Campaigns and Elections

Nursing Philosophy Paper - 1105 Words

Philosophy Paper Seminar January 13, 2011 In this paper I will explore the elements of nursing theory and how I believe they are all tied together. I believe that a man’s health will be directly affected by his environment and his nursing care. The four elements of Nursing Theory are man, environment, health and nursing; the most important of these is man. I believe that man is a complex being, and like the fingerprint, no two are alike. Although some can be placed into subgroups based on things like sex, ethnicity, age, culture or religion; no two patients can be cared for in exactly the same manner and produce the exact same results. There are other factors to consider; which brings me to environment.†¦show more content†¦Another element is health. It can be viewed as interior or exterior, physical or mental, or a combination of all these. In a superficial meeting with someone, your initial judgment of their health is based on what you see. A woman you work with jogs everyday and eats well-balanced me als. She is of sound mind. Generally, she is viewed as a very healthy individual. However, what if you found out that she is HIV positive? Or that she was diagnosed as having Multiple Personality disorder. Would you still view her as that same picture of health? Culture also plays a role in what we view as healthy. In our media-based society, we see 5’11† women weighing around 110 pounds on the covers of magazines and on television. This is what our society promotes as â€Å"healthy†. However, in other cultures, the bigger - the healthier - the better. Age is another factor that comes into play with health. We tend to see the elderly as being frail and unhealthy, but this isn’t always true. Although age may affect our body and it’s systems, does this mean that an 80 year old is unhealthy? I say no. I believe that health should also be individualized. A 65 year old diabetic who is well educated about his disease, maintains self control, and follows a strict medication and exercise regimen, is as healthy as that person can be. I don’t think we can compare his health to that of a 25 year old athlete for instance. Sister Callista RoyShow MoreRelatedPersonal Paper On Personal Nursing Philosophy1494 Words   |  6 PagesPersonal Nursing Philosophy This concept synthesis paper on personal nursing philosophy will first discuss the nursing autobiography of the author. This paper will explore the author’s perspective on the four metaparadigms of person, nurse, health, and environment. This paper will also discuss the author’s viewpoint on two practice-specific concepts that are relative to her practice. Lastly, the author will list five proposition statements that will connect the concepts described and will furtherRead MoreConcept Synthesis Paper On Personal Nursing Philosophy815 Words   |  4 PagesConcept Synthesis Paper on Personal Nursing Philosophy The purpose of this paper is to recognize, define, research and utilize the concepts that underscores my personal nursing philosophy for professional nursing practice. This paper also discusses the four metaparadigms of nursing with reference to professional practice. Nursing Autobiography I believe this about nursing, it is not just a profession but merging of passionate and holistic care. My desire to become a nurse sprouted when I wentRead MoreTypography and Professional Nursing1511 Words   |  7 PagesProfessional Nursing Part A Week 2 Assignment Instructions: Personal Philosophy of Nursing Submit by 0800 Monday of Week 3. NOTE: You will create a new Word document for this Assignment instead of typing directly into this document. Overview: â€Å"Personal Philosophy of Nursing† In this week’s Assignment, you will draft a formal paper expressing your personal philosophy of nursing. In this paper, you will provide a framework for your personal practice of nursing and reflect on why you chose nursing as aRead MoreNursing Philosophy Essay1747 Words   |  7 PagesPersonal Philosophy of Nursing Module 2 Assignment: Personal Philosophy of Nursing Submit by 2359 (CT) Saturday at the end of Module 2. NOTE: You will create a new Word document for this Assignment instead of typing directly into this document. Overview: â€Å"Personal Philosophy of Nursing† In this module’s Assignment, you will draft a formal paper expressing your personal philosophy of nursing paper. In this paper, you will provide a framework for your personal practice of nursing and reflectRead MoreComparison Of Grand Theorists According To Types Identified By Meleis915 Words   |  4 PagesNurses over the years have studied diligently various papers especially different theories that would affect and dictate how they will manage their clients. In order for one to be more familiar with these theories, I will compare 4 grand theorists as to types identified by Afaf Ibrahim Meleis. Dr. Meleis is a professor of Nursing and Sociology at the University of Pennsylvania and has published numerous scholarly papers and books that dealt with nursing theories. She has established four types or schoolRead MoreMy Personal Philosophy Of Nursing1081 Words   |  5 PagesRunning head: PERSONAL PHILOSOPHY OF NURSING 1 PERSONAL PHILOSOPHY OF NURSING 6 Personal Philosophy of Nursing Caroline Thiongo BSN V Millers College of Nursing Abstract This paper explores my personal nursing philosophy that I will convey in my career of nursing. It is my belief that nursing is a commitment to public service and a desire to help those in need. Nursing is a discipline of knowledge acquired both through formal education and through life experiences. The sum of these parts continuesRead MoreMy Personal Philosophy Of Nursing Essay1481 Words   |  6 Pages Personal Philosophy of Nursing Seynor Massalee Kennedy South University Personal Philosophy