16.93 6.88 718 / 3 Storey 1.06 5 Oxford, Oxfordshire, Oxford 195 / 4Q2003 1,211.53 12.53 3,887 / 3 Storey 1.07 6 Uxbridge, Greater London, London Borough of Hillingdon 200 / 1Q2004 1,290.13 15.79 0.37 6,652 / 3 Storey 1.15 3.0 BCIS DATA DISTRICT PROFILES (Contd) Note: i) Cost per m ² excluding contingencies. ii) The cost plan of the above 6 projects are enclosed in Appendix (I) and (II) (Analysis 1 and 2). iii) The detail specifications are enclosed in Appendix IV. 4.0 COST PLAN ANALYSIS AND PROPOSAL Based on this report, location factor below 1.00 is considered as outskirt of city and above 1.00 is considered as city centre. One of the BCIS data Merthyr Tydfil Mid Glamorgan, Merthyr Tydfil is banned in this report for analysis and comparison due to the following reason: i. The cost per m ² is too high comparing to others project and the location factor is only 0.98. ii. Many element cost is undefined in details, example floor finishes, wall finishes, ceiling finishes, internal and external doors, roof, etc. iii. The preliminary is only 14.52% of the contract sum (excluding contingencies) compare to others 5 projects. Therefore, this elemental cost is not analytical. Price Design Risk is assumed as 7.0% and contingencies assumed as 2.5% for the two proposed project. 4.1 Element cost adjustment The rational adjustment for element cost as below: i. 2A Frame Proposed steel column and beam frame for this building. This element is cost 5.36% of the project and 2.30% lower if compare with Merthyr Tydfil project. ii. 2C Roof Proposed steel pitched roof with single ply waterproofing membrane for this building. This element is cost 4.43% of the project and 1.44% lower if compare with Merthyr Tydfil project. iii. 2G Internal Wall / Partitions Proposed metal stud and cubicle partitions is because a board room and two meeting room are required by client. iv. 2H Electrical Installation The percentage distribute to this element is 12.43% and is the highest compare to other five projects. Therefore, we proposed to cut down the uses of electricity to this building by 5.97%. 4.2 Cost analysis plan for city centre Edinburgh City, Scotland Refer to the above BCIS data, location factor above 1.00 is Aylesbury, Buckinghamshire, Aylesbury Vale, Oxford Oxfordshire, Oxford and Uxbridge, Greater London, London Borough of Hillingdon. According to the current cost index of 212 (1Q2010) for the Proposed 3 Storey New Office Block at Edinburgh City and location factor is 1.09. The updated cost per m ² for Aylesbury, Buckinghamshire, Aylesbury Vale is  £ 1,561.69, Oxford Oxfordshire, Oxford and Uxbridge is  £ 1,341.77, Greater London, London Borough of Hillingdon is  £ 1,296.19. Oxford Oxfordshire, Oxford and Uxbridge and Greater London, London Borough of Hillingdon is not selected because the updated cost per m ² is lower than Aylesbury, Buckinghamshire, Aylesbury Vale. The low price for these two areas may be due to the location that nearby the edge of the city and it is unable to achieve a high class office building. However, the updated cost per m ² of  £ 1,561.69 for Aylesbury, Buckinghamshire, Aylesbury Vale is selected for budgeting purpose only and this is current cost and not includes construction inflation and interest rates. The current cost limit is  £ 2,322,729 and the projected tender amount is  £ 2,300,817 as apply  £ 1,401.38 as current cost per m ² in analysis 3. 4.3 Cost analysis plan for outskirts of city Aberdeen City, Grampian Refer to the above BCIS data, location factor below 1.00 is Wilmslow Cheshire, Macclesfield, Merthyr Tydfil Mid Glamorgan, Merthyr Tydfil and Banbury Oxfordshire, Cherwell. According to the current cost index of 212 (1Q2010) for the Proposed 3 Storey New Office Block at Aberdeen City and location factor is 0.96. The updated cost per m ² for Wilmslow Cheshire, Macclesfield is  £ 956.47, Merthyr Tydfil Mid Glamorgan, Merthyr Tydfil is  £ 1,510.97 and Banbury Oxfordshire, Cherwell is  £ 1,239.27. Wilmslow Cheshire, Macclesfield and Banbury Oxfordshire, Cherwell is not selected because the updated cost per m ² is lower than Merthyr Tydfil Mid Glamorgan, Merthyr Tydfil. The low price for these two areas may be due to the market condition and the competitive between them make the tender price on lower side for this two projects. Nevertheless, the updated cost per m ² is adjust to  £ 1,510.97 for Merthyr Tydfil Mid Glamorgan, Merthyr Tydfil is selected for budgeting purpose due to the market condition is buoyant and not competitive that mean the tender price will on high side. The current cost limit is  £ 2,045,718 and the projected tender amount is  £ 2,026,419 as apply  £ 1,234.25 as current cost per m ² in analysis 3. 4.4 Cost comparison for city centre and outskirts of city Based on the cost plan for this 3 storey new office building at Edinburgh City and Aberdeen City, the projected tender amount for 2Q2010 is  £ 2,300,817 and  £ 2,026,419 respectively. The cost between this two distinct is  £ 274,398 or 13.54%. 