Applying MBTI to understand and resolve conflict Essay

Applying MBTI to comprehend and resolve strife - Essay Example Toward the start of the venture there were individuals who accepted that we ought to have begun the task at that point broke down it later relying upon the result of our first preliminary. They recommended that on the off chance that anything turned out wrong after the principal preliminary, we could think of approaches to improve it in a subsequent preliminary. There were other people who needed to conceptualize about the most ideal approach to the undertaking before endeavoring to continue with it. The task should have been done in two movements: night and day move. Work was continually being doled out haphazardly without due respect to the workers’ inclinations, characters and capacities. It was expected by the executives that the individuals who had lower capacities would find their friends with time and must be pushed towards more noteworthy execution and under close management. The representatives were not happy with the manner in which obligations and movements were being relegated by the administration. Because of this a significant number of the representatives were showing up after the expected time or even totally neglecting to appear for work. Then again, others were playing out their obligations ineffectively because of absence of intrigue, low resolve negatively affecting most specialists. Rather than breaking down the circumstance as it was and tuning in to the representatives, the administration picked to terminate a few workers accepting this would be a guide to different workers. The circumstance improved somewhat attributable to the way that numerous workers would not like to lose their positions. Nonetheless, efficiency stayed low as the workers just applied exertion within the sight of their administrators. In their nonappearance, work was performed drowsily except if it would acquire the worker more money during extra time. This introduced a circumstance that requested basic reasoning. As the gathering chief I needed to think of an answer that everybody in the group was alright with. In any case, this was not a straightforward errand particularly in the wake of considering the way that individuals had changing issues, once in a while

Early Man Free Essays

The base of all human achievement gets from the Paleolithic time. These beginnings of humankind could be considered our generally significant. The primary apparatuses were created, stone instruments used to shape wood, burrow for food, or weaponry. We will compose a custom article test on Early Man or on the other hand any comparative theme just for you Request Now The movement in devices shows the development in deduction, first utilizing objects for apparatuses then making devices to fit a specific need, for example, honing stone for cutting. Devices were utilized to mold weapons like a bow and bolt. Man figured out how to make fire with grating for warmth and preparing food (Baldwin). Craftsmanship gives a knowledge into life to early man, their area and movement, and the creatures they chased or tamed. Compositions, sculptures, and carvings show inventiveness and attention to the encompassing scene. Dialects created with movement permitting correspondence. Human practices were built up on strict thoughts and formal lead. A thought of life following death was available, covering the dead with prized assets. These moderate improvements foreshadowed the development to come. With the finish of the ice age, changes in accessible game and a hotter atmosphere energized another thought on the most proficient method to live. Encouraging the rural improvements previously took in the tracker/gatherer lifestyle was not, at this point vital. With hounds previously tamed, new animals became helpful †ranches possessed pigs, sheep, goats, and dairy cattle. These creatures were fundamental a few different ways, giving meat, milk, or work. Just as food, they could likewise be utilized for cowhide and hides. Working the land forcefully enough to live off was troublesome and required numerous hands. Families started to develop. Ladies had the option to deliver more posterity with an increasingly changeless settlement. The youngsters were raised with solid hard working attitudes, expected to be valuable developing what may one day be theirs. The general public turned out to be to a great extent man centric since men gathered the land and ladies invested a large portion of their energy thinking about youngsters. The populace development was tremendous, increasing ten times. The requirement for access to water made little networks bringing about culture and society changes. Houses were assembled, some more luxurious than others relying upon benefits created from the homestead. Social statuses were created. Craftsmanship, in all structures †painting, mold, adornment in attire and extras †were empowered. A few ranches created abundance and picked up the capacity to exchange for things they couldn't themselves produce. This excess of food permitted individuals to learn different exchanges. A week after week framework was pervasive in practically all social orders, in view of market days, regular gather, or religion. Language started to merge together creation correspondence with a more extensive scope of networks. This culture is the first to spread around the world (Baldwin). With mechanical advancement, recuperating ancient rarities and what we can gain from them progresses day by day. Climate and atmosphere changes can uncover new relics and grow information on ancient life. The capacity to precisely pinpoint the age of a relic, and history specialists translation of an item could give us understanding into numerous parts of ancient life. â€Å"It’s significant, disclosing to us something about species near us yet not exactly ‘us’† (Cornoe). (Baldwin) http://socsci. gulfcoast. edu/rbaldwin/early_man. htm (Cornoe) http://www. smh. com. au/national/researchers baffled by-ancient human-whose-face-doesnt-fit-20120314-1v3m0. html Step by step instructions to refer to Early Man, Papers

Whats New This Week on TeacherVision