of Nursing The purpose of this paper is to explore the personal nursing philosophy I intend to use in my career as a nurse and to explore my values and beliefs about the four metaparadigms – the patient, the nursing practice, their health and the environment, and the discipline of nursing in addition to discussing the nursing concepts relevant to my practice as a nurse practitioner. Read MorePersonal Philosophy : Philosophy And Philosophy1318 Words   |  6 PagesPersonal Philosophy Paper Introduction For the purpose of the paper, famous philosophies and a personal nursing philosophy is presented, including the personal definitions of the four phenomena of nursing namely person, environment, health, and nursing. The said philosophy will then be compared to other professionally-acclaimed philosophies. Included in the discussion is the importance of a nurse’s role in providing health care to persons, family, and the society and how it is able to address problemsRead MoreThe Philosophy And Science Of Caring1447 Words   |  6 Pagesthat is very essential to nursing practice. It is a science and an art that is practiced and perfected by nursing professionals. Jean Watson is a well-known American theorist that created the Philosophy and Science of Caring. Caring in nursing is the important connection between the nurse and the individual that seeks care. Watson’s theory of caring is based on the concept of human relationships and consists of carative factors that should embody the nurse. This paper will take a closer look atRead MoreThe Philosophy Of Azure College A Nursing Institution1159 Words   |  5 PagesPractice Model Nursing career is one of the most respectful professions not only in the United States but also around the world. The remarkable aspect that makes nursing in such position is the evolution of the nursing theorists, the nursing theories, and the nursing philosophy. Among of these three, the nursing philosophy is the one that really identifies the nursing mission, and the fundamental evidence-based practice of nursing. In this case, many health organizations include nursing schools design

Bloodsucking Fiends A Love Story Chapter 34 Free Essays

string(37) " stood and joined Tommy at the rail\." Chapter 34 Hell Breaks Loose A wave of anxiety washed over Jody as she woke up. â€Å"Tommy,† she called. She leaped out of bed and went into the living area, not stopping to turn on the light. We will write a custom essay sample on Bloodsucking Fiends: A Love Story Chapter 34 or any similar topic only for you Order Now â€Å"Tommy?† The loft was quiet. She checked the answering machine: no messages. I’m not going to do this again, she thought. I can’t handle another night of worrying. She’d cleaned up the mess from the police search the night before, put lemon oil on the wood, scrubbed out the sinks and the tubs, and watched cable TV until dawn. All the time she thought about what Tommy had said about sharing, about being with someone who could understand what you saw and how you felt. She wanted that. She wanted someone who could run the night with her, someone who could hear the buildings breathe and watch the sidewalks glow with heat just after sundown. But she wanted Tommy. She wanted love. She wanted the blood-high and she wanted sex that touched her heart. She wanted excitement and she wanted security. She wanted to be part of the crowd, but she wanted to be an individual. She wanted to be human, but she wanted the strength, the senses, and the mental acuity of the vampire. She wanted it all. What if I had a choice, she thought, if that medical student could cure me, would I go back to being human? It would mean that Tommy and I could stay together, but he would never know the feeling of being a god, and neither would I. Never again. So I leave; what then? I’m alone. More alone than I’ve ever been. I hate being alone. She stopped pacing and went to the window. The cop from the night before was out there, sitting in a brown Dodge, watching. The other cop had followed Tommy. â€Å"Tommy, you jerk. Call me.† The cop would know where Tommy was. But how to get him to tell? Seduce him? Use the Vulcan nerve pinch? Sleeper hold? Maybe I should just go up there and knock on the door, Rivera thought. â€Å"Inspector Alphonse Rivera, San Francisco PD. If you have a few minutes, I’d like to talk to you about being dead. How was it? Who did it? Did it piss you off?† He adjusted himself in the car seat and took a sip from his coffee. He was trying to pace his smoking. No more than four cigarettes an hour. He was in his forties now and he couldn’t handle the four-pack-a-night stakeouts – going home with his throat raw, his lungs seared, and a vicious ache in his sinuses. He checked his watch to see if enough time had passed since he’d last lit up. Almost. He rolled down the car window and something caught him by the throat, cutting off his breath. He dropped his coffee, feeling the scald in his lap as he reached in his jacket for his gun. Something caught his hand and held it like a bear trap. The hand on his throat relaxed a bit and he sucked in a short breath. He tried to turn his head and the clamp on his throat cut off his breath again. A pretty face came through the window. â€Å"Hi,† Jody said. She loosened her grip on his throat a degree. â€Å"Hi,† Rivera croaked. â€Å"Feel the grip on your wrist?† Rivera felt the bear trap on his wrist tighten, his hand went numb, and his whole arm lit up with pain. â€Å"Yes!† â€Å"Okay,† Jody said. â€Å"I’m pretty sure I can crush your windpipe before you could move, but I wanted you to be sure too. You sure?† Rivera tried to nod. â€Å"Good. Your partner followed Tommy last night. Do you know where they are now?