5.0 SUSTAINABILITY OF BUILDING Building owners, designers and builders face a unique challenge to meet demands for new and renovated facilities that are accessible, secure, healthy, and productive while minimizing their impact on the environment. The main objectives of sustainable design are to avoid resource depletion of energy, water, and raw materials; prevent environmental degradation caused by facilities and infrastructure throughout their life cycle; and create built environments that are livable, comfortable, safe, and productive. In UK, Green Building, also known as green construction or sustainable building, is the practice of creating structures and using processes that are environmentally responsible and resource-efficient throughout a buildings life-cycle: from sitting to design, construction, operation, maintenance, renovation, and deconstruction. 5.1 Reduce Carbon Dioxide Emission In UK, annual CO2 emission is 568,520 in thousands of metric tons. Buildings are responsible for more than 70 percent of electricity use; therefore, reducing electricity use in buildings directly affects carbon emissions in electricity production. Therefore, solar panels and heat exchange system are proposed in this project for space heating and air-conditioning. 5.2 Whole life cost of the building Solar energy is renewable and essentially free. There are two factors that influence the amount of money solar panels will save you on your electricity bills: 1) the amount of money you spend on your current electric bill, and 2) the amount of electricity your solar panels will be providing. The demands of solar energy get well known because of the high prices for electricity bill using conventional source. The worldwide of demand for solar energy is greater than its supply. This is due to it will cut energy consumption and pollution sources like they have lower heat loss, less air leakages, warmed window surface that improve comfort and minimize condensation. Automatic lighting and air conditioning control system is proposed, example it will automatic off and / or change to some low voltage lighting after working hour. 6.0 COST SAVINGS PROPOSAL The cost plan is for estimation budgeting only but not final contract sum for this project, so to control the final cost within budget and / or gain additional profit from the saving, the following cost savings for this project are proposed: i. Proposed Slimdek extends the range of cost-effective steel options for modern buildings. Ease of planning and servicing, combined with a reduction in building height, gives significant cost and speed of construction benefits. Slimdek is especially economical for highly serviced buildings. Flexibility of routing services without constraint and the ability to accommodate services between the ribs can lead to substantial savings in the cost of services. ii. Proposed to commence work at month April 10 because the frame work and roof covering able to finish when winter season, this help to save additional cost when construct in winter season, examples heating for curing concrete, protection of new work (concrete and brickwork), etc. This assist contractor to save additional cost and will reflect to overall development cost for client. iii. Solar heating panels is a the usage of solar energy to provide process that depends on the solar radiation, surface area, surface reflectance, surface emissivity, ambient temperature, and thermal convection from wind. 7.0 ADDITIONAL INFORMATION TO ACHIEVE A FIRM PRICE We required additional information which will have impact on costs in order to prepare a firmer estimation cost as below: i. Ground condition ii. Site topography iii. Site existing structure, accessibility and protection iv Market condition v. Type of contract for the project 8.0 CONCLUSION / RECOMMENDATIONS The quality of the building is more important for offices than for other development like retail. It should provide necessary services and enable flexible sub-division of floor space. While location (address) is important, congestion is reducing efficiency and encouraging out of town office parks. Therefore, Proposed 3 storey office block at Aberdeen City, Grampian instead of Edinburgh City due to the following reasons: i. Based on the comparison, the cost is too high build at city centre, i.e.  £ 274,398 or 13.54% higher rather use the money for upgrade the building quality. ii. Office building is encouraging to build at outskirts of city due to the congestion is reducing efficiency and the quality of office building is more important than location. iii. The land value at Edinburgh City is more expensive compare with Aberdeen City, Grampian. This 3 storey small office cant fully utilize the land value at Edinburgh City. iv. according to CB Richard Ellis, Market View Scottish Office H1 2008, completion of office at Edinburgh City are set peak in 2009 when 611,400 sq ft (56,799 sq m) is anticipated to be delivered mean the market of office development at Edinburgh City is competitive. 9.0 COST PLAN SUMMARY Appendix I Aberdeen City, Grampian (Proposed to develop) Appendix II Edinburgh City, Scotland Note: Each Appendix including Analysis 1, 2 3. Cost comparison for Aberdeen City, Grampian and Edinburgh City, Scotland

General ethics in film making

