History Behind Moulin Rouge the Movie Essay Example for Free

History Behind Moulin Rouge the Movie Essay It was 1899 in Paris, France, it was the time of the Bohemian Revolution, and it was the summer of love. Christian, played by Ewan McGregor, was a writer and came to Paris to experience this revolution and be surrounded by the artists, singers, and dancers of this new Bohemian world. Little did he know that he would experience something he had never felt before but always believed in: love. Moulin Rouge, directed by Baz Luhrmann, is an exquisite movie musical based off of a real life cabaret called Moulin Rouge in Montmartre. The movie tells the story of the love triangle between Christian, Satine aka the â€Å"Sparkling Diamond† of the Moulin Rouge, played by Nicole Kidman, and The Duke. Although Christian and Satine are fictional characters, the story includes real life characters such as Harold Zidler, the co-mastermind of the Moulin Rouge and Toulouse-Lautrec, a famous French artist. Moulin Rouge is a great look into what life was like back in Paris in 1900, but also adds in the love story between Christian and Satine to make for a great movie musical. In the beginning of the movie, Christians optimistic love shines some light into Satines dark materialistic reality. To make a living, Satine became a courtesan at the Moulin Rouge. She gets paid for making men believe what they want to believe, so she sells her body to make money. She mistakenly became attracted to Christian for his pure and optimistic belief in love. Seeing that Christian did not have a lot of money, she becomes hesitant of loving him because he would not be able to support her and her dreams of being an actress. With Christians pure and optimistic belief of love, he captures Satines heart by loving her for who she really is, not for what she is. Although Satine dies in the end of the movie, Christian learns that true love lasts forever even through death. Harold Zidler, who is not a fictional character, is the man who helped to run the real Moulin Rouge cabaret. In the film, and in real life Paris, Zidler was the man who was, â€Å"a ‘brother’ to the artists and the man in the shadows who watched over the dancers and the rest of the personnel with a benevolent eye and ruled with an iron fist† (History). In the film he is the one who is in charge of making sure everything goes perfectly at the cabaret and makes sure all his dancers, especially Satine, know what they are supposed to do and who they should impress that night. Not only did he run the Moulin Rouge he was also a showman and performed with his dancers in the shows. Toulouse-Lautrec was also an important person when it comes to the cabaret in Paris. In the film he does not have a huge role other than help Christian get inside the Moulin Rouge and find a way for him to meet Satine. In Paris in the 1900’s, though, he is said to have been â€Å"the eyes of the Moulin Rouge.† Toulouse-Lautrec attended every evening show when the cabaret opened; and as mentioned before he was an artist, so every night he would sit in a corner and draw the dancers accompanied by a glass of absinthe (History). The fact about the absinthe is also in the movie; Toulouse-Lautrec, Christian, and a few others take a shot of absinthe before they head to the Moulin Rouge one night and the next few minutes of the film are just filled with pure craziness and hallucinations. His artwork, though, was extremely important in the success of the Moulin Rouge. â€Å"In 1891, he drew the first advertising poster for the Moulin Rouge, which today remains the best known image of the Moulin Rouge around the world† (History). His work is still famous today and without him the Moulin Rouge in Paris would not be as well known as it is today. The dancers of the Moulin Rouge were masters of the â€Å"cancan.† One of the stars and also known as â€Å"Queen of the Cancan† was Louise Weber, but her nickname was â€Å"La Goulue.† She is not specifically in the film, but in a biography about her, it states that, â€Å"one evening when she was dancing a frenetic cancan, between two cartwheels she spotted the Prince of Wales, who had come to spend an evening on his own at the Moulin Rouge, and called out, with the Parisian cheek for which she was well know, ‘Hey, Wales! The champagne’s on you?’