† Again Rivera attempted to nod. On the seat next to him, the cell phone chirped. She released his arm, snatched the gun out of his shoulder holster, flipped off the safety, and pointed it at his head, all before he could draw a single breath. â€Å"Take me there,† she said. Elijah Ben Sapir watched the red dots moving around on the video screen above his face. He had awakened feeling gleeful about killing the fledgling’s toy boy, then he saw that his home had been invaded. He was hit with an emotion so rare it took him a while to recognize it. Fear. It had been a long time since he’d been afraid. It felt good. The dots on the screen were moving around on the stern of the boat, scrambling in and out of the main cabin above. Every few seconds a dot would disappear off the screen, then reappear. They were getting in and out of a raft at the stern. The vampire reached up and flipped a series of toggle switches. The big diesels on either side of his vault roared to life. Another toggle and an electric winch began grinding in the anchor. â€Å"Move, move, move!† Tommy shouted into the cabin. â€Å"The engines started.† Barry came through the hatch carrying a bronze statue of a ballerina. Tommy waited at the stern of the yacht with Drew. Troy Lee, Lash, Jeff, Glint, and the Emperor and his troops were already in the raft, trying to find room to move around the paintings and statues. â€Å"Over,† Tommy said, taking the statue from Barry as the squat diver went over the side into the arms of the waiting Animals, almost capsizing the raft. Tommy threw the statue down to the Emperor, who caught it and went to the floor of the raft with its weight. Tommy threw a leg over the railing, and looked back. â€Å"Light it, Drew. Now!† Drew bent and held his lighter to the end of a wax-coated strip of cloth that ran across the stern deck and through the hatch to the main cabin. He watched the flame follow the trail for a few feet, then stood and joined Tommy at the rail. You read "Bloodsucking Fiends: A Love Story Chapter 34" in category "Essay examples" â€Å"It’s going.† They went over the rail backward and the Animals obliged them by stepping aside and letting them both hit the floor of the raft unimpeded. The raft lurched and righted itself. Tommy fought for breath to give a command. â€Å"Paddle, men!† the Emperor shouted. The Animals began to beat the water with their paddles. There was a loud clunking noise from the yacht as the transmission engaged and the raft was rocked as the twin screws engaged and began pushing the yacht away from them. â€Å"Rivera,† Rivera said into the cell phone. â€Å"The yacht is moving,† Cavuto said. â€Å"I think I just aided these guys in looting it.† He unzipped a leather case on the car seat, revealing a huge chrome-plated automatic pistol, a Desert Eagle.50-caliber. It fired bullets roughly the weight of a small dog and kicked like a jackhammer. One shot could reduce a cinder block to gravel. â€Å"I’m on my way,† Rivera said. â€Å"What about the girl?† Cavuto slammed a clip into the Desert Eagle, dropped another one into his jacket pocket. â€Å"She’s – she’ll be fine. I’m at Van Ness and Lombard. I’ll be there in about three minutes. Don’t call in backup.† â€Å"I’m not – oh Jesus Christ!† â€Å"What?† â€Å"The fucking thing just blew up.† A fountain of flame shot from the stern of the Sanguine II, a second passed, and the rest of the yacht disappeared in a cloud of flame that rose into the sky above her. She had cleared the breakwater and was perhaps three hundred yards out into the bay when the fuse reached Drew’s incendiary cocktail. The raft had just made the dock when the explosion went off. Tommy leaped onto the dock and watched the mushroom cloud dissipate. The shock wave rolled in and Tommy reached back to the raft and caught the Emperor before he went into the water. Debris rained down around them. A pool of fire and unexploded diesel fuel spread out across the water, illuminating the whole area with a dancing bright orange. â€Å"Is this a party boat, or what?† Drew shouted. The Animals scrambled out of the raft onto the dock and began handing up the objets d’art. Tommy stood aside and watched the burn. Bummer cowered in the Emperor’s arms. â€Å"Do you think we got him?† Jeff handed the Degas ballerina to Troy and looked over his shoulder. â€Å"Fucking A, we got him. Nice mix, Drew.† Drew took a bow and almost went over the edge of the dock. The Emperor said. â€Å"I can’t help but think that the explosion may have attracted the attention of the authorities, gentlemen. I would recommend a speedy retreat.† Drew looked at the burning slick. â€Å"I wish I had some acid. This would be great on acid.† Jeff jumped down into the raft and handed up the last painting, the Miro. He looked past Troy Lee, who was wrestling up the heavy frame, and said, â€Å"Whoops.† â€Å"What?† Troy said. Jeff nodded past him and the Animals turned around. Cavuto had a very large, very shiny pistol pointed at them. â€Å"No one move!† They didn’t. The spearguns were stacked on the dock. Glint held the shotgun loosely at his side as he prayed. He dropped it. â€Å"Drop it,† Cavuto said. â€Å"I did,† said Clint. â€Å"That’s true, he did,† Tommy said. â€Å"And before you asked. He should get extra credit for that.† Cavuto motioned with the pistol. â€Å"Everybody down. On your faces. Now!† The Animals dropped. Lazarus barked. The Emperor stepped forward. â€Å"Officer, these young men have – â€Å" â€Å"Now!