Whats New This Week on TeacherVision This week's roundup of what is new on TeacherVision including a Grammar Warm-Up Packet For Middle School Students, and A Poetry Toolbox Workbook. by Julie Mason As the month of April comes to a close, we are starting to think ahead to summer break, and reflecting on the school year. Before we get ahead of ourselves, this week we have some exciting new resources for your classroom to celebrate National Poetry Month and support students to learn and practice grammar rules. Grammar Warm-Up Packet (Middle School) Get it here A series of grammar warm-up resources was one of the top teacher requests when we sent out our latest survey. We started by creating the elementary resource, which you can download and print here, and this week we are adding the middle school resource. It can be challenging to find time to prioritize grammar instruction, but we all know that in order for students to become proficient writers, they need to know grammar rules and apply them to their own writing. I used to tell my students, “your writing loses power when it is peppered with grammatical errors,” and while we all make an occasional mistake, I believe it is essential for us to teach our students these rules. There are ten warm-ups for your students in this packet that was created by an English teacher and grammar expert. Each exercise is designed to take students from five to seven minutes, the time that is usually spent on a bellringer or activator. However, you can also use these short exercises during a Daily 5, Station Rotation, or work on them together as a whole class. A teacher’s answer key is included, and the warm-ups cover the following topics: Independent and dependent clauses Simple, compound, and complex sentences Relative pronouns Commas with compound and complex sentences Appositive and appositive phrases Modifiers Semicolons Complete sentences, fragments, and run-ons Commas for direct address Correct all the errors   Poetry Toolbox Workbook Get it here   April is National Poetry Month, and we have shared our favorite resources and tools with you throughout the month. Teaching poetry can be challenging, and this particular resource is especially helpful. Poets have a toolkit of devices that they use when they write. If one of your goals is to support your students to learn how to use poetic devices in writing their own poetry, this resource is for you. The workbook defines a poetic devices, provides an example, and then includes an exercise where students can practice using the poetic device. TeacherVision Advisory Board member, Mikaela, designed this workbook so students can read about the device, look at the example, and then complete the exercise within 5-7 minutes. It will work well as a warm-up exercise, whole class practice, or an extension for early finishers. The workbook includes the following poetic devices: Rhyme Rhythm Line Break Simile Metaphor Imagery Onomatopoeia Personification Alliteration Repetition   Did you find these resources helpful? Share with us on Instagram, Facebook, Twitter, and Pinterest. ???????Julie Mason is the Head of Curriculum and Content for TeacherVision. She taught middle and high school English for eight years, and then worked as an instructional coach, supporting K-12 teachers to blend and personalize their classrooms. She has a BA in English from Connecticut College, and an MA in English Education from New York University.

Wild Swans Analysis - 2040 Words

Year 11 Short Story Unit Writing Task How does â€Å"Wild Swans† explore the central character’s experience of adolescence? In Alice Munro’s short narrative Wild Swans, the female adolescent narrator, Rose, travels alone on a train ride to Toronto. On the train she is sexually harassed by a minister and through Rose’s reactions to the harassment, readers are given a vivid image of how Rose experiences adolescence. Throughout the story, Rose experiences fear and confusion about growing up, prompting herx to attempt to evaluate the world through the perspectives of others, and eventually mature into a woman with the courage to display her long-suppressed concupiscence, showing evidence of a complete transition from a cygnet (baby swan) to a†¦show more content†¦Rose is glad that the minister â€Å"[is] not going to mention God† (14), but instead the man starts to harass her, a far more grotesque action, bringing a sense of irony to the story. At this point, Rose starts to question the ethics of society, and this can be seen not just as confusion, in the context of the story, bu t also as a further exploration of youthful bewilderment about established values from a young age such as mutual respect and the integrity which adults are expected to uphold. Even towards the end of the story, Rose â€Å"could never understand what recommended [the minister]† when she decided to self-pollute at a later stage of her life. The lack of answers is the very reason why Rose attempts to consider multiple perspectives at once in hope for more answers, motivating her development through adolescence. Finally, Rose develops greater self-awareness, a greater awareness of others and the ability to consider multiple perspectives, as shown by her mental consideration of the possible repercussions for accusing the minister of harassment or asking him to take his hand away. Her evidence of awareness for herself and others is demonstrated through her inability to ask the minister to take his hands away. Due to an increased awareness of others, Rose feared the other passengers would fixate their attention on her, showing her shyness in through her mental thoughts. â€Å"She shaped the words [please don’t] in her mind, triedShow MoreRelated An Analysis of Blake’s The Wild Swans at Coole Essay1422 Words   |  6 PagesAn Analysis of Blake’s The Wild Swans at Coole  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The Wild Swans at Coole is a poem that deals with the aging process of William Butler Yeats. It is a deeply personal poem that explores the cycle of life through nature. The poem is set in Coole Park in autumn, which is located on Lady Gregory’s estate. The poet is on or near the shore of a large pond, and is observing the swans. It has been nineteen years since the first time he came to this place, and it is on this visit that heRead MoreAnalysis Of The Poem Wild Swans At Coole 1004 Words   |  5 Pagesongoing struggles and his search for truth are evident in the increasingly complex form of his poetry which challenges existing perspectives on mortality as well as philosophy on beauty and art in order to find new ways of perceiving the world. In ‘Wild Swans at Coole’ (1919), Yeats urges his readers to discover the inevitability of mortality through the guidance of his personal questioning; transience of natural beauty and art also encompasses an aspect of his search for truth. ‘Among School Children’Read MoreAnalysis Of Ung Chang s Wild Swans1072 Words   |  5 Pagesung Chang’s Wild Swans: Three Daughters of China follows three generations of woman in China through live and political struggles. China’s transformation between 1910s and 1970s, was one of radical change and caused great suffering. The importance of Chang’s book is its in a women s point of view by showing the suffering and healing that occurred and to educate about the history of China through the Warlord, Japanese, and Mao rule. The book is laid out through three generations: grandma, mom,Read MoreAnalysis Of The Book Wild Swans By Jung Chang Essay1423 Words   |  6 PagesFamily loyalty in China has had a tumultuous past filled with fluctuation between remaining loyal to the state, yet also remaining loyal to blood relatives. In the autobiography that also serves as a biography, Wild Swans, by Jung Chang, this is seen. The book, which outlines the biographies of the author’s grandmother and mother, as well as her own autobiography, gives an interesting look into the lives of the Chinese throughout the 20th century. This book is beyond