General ethics in film making Introduction Should the moral and ethical guidelines of documentary and mockumentary filmmaking be strictly adhered to if they impede on the overall artistic vision and message of the film? For the bases of this thesis I have chosen to answer this question through a discussion of the ethics of cinema vrit and the documentary/mockumentary style genre. In particular, I have chosen to focus my study on one film of this style of filmmaking. The 2006 film Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan, often referred to simply as Borat! (Borat the character and Borat! the movie (hereafter Borat!), is a mockumentary comedy film directed by American filmmaker Larry Charles and distributed by 20th Century Fox. (1) It was written, produced by, and stars the English comedian Sacha Baron Cohen in the title role of a fictitious Kazakh journalist traveling through the United States, recording real-life interactions with Americans. The character of Borat himself is distingu ished by exaggeratedly strong misogyny, anti-Semitism and antiziganism (racism against Romani people or gypsies), which is depicted as, apparently, the norm in his homeland of Kazakhstan. The character of Borat was originally created by Sacha Baron Cohen. He was used as a character for Da Ali G Show, a related satirical TV series starring Baron Cohen and featuring amongst others the title character Ali G and Borat. The first series of Da Ali G Show originally aired on Channel 4 in the UK in 2000. In the series, Baron Cohen carries out ridiculous interviews with unsuspecting people (including celebrities and high- ranking officials). (2.) This film Borat!, is shot in mockumentary style using handheld and often hidden cameras. A mockumentary is essentially a mock documentary, a parody of the earnest nature of the documentary genre (3). As a medium, it is most successful when the traditional documentary structure is maintained or exaggerated. Mockumentary filmmaking is made under much of the same genre rules as that of Cinema Vrit. Interviews in a mockumentary are deliberately tiresome, with the interviewers reaction shots obviously edited at a later date for either comic effect (4). Often, even the shooting and editing of a mockumentary compared to a genuine documentary is different. The sincere documentarian, such as Werner Herzog in Grizzly Man (2005) will edit any embarrassing, non-plot relevant or self-indulgent interviews before the point that the audience will laugh at the character. Grizzly Man documents Timothy Treadwells infantile affection for bears, his anger at society, his raging narcissism, his paranoia and finally the tragic deaths of Treadwell and his girlfriend (still .01) in October 2003. (.5) (still .01) Outtakes from Timothy Treadwells original video footage were later screened for the first time as part of the exclusive companion film. In order to put Treadwells experience into context.(6.) Whereas, the mockumentary filmmaker will intentionally leave these embarrassing edits in the finished film for comic effect. In doing so, the moral and ethical dilemmas faced by professional documentarians are, for the purpose of the film, overlooked so as to get the best result, joke, outrageous comment, or sound bite in most cases. An example of this is Michael Moores Roger and Me (1989) when Bob Eubank (still .02) host of US game-show The Newlywed Game is shown telling an off-color joke: Why do Jewish women never get AIDS? They only marry a**holes, they dont screw em. Eubanks claims that he only told the joke because he thought the camera was off. (7.) (still .02) Borat is part of a cinematic tradition of using mockery to diminish the power of political, social and cultural oppressors.(8.) This is done by exposing the absurdity of their control, much like past great films such as Charlie Chaplins The Dictator (1940) and Stanley Kubricks Dr.Strangelove (1964 ) Within the first chapter of this thesis, I define and address the core elements of cinema vrit and compare and contrast it to that of Direct Cinema and sincere documentary filmmaking. The moral code of ethics that filmmakers use as guidelines when first approaching the public as subjects for their films will also be addressed. For the basis of my second and third chapters, I take the case study of Borat! and form an argument around the mockumentary genre in relation to ethical dilemmas. In Chapter Two, I addres s the ethical oversights on the part of the filmmakers and the careless treatment of their subjects. I isolate and identify scenes and cases within the Borat! film as examples of how the filmmakers fail to respect the moral and ethical guidelines that inform other documentaries. By relating film practice to this established codes of ethics I show how the filmmakers jeopardized the rights of the people used in the film, such as the fraternity brothers and the residents of the village of Glod. I show one side of the argument in the second chapter. This argument explains with the use of examples, how the filmmaker has taken advantage of the subjects or in some cases used their likeness without proper informed consent(9.) in order to stay true to the artistic vision of the film. I look to detail the actions of both the subject and the filmmakers as well as the anatomy of the scene and the level of interaction and knowledge that the filmmakers offered the subject before participating in the project, if