† Cavuto screamed. The Emperor dropped to the dock with the Animals. The screens went dark an instant before he was slammed against the side of the vault. He tumbled inside, feeling his flesh burn on the steel with every turn. The vault glowed red with the heat and had filled with smoke from the seared wires and the vampire’s clothing. After a few seconds the tumbling stopped. The vampire was jammed into one end of the vault, his face against his knees. His skin was stinging and he tried to will it to heal, but it had been days since he had fed, so the healing came slowly. He located the lid by finding the smashed CRT and radar screens. Salt water sprayed in a fine mist from behind the screens. He pushed on the lid but it didn’t move. He felt for the latches and released them, then heaved against the lid with force that would have crumpled a car fender, yet the lid stayed fast. The heat of the explosion had welded it shut. I should have killed him last week, the vampire thought. This is what I get for indulging my pleasures. He reached into the broken CRT, looking for the source of the spraying water, then concentrated his will and went to mist. The transition was slow, weak as he was, but when he had finally lost his solid form he followed the path of the water and wormed his way through the pinhole to the open ocean. The vault lay on the bottom in a hundred and twenty feet of water and as soon as the vampire escaped, the pressure of four atmospheres condensed him to his solid shape. He tried to force himself to mist, failed, then swam toward the orange glow at the surface, thinking, The boy dies first, then a new suit. He broke the surface in the midst of the flame slick, then scissor-kicked hard enough to bring himself completely out of the water and tried to go to mist. His limbs dissolved in the air, their vapor whipped by the flame and standing out white in the rolling black diesel smoke, but he could not hold. He fell back into the water, followed by a vortex of vapor that condensed back to solid form under water. Frustrated and angry, he began the swim around the breakwater toward the yacht club. Cavuto panned the Desert Eagle back and forth across the heads of the prostrated Animals as he moved forward to get their weapons. Lazarus growled and backed away as the big cop approached. Sirens sounded in the distance. Crew members and yacht owners were popping out of the hatches of nearby yachts like curious prairie dogs. â€Å"Inside!† Cavuto shouted, and the yachters ducked for cover. Cavuto heard footsteps on the dock behind him and swung quickly around. The gate guard, looking down the cavelike barrel of the Eagle, stopped as if he’d hit a force field. Cavuto swung back to cover the Animals. Over his shoulder Cavuto said, â€Å"Go back to the gate and call nine-one-one. Tell them to send me some backup.† â€Å"Right,† the guard said. â€Å"All right, scumbags, you’re under arrest. And if any of you even twitches, I’ll turn you into a red stain. You have the right†¦Ã¢â‚¬  The vampire came out of the water like a wet comet and landed on the dock behind the Animals. He was burned black and his clothes hung in sooty shreds. Cavuto fired without thinking and missed. The vampire looked up long enough to grin at him, then reached down and snatched Tommy by the back of his shirt and yanked him up like a rag doll. Cavuto aimed and fired again. The second shot hit the vampire in the thigh, taking out a three-inch chuck of flesh. The vampire dropped Tommy, turned on Cavuto, and leaped. The third bullet caught the vampire in the abdomen, the impact spraying flesh and spinning him in the air like a football. He landed in a heap at Cavuto’s feet. The big cop tried to back away to get another shot off, but before he could aim, the vampire snatched the gun out of his hand, taking most of the skin off his trigger finger. He leaped backward, clawing inside his jacket for his detective special as the vampire tossed the Desert Eagle over his shoulder and climbed to his feet. â€Å"You are a dead man,† he growled. Cavuto watched the gaping wounds in the vampire’s leg and stomach pulsing, bubbling, and filling with smoke. He caught the butt of his revolver just as the vampire leaped, his fingers outstretched to drive into Cavuto’s chest. Cavuto ducked, heard a hiss and a loud thunk, and looked up, amazed that he was still alive. The vampire had stopped an inch from him. A gleaming spear through his leg had pinned him to the dock. The black kid stood a few yards away, a gas-powered speargun in hand. The vampire wrenched himself around and clawed at the spear. Cavuto yanked out his gun, but with his damaged finger he ended up flinging it off the dock. He heard the sound of tires behind him, then a car coming down the dock. A second spear thunked through the vampire’s shoulder. Tommy threw the speargun aside. The Animals were all on their feet. â€Å"Troy, throw me the sword!† Troy Lee picked up the fighting sword from the deck and threw it at Tommy. Tommy sidestepped; the sword whizzed by him and clattered on the dock near Cavuto, who was standing motionless, stunned at almost seeing his own death. â€Å"Handle first, you doofus,† Tommy said as he ran after the sword. The vampire yanked the spear out of his shoulder and reached for the one in his leg. The Emperor picked up his wooden sword from the deck and charged the vampire. Lash caught him by the collar, yanking him aside as Barry fired a third spear, hitting the vampire in the hip. Jeff let go with a blast from the shotgun. The vampire jerked with the impact of the shot and screamed. Tommy dived for the fighting sword at Cavuto’s feet. The big cop lifted him to his feet. â€Å"Thanks,† Tommy said. â€Å"You’re welcome,† Cavuto said. â€Å"I didn’t kill those people.† â€Å"I’m figuring that out,† Cavuto said. A brown car skidded to a stop on the dock. Tommy looked up for an instant, then turned and headed toward the vampire, who was clawing at the spear in his leg. His wounds bubbled and seethed with vapor; his body was trying to heal even as new damage was inflicted on it. Tommy raised the sword over the vampire’s head and closed his eyes. â€Å"No!† It was Jody’s voice. Tommy opened his eyes. Jody was on her knees, shielding the vampire, who had given up the struggle and was waiting for the final blow. â€Å"No,† Jody said. â€Å"Don’t kill him.