† (History). La Goulue is relatable to Satine in the film, because Satine was also the star and best dancer and she spotted Christian the first night he was there and while she was dancing called him out in front of everyone who was in attendance at the Moulin Rouge that evening. Moulin Rouge is one of Baz Luhrmann’s best films. The movie came out in June 2001 and has won many awards and is one of the best movies in the musical genre. The set design, costumes, casting of roles, and music all is so perfectly put together to create this brilliant film. Luhrmann, who also co-wrote the movie with Craig Pearce, traveled to Paris with Pearce and the production designer to conduct historical research and write the synopsis for the movie. â€Å"To find ways to depict 19th century Paris and the Moulin Rouge as it may have felt to its audience then at the cutting edge of sex, music, dance, theater and modern thinking the filmmakers immersed themselves in the neighborhood, venues and culture of their story† (Luhrmann). Through their research and learning about the culture, they came to understand that the Moulin Rouge was a club that brought all different classes together and Pearce quotes that is the equivalent of â€Å"Studio 54 in New York in the late 70’s; a place where the rich and the powerful can mix with the young, the beautiful and the penniless† (Luhrmann). This is shown in the movie because we see the powerful, such as The Duke, and then Christian who is just a writer, come to the same club to experience th e same thing, women and entertainment. The first half an hour of the movie is nonstop music, dancing, lights, and just absolutely craziness. Audiences are not given a chance to â€Å"relax† and just slowly take the movie in; it is fast paced and keeps the movie viewer on their toes just waiting for what will come next. In a movie critique, shortly after it came out in 2001, the movie reviewer describes Moulin Rouge as â€Å"grandiose, glorious, absinthe-soaked excess.† When filming, Luhrmann wanted everything to be over the top and wanted more out of the production; more songs, more sound, more color, more everything (Kaplan C.D.). This is what it was like in the real cabaret, the dancing and songs were all so intense and crazy so the men would be fully entertained and never get bored. There was a lot going on in Paris in the late 1880’s and 1890’s. The Eiffel Tower was built, the first cinematographic screening was shown by the Lumiere brothers, and the most famous cabaret opened its doors. â€Å"The public came in mass to discover this extravagant place with its huge dance floor, mirrors everywhere, and galleries that were the last word in elegance, to mix with the riffraff and girls of easy virtue† (History). The Moulin Rouge was a place for the rich and poor men to come for dancing, music, and entertainment from the ladies; it is said to have been an atmosphere of â€Å"total euphoria.† This was a time where workers, aristocrats, artists, and the middle-class could all gather together to experience cabarets, music-halls, and other night time activities. As mentioned before, this movie takes place during the Bohemian Revolution. This revolution was not a revolution of fighting, but a revolution of art and culture. It was a time for artisits, poets, writer, singers, dancers, and anyone else who wanted to express themselves to show off their talents and be recognized. These were the â€Å"children of the revolution† (Moulin Rouge). In the beginning scenes of Moulin Rouge, Christian is told that to really be a child of the revolution, he has to believe in beauty, freedom, truth, and most importantly love. Which of course he believes in love, it is what he lives for and as stated earlier, he is given the chance to experience love for the first time. Not only is the movie based off of the real cabaret in Paris, but it is also partly based on the Greek myth of Orpheus and partly on the opera La Traviata by Giuseppe Verdi (IMDb). The Greek myth of Orpheus and Eurydice is somewhat like the story between Christian and Satine. Orpheus is said to have been the best musician that ever lived and until he met Eurydice, he lived his simply and carelessly. Orpheus and Eurydice fell in love and it meant everything to both of them but someone else wanted Eurydice’s beauty and wanted her but she did not care for this other man. To make a long story short, she ends up dying and Orpheus tries to get her back from the underworld but could not save her; all he had left was the love they once had (â€Å"Orpheus†). For Christian, he lost Satine and would never get her back again but what he got from her death was a story of true love that he has to share with the world. Satine was already dying before she fell in love with Christian, but at least she was able to die knowing what it was like to be in love. The opera La Traviata is another love story that ends tragically. Violetta, who is a courtesan, claims that love means nothing to her until she meets a young man named Alfredo which makes her then wonder if he could be the man that she could love. In the end of the story, though, Violetta is diagnosed with tuberculosis and does not have long to live and dies at Alfredo’s feet (â€Å"La Traviata†). This opera, the myth of Orpheus, and Moulin Rouge, are all similar in the way that the woman never really believed in love until they met that one man that changed their views on love, there are challenges to face one the man and woman fall in love, and then it is the woman who dies in end leaving their lovers all alone. Each story is a little different but the same basic idea, from the opera and Greek myth, are apparent in the film. From twentieth century Paris, the Bohemian Revolution, the myth of Orpheus, Harold Zidler, and other historical moments, Moulin Rouge is a one of a kind musical film that is an amazing piece of work put together by Luhrmann. Knowing the history behind the film makes it exciting to watch and understand what it was like back in Paris in 1899. Works Cited â€Å"The History of the Moulin Rouge and its Shows.