any. I also address the resulting effect on the subject. In doing so, I show that the filmmakers artistic vision and message, no matter how great or relevant, can have a long lasting negative effect on the subjects and participants of the film when they are duped into being pawns and unsuspecting foils to the main comedic actor playing a part with a hidden camera. The third chapter of the thesis, however, I show how the artistic vision was sincere and that the right to public freedom of speech was fairly used for the greater message and intent of the film. My goal is ultimately to present both sides of the same argument and through doing so, construct a complete and informed judgment on the moral and social goals of the film, as a satire, which I will present in my conclusion. This will prove that the actions of the filmmakers, although morally unethical, were still legal and artistically relevant. Borat! aims to set an important precedent that the artistic vision and the use of comedy or social satire are crucial to the success of the mockumentary genre of filmmaking. In the context of Borat! I choose specific examples, to address the intention behind the filmmakers conduct towards their subjects. Chapter One The Theory Of General Ethics Relating To cinema vrit And Direct Cinema In Modern Film Making. In this chapter I define the theory of ethics in relation to professional and employee ethics, in the relevant context of filmmaking. Because this thesis is about mockumentary filmmaking it will first help to establish the ethical foundations for the circles of filmmakers and other professionals working in this genre. When dealing with the subject genre of documentary and/or mockumentary filmmaking, it is first crucial is define a difference between the two. The word documentary was coined by Scottish documentarian John Grierson (10.) Griersons principles of documentary were that cinemas potential for observing life could be exploited in a new art form and that the original actor or subject and original scene are better guides than their fiction counterparts to interpreting the modern world. A mockumentary is essentially a parody of the documentary nature of filmmaking and is successful when the structure of a traditional documentary is exaggerated. These films are not unlike the cinema vrit filmmaking style, was most prolific in 1960/70s French filmmaking and/or Direct Cinema films. Although the terms are often used interchangeably, cinema vrit and Direct Cinema are two distinct documentary film sub-genres. Direct Cinema rose from the French film movement of the 1960s that strove for candid realism by showing people in everyday situations with authentic dialogue (11.) Influenced by documentary filmmaking and Italian Neorealism, the method produced examples such as Jean Rouchs Chronicle of a Summer (1961) (12.) and Chris Markers Joli Mai (1962). (13.) A similar movement in the U.S, captured the reality of a person or an event by using a handheld camera to record action without narration, as in Frederick Wisemans Titicut Follies (1967) (14.) and the Maysles brothers Salesman (1969) (still .03)(15.) (still .03) There are subtle yet important differences among the terms Direct Cinema and cinema vrit. Direct Cinema is largely concerned with the recording of events in which the subject and audience become unaware of the cameras presence. Direct Cinema is essentially what is now called a fly on the wall documentary. Originating in the late 1950s, Direct Cinema was made possible by the advent of lighter, more portable cameras, which could be hand-held and operated with a very small crew.(16.) This lean shooting style allowed filmmakers to change locations and camera angles easily and spontaneously, which resulted in a degree of intimacy never before seen on screen to date. The Direct Cinema filmmakers role involves not attempting to change the outcome of the events. He or she is filming in an observational context and ideally should not use the film to advance any type of political or social agenda. Direct Cinema filmmakers are generally interested in accurate reporting, regardless of the outcome. Cinma vrit, which means Truthful Cinema, combines naturalistic techniques with stylized editing and camerawork. Scenes are sometimes staged and the camera is used to provoke subjects. (17.) It is also known for taking a provocative stance toward its topics. 13 Cinema vrit filmmakers, while still interested in the recording of true events, typically have an agenda in their work, which sets them apart from Direct Cinema. Michael Moores documentaries Roger and Me (1989) (still .05) and Bowling For Columbine (2002) are examples of modern cinema vrit. (still .04) (still .05) In recent years, these types of movies have often featured the filmmaker himself, as in the case of Borat! (still .04), taking part in the action onscreen. Cinma vrit involves stylized set-ups and interactions between the filmmakers and their subjects, even to the point of provocation, which in the case of Borat! will become apparent. The presence of the filmmaker and camera is used as a tool in a way to reveal the truth from the subject. The camera is obviously apparent and always acknowledged. It performs the raw