† Tommy lowered the sword. Jody looked at Jeff, who still held the shotgun. â€Å"No,† she said. Jeff looked at Tommy, who nodded. Jeff lowered the shotgun. â€Å"Kill the fiend, now!† cried the Emperor, still struggling against Lash’s hold on his coat. â€Å"No,† Jody said. She pulled the spear out of the vampire’s leg and he screamed. She patted his head. â€Å"One more,† she said quietly. She yanked the spear out of his hip and he gasped. Jody propped the vampire up on her lap. The Animals and Cavuto stood watching, not sure what to do. Clint prayed quietly, barely audible over the approaching siren. â€Å"Blood,† the vampire said. He looked into Jody’s eyes. â€Å"Yours.† â€Å"Give me that sword, Tommy.† Jody said. He hesitated and raised the sword to strike. â€Å"No!† She covered the vampire with her body. â€Å"But Jody, he’s killed people.† â€Å"You don’t know anything, Tommy. They were all going to die anyway.† â€Å"Get out of the way.† Jody turned to Cavuto. â€Å"Tell him. All the victims were terminally ill, weren’t they?† Cavuto nodded. â€Å"The coroner said that none of them had more than a few months.† Tommy was almost in tears. â€Å"He killed Simon.† â€Å"Simon had AIDS, Tommy.† â€Å"No way. Not Simon. Simon was the animal of the Animals.† â€Å"He was hiding it from you guys. He was scared to death. Now, please, give me the sword.† â€Å"No, get out of the way.† Tommy reared back for the killing blow. He felt a hand on his shoulder, then another one catch his sword arm and pull it down. He looked around to see the Emperor. â€Å"Let him go, son. The measure of a man’s power is the depth of his mercy. Give me the sword. The killing is over.† The Emperor worked the sword out of Tommy’s grip and handed it to Jody. She took it, ran the blade across her wrist, then held the wound to the vampire’s mouth. He took her arm in his hands and drank. Jody looked at Cavuto. â€Å"Your partner is handcuffed to the wheel of the car. Get him and walk away before anyone else gets here. I need the car. I don’t want to be followed either.† Cavuto dropped back into cop mode. â€Å"Bullshit.† â€Å"Go get your partner and go. Do you want to explain this?† â€Å"What?† â€Å"All this.† Jody pulled her arm out of the vampire’s mouth and gestured around the dock. â€Å"Look, the murders will stop. I promise. We’re leaving and we’re never coming back. So let it drop. And leave Tommy and these guys alone.† â€Å"Or what?† Cavuto said. Jody cradled the old vampire and lifted him as she stood up. â€Å"Or we’ll come back.† She carried the vampire to the cruiser and put him in the back seat and crawled in with him. Rivera was sitting in the front seat. Cavuto came to the side of the car and handed his handcuff key through the window to Rivera. â€Å"I told you,† Rivera said. Cavuto nodded. â€Å"We’re fucked, you know? We have to let them go.† Rivera unlocked the handcuffs and got out of the car. He stood next to Cavuto, not sure what to do next. Jody stuck her head out the back window of the cruiser. â€Å"Come on, Tommy, you drive.† Tommy turned to the Emperor, who nodded for him to go, then to the Animals. â€Å"You guys, get that stuff off the dock. In Troy’s car. Get out of here. I’ll call you at the store tomorrow.† Tommy shrugged, got in the car, and started it. â€Å"What now?† â€Å"To the loft, Tommy. He needs a dark place to heal.† â€Å"I’m not comfortable with this, Jody. I want you to know that. I’d like to know what your relationship is to this guy.† The vampire moaned. â€Å"Drive,† she said. They pulled off the dock, leaving the Animals scrambling around collecting the art and the two policemen staring at them in amazement. She said, â€Å"I love you, Tommy, but I need someone who’s like me. Someone who understands. You know how that is, right?† â€Å"So you run off with the first rich older guy that comes along?† â€Å"He’s the only one, Tommy.† She stroked the vampire’s burned hair. â€Å"I don’t have any choice. I hate being alone. And if he died, then I’d never know about what I am.† â€Å"So you two are going away? You’re leaving me?† â€Å"I wish I could think of some other way. I’m sorry.† â€Å"I knew you’d break my heart.† How to cite Bloodsucking Fiends: A Love Story Chapter 34, Essay examples

Classical Hollywood Narrative Do the Right Thing Essay Example For Students

Classical Hollywood Narrative Do the Right Thing Essay Many believe that the classical Hollywood narrative ceased to exist during the 1970s, however a number of films have been made in the same structure since then. The Classical Hollywood Narrative structure usually centers on decisions, choices, and qualities of the main character or characters. It begins with an explanation of the character including their personality and their problem. After that, the problem arises until it climaxes in conflict. During this time, the character may experience a change in their values and/or attitude. The Classical Hollywood Narrative normally ends with the main character’s issue having been resolved. The Classic American film, Spike Lee’s Do The Right Thing is a perfect example of a film which has a debatable narrative structure. Although Do The Right Thing ventures away from the conventional expectations of Classical Hollywood Narrative structure, it still possesses many of the qualities. Do The Right Thing has a Classical Hollywood Narrative structure, it displays this in a different way, however it remains in the category. Like the majority of Classical Hollywood Narratives, Do The Right Thing begins with the introduction of its characters including the Bedford-Stuyvesant neighborhood where it takes place. DJ Mister Senor Love Daddy is used as the common denominator throughout the film between the different characters and their personal issues. His introduction describing the extreme heatwave gives insight to factors that would affect the characters emotions and