eye opening, and is trulyRead MoreAnalysis Of Jung Chang s Wild Swans : Three Daughters Of China1793 Words   |  8 PagesJung Chang’s â€Å"Wild Swans: Three Daughters of China† is a biography of three generations of women growing up in an era of China where the continued change in leaders and their politics contributed to their struggles as wome n. Women were seen as second class citizens in every aspect of their lives. Jung Chang begins the story with the life of her grandmother who was a warlord’s concubine, her mother’s life as the wife of a communist party leader, and her coming of age during the Cultural RevolutionRead MoreOut of Mind Versus Out of World: An Analysis of William Yeatss Sailing to Byzantium and Wild Swans at Coole713 Words   |  3 Pagesin â€Å"The Wild Swans at Coole,† and of near immortality in â€Å"Sailing into Byzantium,† the two poems shows how Yeats’s concerns progress from the world of the mind and body to earthly concerns of his whole world and nature. While Yeats becomes conscious of the violent truth of nature which results in death, by watching the swans, he is able to comfort himself by admiring how the swans are â€Å"unwearied† and â€Å"their hearts have not grown old.† When at the lake, watching the â€Å"nine-and-fifty swans,† he relatesRead More Analysis of William Butler Yeats Poems Essay1361 Words   |  6 PagesAnalysis of William Butler Yeats Poems; When You Are Old, The Lake Isle of Innisfree, The Wild Swans at Coole, The Second Coming and Sailing to Byzantium In many poems, short stories, plays, television shows and novels an author usually deals with a main idea in each of their works. A main reason they do this is due to the fact that they either have a strong belief in that very idea or it somehow correlates to an important piece of their life overall. For example the author ThomasRead MoreA Romantic And Modernist Perspective2041 Words   |  9 Pagestend to eliminate the possibility of past experience as a tool for transcendence. In other words, modernists would argue to keep one’s eyes in front of them in order to move forward instead of looking back at what is already set-in-stone. This analysis will compare the opposing viewpoints on memory as a tool for â€Å"pushing forward† between the romantic and modernist periods through the lens of several works from the authors listed previously. As stated previously, the ways in which romantic andRead MoreAnalysis Of Swan Lake Christmas Hill Nature Sanctuary Essay1781 Words   |  8 PagesINTRODUCTION Swan Lake Christmas Hill Nature Sanctuary provides a great getaway from the noise and hassle of Victoria and the campus environment. We would love to take our group to this beautiful nature sanctuary. By joining our field trip to Swan Lake, the students will experience BC’s marvelous nature. Getting the students out of classroom will most definitely brighten their minds in the midst of long semester. The field trip would only have a small cost for our students, which is one of the manyRead MoreThe Bird Image in Yeats Poems2062 Words   |  9 Pagesfashions his mind. The middle-aged Yeats brings a new level of implication to the basic symbolism of the bird in his later poem. Yeats’ subtle adaption of the bird-soul motif to his own particular needs and purposes can be observed in the poem The Wild Swans at Coole collected in 1919, as the poet observes, †¦ Unwearied still, lover by lover, They paddle in the cold, Companionable streams or climb the air; Their hearts have not grown old; Passion

Communication Within The Family Context - 1224 Words

This essay is about communication within the family context, this consist of mental health issues, depression, anxiety, and the difficulties that had occurred along the way which included a lot of negativity responses from my daughter, I will analyse this towards Kaye’s (2014) Matryoshka dolls that will relate to adult communication management, and to further explore other communication aspects that relate to communication. I had realised that depression and anxiety were starting to arise in my daughter, when she was beginning secondary school as she was under great stress to change schools, as she was safe at primary school and did not feel safe beginning of secondary school, I had to work out some strategies to manage her stress, I needed to have a strong understanding to work out the difficulties that my daughter would face and to attempt to put the negative communication into positive, as she was always putting things in a negative context. The problems with negative communication is to communicate effectively, as my daughter would be argumentative and very critical of my positive communication, (Bacal, 2015) suggests that a person that communicates negativity always provides the other person with criticism, and provides causes why this and that doesn’t work and they will always tend to put holes into your suggestions and reasons, which this kind of communication can be very challenging. The steps I had to proceed was to reflect my thinking, according to (Thompson Show MoreRelatedMedia Use and Media Consumption in the Home Environment Essay1472 Words   |  6 Pagesreception is a critical area of focus and research when approaching media audiences. It is dependent on the context of viewing, making media use and media consumption within the home environment and other contexts an interesting area of study. During the 1980s the emergence and increasing use of television increased media research into consumption in an everyday context, addressing the domestic, the family and its contribution to daily life. The importance can be displayed through the centrality of the positionRead MoreMalaysian Airlines Case Study962 Words   |  4 PagesAs a part of Crossman Communications, this essay will go into depth about the client, Malaysian Airlines and their recent campaign. Malaysian Airlines founded in 1957, currently flies to 53 different destinations having over 12 000 emp loyees (Malaysian Airlines, 2017). The airline company offers the best way to fly to and from Malaysia flying over 40 000 people everyday (Malaysian Airlines, 2017). The campaign was set to rebuild the trust of Australian and New Zealander flyers due to the multipleRead MoreCross Cultural Communication Skills And Communication1318 Words   |  6 PagesIntroduction This paper will give a brief overview and then analyze the different cross cultural communication skills, including; oral, written, formal, informal, verbal and non verbal. It will then compare and contrast two focus areas of cross culture communication; culture and ethics. This paper will then conclude its findings Brief overview of cross-cultural communication skills Oral communication is transmitted through speech. It includes personal conversations, speeches, meetings, telephoneRead MoreDifferences Between Speech And Writing1699 Words   |  7 Pagesbetween speech and writing in different contexts. The Functions of Speech Speech is the oral form of language and communication, thought to have dated back to the earliest days of mankind. Oral communication consists of functions