act of filming real people and events in a confrontational and sometimes absurd way. This raises interesting questions about the illusion of cinema, while faced with these styles of filmmaking, the audience is forced to confront the paradox of the truth claim in documentary cinema by mixing direct documentation 14 (fact direct cinema) and reenactment with characters playing themselves (fiction cinema vrit) in order to suggest that perhaps they are one in the same. The cinema vrit filmmaker acts as the catalyst of the situation. A much discussed example of cinema vrit would be the film that will become the topic of discussion throughout the course of this thesis Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006) directed by Larry Charles and starring Sacha Baron Cohen. It is hardly surprising that documentary and mockumentary films present ethical problems, in relation to the royalty to the original artistic concept and vision of the filmmakers, to the audience as a willing participant and, of course, the filmed subject as the focus basis of the film. In order to regulate all parties, production companies operate from a code of ethics rather then a strict legal binding. Ethics are important, because they give people a shared basis of understanding in rela tion to the concepts of right and wrong. When the public is involved, it helps the filmmakers to have a ready understanding of how to react to a certain situation if some dilemma should arise. A Code Of Ethics is essentially a set of guidelines that are designed to set out acceptable behaviours for members of a particular group, in this case filmmakers. Generally, production companies and film crews govern themselves with a code of ethics, especially when they handle sensitive issues like likeness rights, taking the subjects life situation into the equation and interactions with other cultures. In addition to setting a professional standard, a code of ethics can also increase confidence in an organization by showing outsiders that, members of the organization are committed to following basic ethical guidelines in the course of doing their work.(18.) 15 The Code primarily consists of four overall ethical principles, Respect, Competence, Responsibility and Integrity. In relation to the respect for the rights and dignity of the person, this principle requires of filmmakers treat their clients as persons of intrinsic worth with a right to determine their own priorities, that they respect clients dignity and give due regard to their moral and cultural values(19.) Film makers should take care not to intrude inappropriately on clients privacy and as far as possible, they shall ensure that clients understand and consent to whatever professional action they propose. The second point is that of competence. Filmmakers must constantly maintain and update their professional skills and ethical awareness.(20.) They should recognize that the knowledge of their own expertise and capacity for work are limited, and take care not to exceed the limits. The third point is responsibility. In their professional activities, filmmakers are required to act i n a trustworthy, reputable and accountable manner towards clients (subjects) and the community. They shall avoid doing harm to clients and research participants, and act to prevent harm caused by others. (21.) They should act positively to resolve ethical dilemmas and they should also ensure that those whom they supervise act ethically. Finally the fourth point is integrity. Filmmakers are obliged to be honest and accurate about their intentions, the effectiveness of the services that they offer, and their research findings. They are expected to treat their subjects in a fair, open and straightforward manner, honour professional commitments, and act to clarify any confusion about the subjects role or responsibilities. Where possible, they shall avoid the use of deception with research participants. They shall not use the professional relationship to exploit clients, sexually or otherwise, and they shall deal 16 actively with conflicts of interest. They shall take action against harmful or unethical behaviour in colleagues or members of other professions.(22.) When considering the production of either a Cinema Vrit or Direct Cinema film, it is important to weight in the moral and ethical dilemmas that the filmmakers must deal with in relation to the subjects of the proposed film. Whereas the Code Of Ethics serves to provide civic guidelines, the consent form acts as the legally binding part of the agreement. A consent form is A document explaining all relevant study information to assist the study volunteer (subject) in understanding the expectations and requirements of participation in a (filming) clinical trial. This document is presented to and signed by the study subject. (23.) A consent form is only relevant when signed under informed consent by the subject. Informed Consent is typically a medico-legal term when referring to medical practice, it is a form signed by the patient (or in th is case: subject) for the benefit of the surgeon (filmmaker) to perform treatment (filming). By signing a consent agreement to filming, the subject is stating that he or she is fully aware of his