reactions throughout the film. The second commonality between Classical Hollywood structure and Do The Right Thing is mise-en-scene. The story takes place in a realistic neighborhood that plays as much a part of the movie as the characters do. The designs, from the setting of the neighborhood to the costumes, are true to life which is most common in classical Hollywood movies. Though most movies in this category have appointments or deadlines, the only appointment present in this film is Mookie getting his check after work. This event is reiterated throughout the movie to express the significance of the check to Mookie’s goal. The final parallel between classical films and Do The Right Thing is that it has two related story lines which are common in Hollywood films. Although characters in Classical Hollywood Narratives tend to focus on one problem with one or more people being involved, Do The Right Thing has several characters with different problems that all intertwine at the climax of the story. Mookie and Buggin Out both have goals they pursue throughout the film even though they fade in and out of importance to the storyline. Mookie is just looking to make money and provide for his girlfriend and family while Buggin Out wants Black heroes on the wall of fame in Sal’s Pizzeria. There is a common feeling of strain between Sal’s family and the community that most of the characters in the film relate to. Do The Right Thing has several elements that differentiate it from the Classical Hollywood Narrative. One of the most obvious differences is that there is no specific or precise goal for the characters to achieve. Classical Hollywood Narratives usually have clear, concise objectives that start a conflict that causes a character clash. Instead, the characters’ goals are indefinite and long term. Although several of the characters have minor goals they would like to accomplish, like Da Mayor predicting that Mother Sister will eventually befriend him or Buggin Out’s plan to get Black heroes like Malcolm X and Martin Luther King Jr. on the wall at Sal’s, the goals are not consistent to the plot. Mookie also has a goal of making money by working at Sal’s Pizzeria, but it is never specified what his goal is with the money once he receives it. The audience does not know whether he will use the money to take care of his family or to get a home with his girlfriend and son and to move out of his sister’s apartment. .u002348237c23d16500e8103a5ace074a , .u002348237c23d16500e8103a5ace074a .postImageUrl , .u002348237c23d16500e8103a5ace074a .centered-text-area { min-height: 80px; position: relative; } .u002348237c23d16500e8103a5ace074a , .u002348237c23d16500e8103a5ace074a:hover , .u002348237c23d16500e8103a5ace074a:visited , .u002348237c23d16500e8103a5ace074a:active { border:0!important; } .u002348237c23d16500e8103a5ace074a .clearfix:after { content: ""; display: table; clear: both; } .u002348237c23d16500e8103a5ace074a { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u002348237c23d16500e8103a5ace074a:active , .u002348237c23d16500e8103a5ace074a:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u002348237c23d16500e8103a5ace074a .centered-text-area { width: 100%; position: relative ; } .u002348237c23d16500e8103a5ace074a .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u002348237c23d16500e8103a5ace074a .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u002348237c23d16500e8103a5ace074a .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u002348237c23d16500e8103a5ace074a:hover .ctaButton { background-color: #34495E!important; } .u002348237c23d16500e8103a5ace074a .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u002348237c23d16500e8103a5ace074a .u002348237c23d16500e8103a5ace074a-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u002348237c23d16500e8103a5ace074a:after { content: ""; display: block; clear: both; } READ: The Crucible: book / movie - Compare and Contrast EssayThey leave open ended questions and goals that are not clearly accomplished. This is standard for social problem films especially those involving sexual and cultural disagreements; the current conflict has been resolved, however the catalyst of the problem still remains. Two of these characters’ goals dissolve in and out of importance during the course of the film unlike Mookie’s persistent objective. Buggin Out’s goal simmers after several people turned down his offer to boycott Sal’s Pizzeria stating that they ‘grew up on that stuff. ’ Da Mayor has several scenes of bad luck w ith Mother Sister until the burning of Sal’s in the last scene. These goals are not vital to the storyline of a day in a Brooklyn neighborhood. Though several factors could deem Do The Right Thing as anything but a classical American film, it still upholds the structure and meaning of Classical Hollywood Narrative. To begin with, Do The Right Thing has a multi-plot storyline that leads to a causal climax motivated by the previous scenes. Everything that happens at the film’s climax when Radio Raheem is murdered by the police officer and Sal’s Pizzeria is trashed and burned to its foundation is a direct result of events that transpired in the story. The cops kill Radio Raheem because of existing racial tensions in the neighborhood and due to frustrations from being called there earlier when the neighborhood kids soaked a white man’s car with a fire hydrant. For several scenes, Buggin Out urged his neighbors to boycott Sal’s Pizzeria because of their internal racism; however the problem did not come to the surface until after Radio Raheem is killed. Although specifics in the structure of Do The Right Thing differ from the Classical Hollywood Narrative structure, it still follows the most basic guidelines of the genre. The movie begins with the introduction of the neighborhood and main character Mookie like