such as phonics, syntax, semantics and pragmatics (Gee Hayes, 2011). Social relationships, personal opinions and attitudes, are expressed through speech, via the prosodic functions of English (Gee Hayes, 2011). This form of communication is referred to as face-to-face interactionRead MoreUnit 1 Developing Effective Communication Essay795 Words   |  4 PagesEffective Communication P1 Explain the role of effective communication and interpersonal interaction in a health and social care context. M1 Asses the role of effective communication and interpersonal in health and social care with reference to theories of communication. Context Formal Formal communication is important in a health and social care context. Formal communication shows respect for others and is an effective way of communicating when used. Formal communication would beRead MoreThe And Social Context Of Cristina Essay1171 Words   |  5 Pages Within this case study it is quite simple to understand the outside forces that are contributing to the personal growth of Cristina. Gaining insight on Cristina’s context of her microsystem in relation to her educational life elaborates the factors that affect her growth mentally and intellectually at school. After reading the description of the case study it was quite simple to see that the context of Cristina’s situation stems from her home life. A context refers to the situationRead MoreMy Little Pony : Friendship Essay1334 Words   |  6 Pagesin the documentary can be described as a microculture that is predominantly adult males that find interest in a television show that is considered for children. Based on the documentary, individuals of this microculture have a greater high context communication pattern and privacy behaviors compared to those of the macroculture. Ashleigh Ball, the voice-over for Rainbow Dash and Applejack on My Little Pony, set across the United States and parts of Canada to explore the Brony fandom. The amountRead MoreNonverbal Communication And The Social Norms Of Communication1627 Words   |  7 PagesWhile communication across cultures relies on speech to convey the messages of those living in the same society, usually the unspoken language has a larger role to play in delivering these messages. Similar to the country’s language being specific to the region it surfaces from, body language and facial expressions also have individual characteristics within a particular region. There are shared attributes of nonverbal communication across the world but these are commonly divided into high and lowRead MoreInterpersonal Communication And Social Care1257 Words   |  6 PagesAlthough communication involves interaction between people, the person you are interacting with does not always need to be physically there wit h you. Think about something you have seen on the television, a song you have heard on the radio today, or a story you have read in a magazine or a newspaper – the person who is communicating with you is not there, but is still communicating with you, though different methods. Within health and social care, there are many different ways that communication occursRead MoreEffective Communication And An Involuntary Context1519 Words   |  7 PagesEffective Communication in an Involuntary Context Communication is a process involving both verbal and non-verbal gestures between at least two people (Geldard, 1989). It is considered a process because it is important to constantly monitor and adapt responses depending on the context and how the other person reacts (Harms, 2007). In relation to social service work, a social worker needs to be able to effectively communicate with clients in order to form positive working relationships and justify

Reliable Resources †Gen/200c Free Essays

When doing research and determining which resources are reliable and relevant there is one thing to keep in mind; not all information is created equal. Information can come in many forms and distinguishing the good from the bad can sometimes resemble walking through a mine field. One wrong source and your whole paper can explode. We will write a custom essay sample on Reliable Resources – Gen/200c or any similar topic only for you Order Now Sure it may not be that dramatic but the bottom line is good information will strengthen your paper; bad information will weaken it. If the resources used are not accurate or irrelevant, it can invalidate your argument or viewpoint. If you utilize a source that has been referenced numerous times or compare information from various sources that can strengthen your work. Sources found on educational or government sites can reinforce your writing because it is corroborated by documentation. Other sites should be avoided since the information found there is tough to substantiate. In order to determine if a source is reliable, you should consider where the information originated, research the author, and evaluate all sources. Oftentimes, common sense and knowledge of a particular subject matter can be vital in deciding whether or not a source is reliable and uncovering author bias. Does the information seem objective? Is it contradictory or inconsistent? Does the writer have an obvious agenda? Is there more emotion in the writing than facts? These are questions to ask when determining bias. Also, check to see if the author can substantiate his/her claims with evidence. After finding information that supports your topic or argument, investigate the author(s) to verify credentials. If the article is written by an educator, go to the university or school’s web page and confirm employment. If their work is in a peer-reviewed journal then it is considered to be reliable. Each article in the journal undergoes an arduous review process and is assessed for accuracy by peers and experts. These journals include an expansive bibliography which cites other reliable sources solidifying the credibility of the article. However, it is sometimes necessary to verify the other sources to make sure each one is used in context to your research. . References Farooq, S. U. , Rehmani, R. , Afridi, S. A. (2010,  June). Enhancing productivity and efficiency with time management. European Journal of Scientific Research,  43(2), 252-255. Retrieved from EBSCOhost database. This is an article covering the importance of attitude in time management. It discusses how time management is a personal commitment and focuses on accountability. It outlines goal setting, establishing priorities, communication, and avoiding procrastination as important aspects of effectively managing time and enhancing productivity. Radar, L. A. (2005,  Jan/Feb). Goal setting for students and teachers. Clearing House, 78(3), 123-126. Retrieved from EBSCOhost database. This article discusses the importance of teaching goal setting to students in order to guide them to success. It points out six steps that can lead students toward accomplishing their goals and communicates ways to overcome obstacles. Ellis, D. (2011). Becoming a master student (13th ed. ). Boston, MA: Wadsworth, Cengage Learning, 67-83. According to Ellis (2011), â€Å"The purpose of this book is to help you make a successful transition to higher education by setting up a pattern of success that will last the rest of your life† (p. 1). How to cite Reliable Resources – Gen/200c, Essay examples