or her condition and understand the reasons why filmmaking is taking place and that he or she has agreed to that being carried out. The opposite of informed consent is informed refusal, in which like the consent acceptance, the subject in this case may also choose to refuse. Another aspect of the ethical guidebook be to considered with in the role of cinema vrit or Direct Cinema filmmaking is the maxim known as The Golden Rule or Ethic Of Reciprocity that essentially states that One should treat others as one would like others to treat oneself (24.) OR one should not treat others in ways that one would not like to be treated (negative form which is also called The Silver Rule.) 17 The Golden Rule is arguably the most essential basis for the modern concept of human rights, in which each individual has a right to just treatment, and a reciprocal responsibility to ensure justice for others. A key element of the Golden Rule in relation to documentary filmmaking is that the filmmaker, while attempting to film ethically treats their subjects with consideration, not just members of their crew. The Golden Rule is a moral and ethical guide; it is important to note that it is not strict legal merit. An objection to the Golden Rule is highlighted by Paul Treanor on his website, as he implies That I should transfer my perspective to the person affected, the one standing in front of me who will be affected by my action. But behind them may be another, who is affected by the person standing in front of me. (25.) These points have been highlighted in this chapter to give a wider insight into the ethical minefield that is taken on when entering into any practice with others f rom a professional and personal standpoint. As previously stated, these ethical codes have no legal bearing, but are relevant to all filmmakers when they engage with social actors for the purpose of making a cinema vrit or Direct Cinema film. It is the responsibility of all involved in the project to present a truthful and sincere front from the start. In the case of Borat!, the disagreements before and after filming from unwilling participants will highlight the misuse of these ethical codes and the results, both positive and negative. Chapter Two Subject Vs Artistic Vision The Ethical Responsibilities Of Borat! In Relation To Acquiring Consent From The Subject Within the context of mockumentary filmmaking, much like that of sincere documentaranians, the public are treated as social actors rather then fiction film performers. These subjects remain culturally relevent players. Their value as players resides not in the way they play a part but in a way their everyday behavior serves the needs of the filmmaker. But the question of garnering consent whether it be informed consent or consent defence, is an ethical maelstrom and this point is proven by the film Borat!. A film which managed simultaneously to offend Kazakhs, frighten Jewish Anti-Defamation Groups, annoy hypocritically thin-skinned Americans and spark off wide debate about its meaning and interpretation. Each filmmaker, production company and subject relationship works according to personal guidelines established either face-to-face or pre-organised and with mutual consent from each party. Precedents of ethical guidelines can only work to persuade the actions, so that each party is fully informed of the subject matter, representation and potential response of the subjects actions within the documentary which is done by acquiring informed consent. In the case of Borat! a variety of SLAPP cases have been brought against the filmmakers. The term Strategic Lawsuits Against Public Participation, known by the acronym SLAPP applies to a variety of different types of lawsuits, including those claiming libel, defamation, business interference, or conspiracy.(26.) Within the context of the film, the titular character Borat Sagdiyev is said to be from Kazakhstan. The Kazakhstan used in the film is a heavily fictionalized and satirized depiction of the former Soviet state. However, as it states in the (SLAPP) Defendants special motion to strike complaint record. Alarmed by the reportage of its fictitious reporter, the government of Kazakhstan launched a massive public relations an d diplomatic offensive, emphasizing its commitment to human rights and gender and 20 equality (27.) going so far as to release a four-page advertisement within the pages of The New York Times and to set-up presidential visits to the White House and 10 Downing Street. (still .06) Upon the release of the film the foreign ministry spokesman, Yerzhan Ashykbayev, told a news conference We view Mr. Cohens behaviour as utterly unacceptable, being a concoction of bad taste and ill manners which is completely incompatible with the ethics and civilized behavior of Kazakhstan people. (28.) Shortly before the release of the film too, the right to use the domain name www.borat.kz was suspended, and the site attached was closed down due to the site being hosted outside Kazakhstan and hosting false names.