most classical American films. After the initial introduction, several minor conflicts arise that culminate into the climax. After the climax, the problems in the Bedford-Stuyvesant neighborhood are placated for the present time. While it is not clear if the conflict is completely resolved, the neighborhood resumes a sense of calm and normalcy. The fact that Do The Right Thing is a social problem film makes the lack of problem resolution normal. In conclusion, Do The Right Thing is a classical American film that depicts the Classical Hollywood Narrative structure with obvious stylistic differences. This film is an American classic that beckons the audience to discuss problems between races, sexes, and classes and to ask questions about methods to resolve these conflicts. Like the most definitive films with Classical Hollywood Narrative structure, Do The Right Thing presents a character, Mookie and the Bedford-Stuyvesant neighborhood that centers on a specific conflict which is racial tension. Though the conflict is not one that can be easily defined due to its broad nature, it still exists throughout the storyline. Although there are a large number of vital characters for a classical film, they are brought together through the narrator, DJ Mr. Senor Love Daddy who connects separate events because the whole community listens to the same radio show. The DJ also connects the heatwave in the beginning of the film to the events that conspired over the short time span to the end of the film with a dedication to Radio Raheem. He links the characters by being the voice of reason throughout the movie. DJ Mr. Senor Love Daddy’s last line, ‘Are we gonna live together? Together are we gonna live? ’ adds to the common theme and question of the film. Like Classical Hollywood Narrative structure, but distinctive to the social-problem genre of film, Do The Right Thing leaves the conflict resolved although incompletely. The catalyst of the conflict, internal racism, still remains and leaves unanswered questions for the audience, the most prevalent being, ‘what is the right thing? ’

Classical Hollywood Narrative Do the Right Thing Essay Example For Students

Classical Hollywood Narrative Do the Right Thing Essay Many believe that the classical Hollywood narrative ceased to exist during the 1970s, however a number of films have been made in the same structure since then. The Classical Hollywood Narrative structure usually centers on decisions, choices, and qualities of the main character or characters. It begins with an explanation of the character including their personality and their problem. After that, the problem arises until it climaxes in conflict. During this time, the character may experience a change in their values and/or attitude. The Classical Hollywood Narrative normally ends with the main character’s issue having been resolved. The Classic American film, Spike Lee’s Do The Right Thing is a perfect example of a film which has a debatable narrative structure. Although Do The Right Thing ventures away from the conventional expectations of Classical Hollywood Narrative structure, it still possesses many of the qualities. Do The Right Thing has a Classical Hollywood Narrative structure, it displays this in a different way, however it remains in the category. Like the majority of Classical Hollywood Narratives, Do The Right Thing begins with the introduction of its characters including the Bedford-Stuyvesant neighborhood where it takes place. DJ Mister Senor Love Daddy is used as the common denominator throughout the film between the different characters and their personal issues. His introduction describing the extreme heatwave gives insight to factors that would affect the characters emotions and reactions throughout the film. The second commonality between Classical Hollywood structure and Do The Right Thing is mise-en-scene. The story takes place in a realistic neighborhood that plays as much a part of the movie as the characters do. The designs, from the setting of the neighborhood to the costumes, are true to life which is most common in classical Hollywood movies. Though most movies in this category have appointments or deadlines, the only appointment present in this film is Mookie getting his check after work. This event is reiterated throughout the movie to express the significance of the check to Mookie’s goal. The final parallel between classical films and Do The Right Thing is that it has two related story lines which are common in Hollywood films. Although characters in Classical Hollywood Narratives tend to focus on one problem with one or more people being involved, Do The Right Thing has several characters with different problems that all intertwine at the climax of the story. Mookie and Buggin Out both have goals they pursue throughout the film even though they fade in and out of importance to the storyline. Mookie is just looking to make money and provide for his girlfriend and family while Buggin Out wants Black heroes on the wall of fame in Sal’s Pizzeria. There is a common feeling of strain between Sal’s family and the community that most of the characters in the film relate to. Do The Right Thing has several elements that differentiate it from the Classical Hollywood Narrative. One of the most obvious differences is that there is no specific or precise goal for the characters to achieve. Classical Hollywood Narratives usually have clear, concise objectives that start a conflict that causes a character clash. Instead, the characters’ goals are indefinite and long term. Although several of the characters have minor goals they would like to accomplish, like Da Mayor predicting that Mother Sister will eventually befriend him or Buggin Out’s plan to get Black heroes like Malcolm X and Martin Luther King Jr. on the wall at Sal’s, the goals are