Is it more useful to analyse Scarface (1932), Scarface (1983) and Goodfellas (1990) as genre films Essay Example

Is it more useful to analyse Scarface (1932), Scarface (1983) and Goodfellas (1990) as genre films Paper The Gangster film has always struggled to maintain a precarious balance; to portray the Gangster as a charismatic and crowd-pleasing character, at the expense of his eventual demise for the social good. The Gangster, as Robert Warshow puts it, is a quintessential tragic hero, a character whose very nature and deeds ultimately condemn them to a short and fruitless existence, outside of the boundaries of normal society. The Gangsters place within cinema is an important one, and the genre has now developed to a point of sophistication far beyond the flailing reach of the petty criminals on which it was based. In this essay I intend to examine exactly how the Gangster genre has changed and developed during its 90 year life span. There are a number of ways in which to go about this, although I will be focusing on four in particular; where the genre came from, the mythology surrounding its protagonists, the development of the genre as a whole (both aesthetically and psychologically), and the film-makers instrumental in this development. This approach, then, will obviously require references to both genre and auteur theory, and so I will establish how these two theories can coexist to develop and redefine a genre. To do this I will draw on much critical debate surrounding genre, as well as referring to specific examples from celebrated and diverse filmmakers and auteurs, such as Martin Scorsese, Howard Hawks and Brian De Palma. Firstly, who is the Gangster, and what allows him to exist? The Gangster genre has had a different development to many of the other staple genres of the studio system. We will write a custom essay sample on Is it more useful to analyse Scarface (1932), Scarface (1983) and Goodfellas (1990) as genre films specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Is it more useful to analyse Scarface (1932), Scarface (1983) and Goodfellas (1990) as genre films specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Is it more useful to analyse Scarface (1932), Scarface (1983) and Goodfellas (1990) as genre films specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Thomas Schatz, in his seminal book Hollywood Genres, identifies that the other genres being developed concurrently to the Gangster had in fact either been translated from literary formats, or had developed from an already established mythology within American society (the Western is a prime example of both). Conversely, the Gangster film, rather than dealing with modern sentimentality or attempting to rewrite history, was lifted straight out of the newspaper headlines. Schatz, 1981, p. 82) The passing of the vastly unpopular prohibition act in 1919 gave rise to enormous public demand for alcohol, something which many American immigrants and ambitious workers were only too pleased to fulfil. Thus the Gangsters of Americas cities rose to wealth and power by bootlegging quickly produced alcohol, and then distributing to or selling it in the secretive speakeasys, often their own. These Gangsters made great press. The tabloids glorified the enigmatic social rebels and their vertically integrated industry day after day, until criminals such as Al Capone and Hymie Weiss became legendary for their decadent lifestyles and thinly veiled abuse of the system. The Gangster became an inverted hero, a twisted, parasitic advocate of the American Dream that people respected, admired and feared. Thus the mythology of the Gangster was born. D. W. Griffiths (perhaps Hollywoods original auteur) laid the template for the Gangster film with The Musketeers of Pig Alley in 1913. However, it was not until the introduction of cinematic sound in 1927 that the Gangster film became a mainstream genre. The first talking Gangster film, Lights of New York (1928), introduced the Gangster protagonist as he would remain for the duration of the genres Classic period; a charismatic, ambitious underdog whose aspirations consume him, to the point that he kills his friends and his boss, and so must suffer death for his deviance from the social norm. The films that followed invariably portrayed the Gangster in this way, and always depicted him as a social outcast, by way of his foreign status, fatherless upbringing or his role as a disillusioned war veteran. These characters were popular with the audience for a number of reasons. A public disgruntled with prohibition laws, the depression and a bleaker view of the American dream than they once had held found it easy to relate to these ambitious working class heroes. It was also comforting to know that a major institution such as Hollywood was on the same wavelength as themselves, and could point out the intrinsic flaws in the state system. Hollywood product during the post-depression era certainly emphasised this, with films such as The Public Enemy (1931), Scarface (1932) and Angels with dirty faces (1938) all showing the Gangster as being as much a victim of American society as an exploiter of it. The Gangster genre, as I have said, did not have any substantial literary foundation to draw from, and so the genre was initially constructed of an amalgam of literary, journalistic and filmic references. Perhaps though, the most obvious source of inspiration for the Gangster genre was that of the Western. In terms of the setting, the iconography and the structure of the Gangsters society, it seems at first that the two are not very closely related. However, if one is to look beyond the exterior of a Gangster film, many similarities can be identified between the two. For example, both perfectly fit the genre of order suggested by Schatz, as well as readily conforming to Mcconnells genre cycle. This goes further than to prove that they are just formulaic productions of the studio system. If one is to closely examine the various Western heroes that have developed during that genres evolution, it is easy to draw parallels between these characters and the Gangster. The Gangster is a social outcast, relying on his gun and his wits to get him out of trouble. He provides a service to the community (albeit it not a legitimate one) and depends upon that very society for his existence, although he can never be a part of it. Consequently his demise is as inevitable as that of the Western hero, he must either die or ride off into the sunset, as he has performed his duty and now cannot settle into society as he would like (a theme particularly emphasised in some of the more unorthodox Gangster films, such as Brian De Palmas 1993 film Carlitos Way). Thus the Gangster contains elements found in many Western protagonists, the parasitic, violent impulses of the Man