(29.) Kazakhstan was never actually filmed for the purpose of Borat! but rather used solely in namesake. Nicolae Todorache and Spiridom Ciorebea, residents of Glod, Romania, the village actually used to depict the satirized Kazakhstan (still .06), sued the filmmakers for 21 $30 million claiming they were misled into thinking they were participating in a documentary about the villages poverty and the rich heritage and belief system upheld by the inhabitants. Alan Rosenthal author of New Challenges In Documentary (1988) writes Consent is flawed when obtained by the omission of any fact that might influence the giving or withholding of permission. (30.) However, it is important to also state that the subject must not have been put under any pressure (coercion) to sway their decision, and that they reached a decision based on their full comprehension of the situation. So provided that those being filmed give their consent, where is the unethical behaviour? The morality lies in how the subjects are represented. The villagers in the town of Glod feel they were specifically targeted and portrayed in a negative manner and the lawsuit was filed on behalf of their entire village and Mr. Todorache, a one-armed man, who was seen wearing a sex toy attached to his st ump at the filmmakers request.(31.) The method of obtaining consent is stacked in the filmmakers favour. Rosenthal adds The ethical problem raised by such approaches is that they give the potential subject no real choice; the initiative and momentum of the situation favour the filmmaker. The presence of the film crew with official sanction is subtly coercive(32.). The film crew and equipment are all intimidating to be faced with for the person who has approached for the comment. The notion of consent defence, is another popular argument raised by Brian Winston in Lies, Damn Lies And Documentaries. He states, any measure of dubious or even unethical behaviour is justified after the event by the existence of the contract signed by the participant, the release form (33.). These agreements are in defiance of those who take the BSC Codes view (The BSC Code helps by providing a 22 framework of guidance into which, particular needs can be fitted,(34.) The guidance is for the general use of the professional consent defence for people (except minors or the mentally incapacitated) do know what they are doing. Coercion outside the law has expanded its meaning to embrace the idea of compulsion without physical treat. Often the consent defiance could be defended where the subject was uncomplaining or even benefited from their experience. But as Richard Andrew Hall states Did Baron Cohen really have to cross the pond to find such disturbing stereotypes?(35.) Surely, it would not be hard for him to find typical examples of racism in any other major ethnicly shared cities anywhere else in the world. So too, the film depiction of its anti-Semitism has also come into great debate amongst critics, audiences, the media and especially the Anti-Defamation League of America (ADL). The Anti-Defamation League, founded in 1913, is the worlds leading organization fighting anti-Sem itism through programs and services that counteract hatred, prejudice and bigotry towards Jewish people (36.). In one particular scene from Borat!, we see the titular character at a rodeo in Texas, performing a song directed towards Jewish people entitled In my country there is a problem that called on people to throw the Jew down the well, warning the public you must be careful of his teeth and that you must grab him by his horns to the delight of some members of the audience (still .07). 23 (still .07) While the ADL openly acknowledges that the film is a satirized and farcical characterization, they do state in a formal letter of warning to the filmmakers We are concerned that one serious pitfall is that the audience may not always be sophisticated enough to get the joke, and that some may even find it reinforcing their bigotry. (37.) Richard Andrew Hall states Baron Cohen heavily concentrated on the genuinely powerful, whether celebrities or those with money and power, but in Borat! he clearly started sliding towards pulling the piss out of more average citizens. Perhaps this is where he crossed the line. (38.) In 2005, a lawsuit was filed against the makers of the film and 20th Century Fox on behalf of two unsuspecting fraternity boys who claim they were duped into appearing in the spoof documentary. (39.) They were identified in the movie as fraternity members from a South Carolina University, and appeared drunk as they made insulting comments about women and minori ties to Cohens character. 