Wednesday, February 19, 2020

Personal Ethical Statement Assignment Example | Topics and Well Written Essays - 250 words

Personal Ethical Statement - Assignment Example My blind spot, according to the inventory, is the belief that my motives will always justify the methods. Most of the time I fail when it comes to accountability; I have always placed my demands and needs first and I do not care explaining to those who depend on me so long as my needs are satisfied. In addition, sometimes I become complacent and leave many problems unsolved intentionally. People around me always get upset because I always focus on my own motives and ignore the obvious problems around us. My strength lies balancing my entrepreneurship with my responsibilities. I strongly value autonomy since I am self-reliant and accountable to my community. Thus, I avoid being rigid, stick to the usual duties and attempt to follow my dream whenever I get the slightest opportunity. On the other hand, my weakness is becoming greedy or judgmental in my expectations of others. Thus, I am always quick to criticize and label others unethical whenever my coworkers do not meet their job targets or rather fulfill their responsibilities. My values, as per this inventory are sensible and rational. I am a person with the full potential when it comes to finding solutions to societal problems. Managing a personal business is what I want to pursue because this inventory have taught me how to relate with people, regardless of age, social status, sex or race. I have bigger dreams that would benefit my community but in the meantime, working on my weaknesses is my priority since it will shape who I

Tuesday, February 4, 2020

Chinese Film Essay Example | Topics and Well Written Essays - 750 words

Chinese Film - Essay Example The reasons why film is particularly suited for semi-unimpeded movement across national borders, cultural boundaries and linguistic barriers will be illustrated in this essay through reference to Crouching Tiger, Hidden Dragon. Through a critical analysis of this production, the essay will expose the extent to which this supposedly Chinese film is, as with cinema in general, a transnational work. Globalisation has, undoubtedly, maximised cinema's capacity to function as a transnational medium of communication. As Lu (1997) asserts, contrary to immediate assumptions, this is not because globalisation has facilitated the movement of goods and services across borders or because it is characterised by an intricate network of transnational interpersonal communication system (internet), but because film has become transnational. Ethnic and national cinema is decreasingly purely ethnic and increasingly international in scope (Lu, 1997). The veracity of the aforementioned is perfectly evidenced in Ang Lee's 'Chinese' film, Crouching Tiger, Hidden Dragon. ... Produced and released in 2000, the film won, within the context of non-English speaking cinema, unprecedented international acclaim and box office success, even scooping up four Oscars (Rose, 2001). The film's budget of fifteen million dollars was the highest ever for a Chinese language film and became the most commercially successful foreign film ever to be distributed worldwide, grossing more than two hundred million dollars in global box office receipts (Rose, 2001). Its international success cannot be divorced from the inherently transnational character of the production. As Cheshire (2001) writes, Crouching Tiger, Hidden Dragon's director, Ang Lee, was born in Taiwan, studied theatre acting and directing at the Taiwan Academy of Arts in Taipei, received a bachelor's degree in theatre at the University of Illinois, Urbana Champaign, and continued his studies in film at New York University in the nation's cultural melting pot. By the time he made Crouching Tiger, Hidden Dragon, Le e had already completed three Chinese language films and three Hollywood projects (Cheshire, 2001). In 1995, the British screenwriter and actress, Emma Thompson, invited Lee to adapt Austen's British classic Sense and Sensibility to the cinema. Then Lee took on the American suburbs of the 1970s in Ice Storm (1997) and the war-torn American South in Ride with the Devil (1999) (Cheshire, 2001). Apart from the thoroughly transnational character of its director, Crouching Tiger Hidden Dragon (2000) includes such transnational artistic talents as Chow Yun-Fat (Hong Kong), Michelle Yeoh (born in Malaysia, but began her film career in Hong Kong), Zhang Ziyi (China), Chang Chen (Taiwan), and Cheng Pei-pei (Hong Kong). The cinematographer Peter Pau and fight