With No Name, or the ability to simultaneously crave, protect and shun family values as Shane did, for example. The films deal with different settings and iconography, although the themes remain similar. Whereas the Western hero struggles to transform desert into garden, in the Gangsters world the garden has developed a life of its own and overgrown into the untameable urban jungle, nurturing and subsequently destroying the characters it produces. Therefore, it is true that both the Gangster and the Westerner are a victim of their own environment, and both of them must be banished or destroyed in order to repay their debt to society. The fact that the gun is feared and respected within both genres as the method of entry into the protagonists profession is significant, as the gun also provides the exit from the narrative. The gun is the most important artefact within the genre. It gives raw, masculine power to those who use it, but only at the ultimate price. The Gangster, like the Westerner before him, is inevitably doomed. This brings us to the next stage of our analysis, which filmmakers are responsible for creating such a socially deviant, yet likeable, character? French film critics writing in the Cahiers du cini ma in the late 1950s collectively developed a new theory regarding the construction and internal authorship of Hollywood cinema, which they labelled the politique des auteurs. This politique broke away from the previous theories of filmmaking as a collaborative process, and instead identified one artist as the creator (or author) of the film the Director. They began to identify filmmakers such as John Ford and Howard Hawks, whom had been working during the days of the studio system, and argued that the films of these directors had a distinctive personal style that surpassed the limitations of the factory style of production. American film critic Andrew Sarris was at the vanguard of the English language auteur arguments, and stated that D. W. Griffith had already delineated every Hollywood genre by 1915, The debt that all filmmakers owe to D. W. Griffith defies calculation. Even before The Birth of a Nation, he had managed to synthesize the dramatic and documentary elements of the modern feature film. He effectively argued, then, that the history of cinema could be attributed to a few great men, otherwise known as the auteurs. (The Cinema Book, 1999, p. 2 57) The Gangster film is no exception to this, and this is a genre undoubtedly overrun with auteur directors. The Gangster genre is attractive to many visionary filmmakers for a number of reasons. Firstly, whereas the Classic cycle of the Gangster genre was prematurely shortened with the introduction of a stricter censorship regime, the opposite is now true, with filmmakers allowed unprecedented freedom since the changes in classificatory and self-regulatory laws introduced in the 1960s. This allows modern filmmakers to capitalise on what had been previously forbidden graphic portrayals of sex, drugs and violence that emphasise the level of excess by which the Gangster lives. Secondly, the Gangster genre has always consisted of a highly stylised and overtly character-driven formula, which gives the filmmaker freedom to produce a highly complex psychological portrait of the American criminal. Finally, and perhaps most importantly, the Gangster film has always been intrinsically American in nature stemming from the genres portrayal of the protagonists search for the American dream, and how the unreality of that dream leads to corruption. This gives the filmmaker an almost unparalleled opportunity to cross-examine contemporary American society, and in the process weave an intricate web of corruption and violence that encompasses every part of that society. This cynical and depressing examination is not even possible in that most American of genres, the Western, which is limited by the constraints of rewriting history in an ideologically correct manner. Therefore, the Gangster genre and the Western can be viewed as one. Whilst the Western establishes the American dream and the difficult urbanization of the wilderness, the Gangster acts as an extension of this, with a new breed of cowboy and a new ideological struggle as a result that of trying to maintain the dubious social order that that has risen from the ashes of so many Western heroes. Hence the Gangster can be seen as the most important of Hollywood genres, one in which the filmmaker can lay bare both the foundations and the present condition of American society, and criticise it in a detached manner. It is, then, a genre that encompasses every aspect of America, from flag-waving patriotism to hard-hearted cynicism, and in the process uncovers corruption at every turn. This rich and intriguing subject matter can therefore make for compulsive viewing, and so the genre has attracted a multitude of talented and influential auteurs as a result. Scarface: The Shame of the Nation was directed by Howard Hawks and produced by Howard Hughes, and released in 1932. The Hawks/Hughes partnership was a particularly fertile one, and the two collaborated on many projects during the era of the studio system. This is interesting, as it immediately questions the validity of the directors auteur status, due to the fact that much of the productions raw and violent nature was directly down to Hughes. The film was actually finished in 1930, but due to censorship issues with the (then) MPPDA, the film was only released after two years of lengthy court battles regarding the remorseless moral standpoint of the film, which Hughes, incidentally, won. Despite this however, it is undoubtedly true that Howard Hawks maintained a distinctive artistic style whilst working within the constraints of the studio system, but does this mean that it is more appropriate to consider Scarface as such a production? Scarface is certainly recognisable as one of the very few landmark Gangster films from the Classic stage of the genres cycle. The film is notable in that its main protagonist, Tony Camonte (Paul Muni), shows no remorse for what he has done to achieve his decadent lifestyle. Not only this, but his status as Gangster is not depicted in the same way as characters played by James Cagney or Edward G. Robinson. Schatz mentions that, Munis Scarface is not clearly superior in courage and intelligence to rival his own henchmen. In fact, his rise to power seems somewhat arbitrary, due primarily to the fact that Camonte was among the first gangsters in the city to procure a machine gun, that new innovation in the technology of urban warfare. (Schatz, 1981, p. 91) This seems to indicate that, even though Scarface was among the first of the Classic Gangster films, Hawks was already toying with the psyche of the protagonist. Whereas other Classic Gangster films (such as Little Caesar and The Public Enemy) have a clearly deliniated rise and fall structure, Camonte is in fact at the top of his game when he is destroyed, and his fall is precipitated by the events of a single night. Therefore, it appears that Hawks is attempting