not consistent to the plot. Mookie also has a goal of making money by working at Sal’s Pizzeria, but it is never specified what his goal is with the money once he receives it. The audience does not know whether he will use the money to take care of his family or to get a home with his girlfriend and son and to move out of his sister’s apartment. .u002348237c23d16500e8103a5ace074a , .u002348237c23d16500e8103a5ace074a .postImageUrl , .u002348237c23d16500e8103a5ace074a .centered-text-area { min-height: 80px; position: relative; } .u002348237c23d16500e8103a5ace074a , .u002348237c23d16500e8103a5ace074a:hover , .u002348237c23d16500e8103a5ace074a:visited , .u002348237c23d16500e8103a5ace074a:active { border:0!important; } .u002348237c23d16500e8103a5ace074a .clearfix:after { content: ""; display: table; clear: both; } .u002348237c23d16500e8103a5ace074a { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u002348237c23d16500e8103a5ace074a:active , .u002348237c23d16500e8103a5ace074a:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u002348237c23d16500e8103a5ace074a .centered-text-area { width: 100%; position: relative ; } .u002348237c23d16500e8103a5ace074a .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u002348237c23d16500e8103a5ace074a .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u002348237c23d16500e8103a5ace074a .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u002348237c23d16500e8103a5ace074a:hover .ctaButton { background-color: #34495E!important; } .u002348237c23d16500e8103a5ace074a .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u002348237c23d16500e8103a5ace074a .u002348237c23d16500e8103a5ace074a-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u002348237c23d16500e8103a5ace074a:after { content: ""; display: block; clear: both; } READ: The Crucible: book / movie - Compare and Contrast EssayThey leave open ended questions and goals that are not clearly accomplished. This is standard for social problem films especially those involving sexual and cultural disagreements; the current conflict has been resolved, however the catalyst of the problem still remains. Two of these characters’ goals dissolve in and out of importance during the course of the film unlike Mookie’s persistent objective. Buggin Out’s goal simmers after several people turned down his offer to boycott Sal’s Pizzeria stating that they ‘grew up on that stuff. ’ Da Mayor has several scenes of bad luck w ith Mother Sister until the burning of Sal’s in the last scene. These goals are not vital to the storyline of a day in a Brooklyn neighborhood. Though several factors could deem Do The Right Thing as anything but a classical American film, it still upholds the structure and meaning of Classical Hollywood Narrative. To begin with, Do The Right Thing has a multi-plot storyline that leads to a causal climax motivated by the previous scenes. Everything that happens at the film’s climax when Radio Raheem is murdered by the police officer and Sal’s Pizzeria is trashed and burned to its foundation is a direct result of events that transpired in the story. The cops kill Radio Raheem because of existing racial tensions in the neighborhood and due to frustrations from being called there earlier when the neighborhood kids soaked a white man’s car with a fire hydrant. For several scenes, Buggin Out urged his neighbors to boycott Sal’s Pizzeria because of their internal racism; however the problem did not come to the surface until after Radio Raheem is killed. Although specifics in the structure of Do The Right Thing differ from the Classical Hollywood Narrative structure, it still follows the most basic guidelines of the genre. The movie begins with the introduction of the neighborhood and main character Mookie like most classical American films. After the initial introduction, several minor conflicts arise that culminate into the climax. After the climax, the problems in the Bedford-Stuyvesant neighborhood are placated for the present time. While it is not clear if the conflict is completely resolved, the neighborhood resumes a sense of calm and normalcy. The fact that Do The Right Thing is a social problem film makes the lack of problem resolution normal. In conclusion, Do The Right Thing is a classical American film that depicts the Classical Hollywood Narrative structure with obvious stylistic differences. This film is an American classic that beckons the audience to discuss problems between races, sexes, and classes and to ask questions about methods to resolve these conflicts. Like the most definitive films with Classical Hollywood Narrative structure, Do The Right Thing presents a character, Mookie and the Bedford-Stuyvesant neighborhood that centers on a specific conflict which is racial tension. Though the conflict is not one that can be easily defined due to its broad nature, it still exists throughout the storyline. Although there are a large number of vital characters for a classical film, they are brought together through the narrator, DJ Mr. Senor Love Daddy who connects separate events because the whole community listens to the same radio show. The DJ also connects the heatwave in the beginning of the film to the events that conspired over the short time span to the end of the film with a dedication to Radio Raheem. He links the characters by being the voice of reason throughout the movie. DJ Mr. Senor Love Daddy’s last line, ‘Are we gonna live together? Together are we gonna live? ’ adds to the common theme and question of the film. Like Classical Hollywood Narrative structure, but distinctive to the social-problem genre of film, Do The Right Thing leaves the conflict resolved although incompletely. The catalyst of the conflict, internal racism, still remains and leaves unanswered questions for the audience, the most prevalent being, ‘what is the right thing? ’