24 The SLAPP lawsuit claims that in October 2005, a production crew took the students to a bar to drink and loosen up before participating in what they were told would be a documentary to be shown outside the United States. They were induced to agree to participate and were told the name of the fraternity and the name of their school wouldnt be used. After a bout of heavy drinking, the plaintiffs signed a release form they were told had something to do with reliability issues with being in the RV, their lawyer Oliver Taillieu states. (40.) The film made plaintiffs the object of ridicule, humiliation, mental anguish and emotional and physical distress, loss of reputation, goodwill and standing in the community. (41.) Although legally the participants have agreed to signing the consent, under the plaintiffs testimonies, it would appear that the filmmakers had intentionally duped the college students into appearing in the film with full, informed consent and it is impossible to defend the subject matter and opinions that the subjects raised while drunk, however, the filmmakers should be held accountable for putting the fraturnity boys in that situation and for provoking the racist and sexist responses they got. The filmmakers had knowingly overlooked the ramifications of the subjects actions on their lives after the films release and are guilty of negligent infliction of emotional distress. If the participant is fully aware of possible consequences and sees co-operation as a coherent political strategy, then the burden of the ethical dilemma has been lifted from the film-maker by the participant for his or her own ideological reasons. (42.) The Polish author of the blog Beatroot captured this well in a post on the Movania guidebook entitled Why is it that the only people liberals think its OK to laugh at these days are the white working class and Central and Eastern Europeans?(43.) In 25 the article he comments If this (sort of book) had been written about African people then, quite rightly, there would have been uproar and outrage. (44.) But it seems that Political Correctness extends to all groups these days except poor whites from urban, rural or semi-rural areas in America and Europe As Andrew Mueller notes in his review of the movie for Uncut MagazineWhat astonishes me about every Amercian he encounters is not their naivete, but their politeness, hospitality and the extraordinary degree to which Borat has to inflame situations to provoke reaction.(45.) Cynically, the consent form is simply a safeguard device or get-out-of-jail-free card, wheeled out by the filmmakers, against future lawsuits and liability. Production companies will claim that they ensure the participant is not being misled or manipulated by the filmmakers. Many times the consent form is a bureaucratic, legalistic detail, intent on absolving the production companies of responsibility. There to d issipate any whiff of coersion, it should not be used as a licence to knowingly take advantage of the everyday person. To weigh the ethical ramifications on a piece of paper is morally and ethically wrong.But they are also there to defend the filmmakers against the actions and reactions of the subjects and are predominantly responsible for some filmmakers avoiding litigation. The vast effects that the documentary could have on the lives of the subjects should be taken into account and not just betted against the contract. At the end of the film, it seems that in the case of Borat! that the usual disclaimer included at the end of the films credits states that before being considered for appearance in the film, all potential participants were required to sign long release forms, agreeing not to take legal action for any defamation of character or fraud 26 carried out during the films production. It states that all characters were fictitious, and also noted that no real person depicted or appearing in the film has sponsored or otherwise endorsed its contents. Before and following the universal release of the film in 2006, seven lawsuits had been filed against the production company, Baron Cohen and filmmakers for amongst others fraud, rescission of contract, common law false light invasion of privacy, statutory false light, appropriation of likeness and negligent infliction of emotional distress.(46.) 27 Chapter Three The Artistic Vision Vs The Subject In Reference to Borat! and The Use Of Humour to Expose Social Stereotypes and Bigotries. 28 As previously discussed in Chapter One, the Code Of Ethics acts as an ethical guideline for filmmakers, when it comes to such issues as garnering ethical consent or the valid use of likeness rights from a subject and the use of the public for the proposed project in a fair and informed manner. In this chapter I explore and reveal examples within the context of the film Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (hereafter Borat!) of intentionally overlooking these so-called guidelines for the sake of making a work with the artistic vision and integrity solely taking the forefront of the creative process. Despite a limited initial release in the United States, the satire was a critical and commercial success. Baron Cohen won the 2007 Golden Globe Award for Best Actor: Musical or Comedy, as Borat, while the film was nominated for Best Motion Picture in the same category. Borat! was also nominated for Best Adapted Screenplay at the 79th Academy A wards. On its release, Borat! boasted the highest-grossing opening ever for a picture playing at less than 1,100 theaters.(47.) Firstly, it is important to realize that there is public global interest in speech and opinions (such as the afore mentioned examples, previously discussed in Chapter Two) about American cultural values and attitudes towards anti-semitism, racism and sexism. Borat! as being part of a tradition of exposing and critiquing these American bigotries through the use of humour, seeks to expose these attitudes in their most debased forms and present them to the world an