to build on and consolidate the mythology of the Gangster, with overt references to the Live fast, Die young existence and the inevitable descent into the gutter of the Gangster protagonist. If this is the way in which an auteur may be defined, then George Stevens is undoubtedly deserving of the same status for his similar attempt at consolidating the mythology of the Western hero in Shane (1953). If not, then we must identify other characteristics that distinguish a Hawks film from other directors working during the same period, such as Mervin LeRoy (Little Caesar) and William Wellman (The Public Enemy). Scarface is certainly an interesting film, in that it confronts both the cinematic taboos at the time of its production (such as its explicit violence), as well as exploring the motives and ethics of the Gangster protagonist. This, then, is undoubtedly the scriptwriter of the films premise as much as the directors. Ben Hecht, an ex-journalist whom would obviously have had an intricate knowledge of the Gangsters of New York and their lifestyles, penned the script for Scarface. Hecht was renowned for his loaded dialogue and intense psychological characterisation, and so much of the credit for making Scarface a distinctive Gangster film must obviously go to him. If this is the case then it is true that Hawks is a distinctive director, but that Scarface is more accurately seen as the product of a trio of influential filmmakers, Hecht the scriptwriter, Hughes the producer and Hawks the director. Many filmmakers have been labelled as auteur during the course of cinema, but few have produced, written and directed their own films entirely self sufficiently. Even directors such as Alfred Hitchcock and Frank Capra, two who have attained the directorial Holy Grail in cinema, their name above the title, have failed to direct a film entirely on their own without artistic input from their writers or producers. Therefore, I suggest that the lone director needs his gang as much as the urban lone wolf needs theirs. The authorship of a film consists of a trio of roles, and it is rare indeed that one filmmaker can perform all three. Hence the auteur theory is flawed, but not so much that it cannot help us to identify a more deviant and intellectually challenging filmmaker. Therefore, I will identify whether the two remaining directors, Scorsese and De Palma, both working in similar genres during the same timeframe, can be classified as auteurs, both in Sarris sense of the word and my own. Brian De Palma has had a chequered history of commercial success within Hollywood. This of course is the best place to begin an analysis of an auteur director, as the definition of an auteur is obviously determined by the industry within which they are working. The Cahiers du cini ma writers, and their English speaking equivalents, believed that an auteur director was one that could take a standard script, star and budget, and yet still stamp a distinctive, individual style on the finished product. Due to the almost completely dominant status of Hollywood products within worldwide film criticism, and the commercially driven factory style of production employed at the time, it was not difficult for these writers to single out directors whom surpassed the production limitations of the studio system. During the days of the studio system, the production methods were so formulaic that if a film had a good script and star, then it was a surefire hit. It was up to the director to simply elaborate on the basics and incorporate their sublimity of expression into what was, most of the time, standard fare. Now things are certainly different. Due to the financer status of the major Hollywood studios, it is now difficult to grant a more distinctive director a budget due to the uncertain financial return on such a project. An auteur director, for all of their artistic integrity and filmmaking prowess, is still undoubtedly going to have a few commercial failures listed in their filmography (take Scorseses The Last Temptation of Christ or De Palmas Mission to Mars for example). De Palma is notable in that he has managed to produce many highly stylised and self-referential films within the Gangster genre stemming from his in-depth knowledge of Hollywood cinema. This knowledge, gained from his studies at New York University, has helped him to identify key elements of genre, and subsequently deconstruct the Gangster film to assist in its development. One particularly good example of this is Carlitos Way. Carlito Brigante (Al Pacino) is a character torn by the dilemma of choosing between the Gangster lifestyle and that of an ordinary citizen. The entire film is told in flashback, as a retrospective acknowledgement of the Gangsters tragic status by the Gangster himself. De Palma and Pacino masterfully portray the rise and fall of the charismatic protagonist, insinuating that the Gangster is created by society (Pacino buys a gun for self-defence, and subsequently becomes drawn deeper into the underworld) and destroyed by it, courtesy of Benny Blanco from the Bronx. Carlito is in fact very similar in nature to Shane; he is a reformist Gangster willing to settle into civilised society, but he cannot have children, maintain a relationship or find legitimate work, and his past will always come back to haunt him. Carlitos Way takes the inevitable demise of the Gangster even further than ever before. Whereas De Palmas 1983 remake of Scarface had portrayed Tony Montoya (Al Pacino) dying in a hail of self-inflicted bullets ten years earlier, Carlitos Way sees us sympathising as the protagonist is destroyed only moments from freedom. Both of these characters are flawed and are not, for the most part, operating within the confines of the law. However, no matter how illegitimate the activities of the Gangster are, De Palmas films invariably portray the society within which the Gangster is working as morally bankrupt, and indeed depict the Gangster as the only character with any real ethical or moral code. This idea of the Gangster as a morally sound and highly honourable character, despite their anti-social status, is one that has been explored regularly within the genre (particularly by another Hollywood auteur partnership, Joel and Ethan Coen in their 1990 film, Millers Crossing). This is a crucial point, as De Palmas juxtaposition of a deeply flawed capitalist ideology and the cinematic requisite of a likeable criminal protagonist has created a fertile ground for criticising American society. Therefore, for these reasons alone it seems that we have found proof positive that De Palma has been instrumental in developing and refining the Gangster genre. De Palma has certainly explored many facets of the Gangster lifestyle and their role outside of society, and has added much to the genre by way of his intricate psychological portrayal of the ethics and motives of the Gangster protagonist. If this is the case, that some directors do indeed independently deconstruct and consequently develop a genre by way of their films, then is it more useful to view auteur directors as a genre unto themselves? Perhaps the fact that a Scorsese or De Palma film is so instrumental in adding to the genres development merits analysis from an individual point of view. If we are to analyse an auteur director within this context, then we must identify what drives such a filmmaker to create such provocative and influential films. It is clear that any director with an intricate knowledge of Hollywood cinema, as well as the various theoretical frameworks used to analyse it, is going to be much better equipped to create what Christopher Frayling terms critical cinema. Should we, therefore, view an auteur director as a filmmaker creating cinema about cinema, within the confines of a certain genre? Should the films of such directors be placed under a sub-genre, or do they in fact push the genre into the next stage of its cycle? Martin Scorsese, like De Palma, has obtained an intricate knowledge of Hollywood cinema through his study of film at NYU. His talent as a filmmaker is undisputed, and perhaps this, coupled with his passion for Hollywood cinema, allows him a critical free reign. Both Scorseses and De Palmas Gangster films accurately fit Schatzs genre of order and McConnells genre cycle, within which all can be placed in the Satire Post-Modern category. Both directors are concerned with consolidating the mythology of the Gangster, mainly by depicting the Gangster as a tragic character of Macbethian proportions, and focusing on satirising the generic rules laid down by Classic directors such as Hawks and LeRoy. Thus films such as Goodfellas are certainly obeying the generic codes and conventions of the Gangster film, whilst still adding a new or deviant twist to the narrative (for example, Henry Hill suffers a fate worse then death in Goodfellas when he is condemned to the life of a shmo under the witness protection program). Films such as Raoul Walshs The Roaring Twenties (1939) and Brian Singers The Usual Suspects (1996) were both primarily concerned with establishing and satirising the mythology of the Gangster respectively. Scorsese and De Palma are certainly noteworthy as auteurs in one respect, their attempts to revitalise a genre with each new film, whilst still conforming to the constrictive nature of a well-established set of generic conventions. Both directors films are constructed of many cinematic references, for example, De Palmas use of many of Hitchcocks most recognisable imagery, or Scorseses imitation of Hawks overhead crowd shot in Scarface (1932). These directors produce self-referential and intertextual films that provoke and stimulate audiences and filmmakers alike, thereby guaranteeing the genres progression to the next stage of its cycle. Goodfellas is a fascinating and diverse film. Scorsese seems to have clearly held in his mind exactly how he wanted his Gangster to appear, and he consequently adds much to the genre by way of his portrayal of the rise and fall of real-life Gangster, Henry Hill. Henry Hill is the embodiment of the twisted, parasitic advocate of the American dream mentioned earlier. He is not a highly intelligent or courageous man, much like Tony Camonte, but proves himself willing to exploit the system at every turn, in order not to end up as just another 9 til 5 shmo. The film satirises the mythology that has built up around the Gangster persona, by emphasising the decadence and glamour of the Gangster life style through a number of distinctive characters. The protagonist, Henry Hill, narrates the film and we realise at the end of the film that he has given us a blow-by-blow account of how he came to be a Gangster by way of a courtroom confession. Throughout the film we are introduced to a number of Henrys surrogate mafia family, all of whom give us a little more insight into the psychology of the Gangster and his underworld. For example, Henrys pathologically insane mentor, Jimmy Conway (Robert De Niro), proves to us that an older Gangster must be erased from society, as the lifestyle begins to take control of its owner. Henrys accomplice Tommy De Vito (Joe Pesci) pushes the violence employed by the Gangsters to the extreme at every available opportunity, swearing and kicking his way into the role of the most psychotic Gangster ever to grace the screen. As for the rest of the family, Paulie is a Gangster stuck in his ways, an old man with a deep-rooted fear of becoming institutionalised by New York State Penitentiary until the end of his days. Henrys headstrong Jewish wife Karen, at first completely at odds with the criminal Italian-American lifestyle, becomes drawn deeper and deeper into the equation before finally resisting the sordid and unbearable lifestyle of the Witness Protection Program, ultimately a much stronger character than her husband. This surrogate family, then, serves to present an inverted microcosm of society. The Gangster values family above all else, and yet ironically is incapable of sustaining any kind of family lifestyle himself. The Gangster community lives off a society that they can never be a part of, on the fringes of civilisation as an outmoded and insecure bunch of immigrant misfits, psychopaths and outcasts. An analysis of the iconography utilised within a Scorsese film is essential to creating a full appreciation of the text, as the characterisation of these Gangsters is emphasised by their clothes, cars, guns and their dependence on these items. The Gangster seems to have literally acquired more money than sense, and Scorsese plays on this with references to their overblown demeanour, terrible gaudy taste and lack of discretion with respect to their criminal activities. However, this is counter pointed by the fact that the Gangster does not fear the law. In fact, the Gangster is above the law. The only things that the Gangster fears is loss of their excessive lifestyle and lacklustre surrogate family, two things that the Gangster cannot avoid, due to his own self-destructive nature. Thus Scorsese emphasises elements of the Gangster only alluded to by Hawks and De Palma. The Gangsters of Goodfellas are parasites unintelligent, violent and excessive characters that live only to exploit society. These characters are irredeemable, everything they touch is corrupted, even that rare commodity (and indeed a commodity they are) in the Gangster film, a good woman. Thus the Gangster is a misogynistic, materialistic degenerate, and yet still captivates the audience with his charisma. The audience can still identify with the criminal, even though they have never performed the acts depicted, because of the Gangsters caricatured status. Upon viewing of a Gangster film the audience must suspend disbelief, emphasising the illusionary and tragicomic nature of the Gangster lifestyle. Therefore it is clear that the films of films of directors such as Scorsese and De Palma are highly critical of the mythology that has developed around the Gangster hero, and so prompt the audience to re-evaluate the Gangster as a character bereft of any socially acceptable features, save for their crowd-pleasing charisma.