† Moulin Rouge.fr. Le Bal du Moulin Rouge, n.d. Web. 17 Nov. 2011. Kaplan, C.D. Rev. of Moulin Rouge, by Baz Luhrmann. Louisville Eccentric Observer, Louisville, Ky.: 30 May 2001. Vol. 11, Iss. 30; pg. 21 â€Å"La Traviata.† The Metropolitan Opera. N.p., n.d. Web. 18 Nov. 2011. Luhrmann, Baz,, and Craig Pearce, commentary. Moulin Rouge. Dir. Baz Luhrmann. Perf. Nicole Kidman and Ewan McGregor. Twentieth Century Fox, 2001. Film. Moulin Rouge. Dir. Baz Luhrmann. Perf. Nicole Kidman and Ewan McGregor. Twentieth Century Fox, 2001. Film. â€Å"Moulin Rouge.† IMDb. IMDb.com, Inc., n.d. Web. 17 Nov. 2011. â€Å"Orpheus and Eurydice.† Paleothea Myths. N.p., 10 Jan. 2008. Web. 18 Nov. 2011.

Breach Of Confidentiality: The Legal Implications When You Are Seeking :: essays research papers

Breach of Confidentiality: The Legal Implications When You Are Seeking Therapy Abnormal Psychology 204 November 2, 1996 Breach of Confidentiality: The legal Implications when You are seeking Therapy I. The need for confidentiality in therapy A. Establish trust B. A patients bill of rights Thesis: The duty to warn has created an ethical dilemma for psychological professionals. II. Therapists face a moral problem B. Requirement by law to breach confidentiality C. Exceptions for breaching confidentiality D. Prediction of violence E. Impact on client I. The future outlook for therapy A. Conflicting views between the legal and psychological professions People are afraid to admit to themselves and others that they need to help to resolve their psychological problems. This is due to the social stigma which society attaches to people, when they seek assistance from a mental health professional. Consequently it is very difficult for any person to establish a trusting relationship with their therapist, because they fear, that the therapist might reveal their most personal information and emotions to others. Health professionals therefore created the patients bill of rights to install confidence between clients and therapists. The patient has a right to every consideration of privacy concerning his own medical care program. Case discussion, consultation, examination, and treatment are confidential and should be conducted discreetly. Those not directly involved in his care must have the permission of the patient to be present. The patient has the right to expect that all communications and records pertaining to his care should be treated as confidential. ( Edge, 63 ) This bill of rights enables clients to disclose all personal information without fears. To fully confide in the therapist is essential to the success of the therapy. On the other hand, the therapist is legally obliged to breach this trust when necessary. The duty to warn has created an ethical dilemma for psychological professionals. The duty to warn is based on a court ruling in 1974. Tatiana Tarasoff was killed by Prosenjit Poddar. Prior to the killing Poddar had told his therapist that he would kill Tatiana upon her return from Brazil. The psychologist tried to have Poddar committed, but since the psychiatrist overseeing this case failed to take action, Poddar was never committed nor was Tarasoff warned about Poddars intentions to kill her. This failure resulted in Tatianas death. The Supreme Court therefore ruled that the psychologist had a duty to warn people which could possibly become harmed ( Bourne, 195-196 ). This policy, to warn endangered people, insures that therapists must breach there confidentiality for specific reasons only. These few exceptions are: Harm Principle: "When the practitioner can foresee a danger to an individual who

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The three communication theories I have applied to provide the most insight into understanding the dynamics of the observed conversation between two people are; the transmission model (Shannon & Weaver 1949), Fuller's ecological model (Fouler 2004), and an expanded model of communication (Munson 2012). In this essay I have used a conversation I had listened to which was between my friend (from here on will be named George) and his friend (from here on will be named Mark). Problems that arose during the conversation will be explained as well as how George and Mark overcame them.From there the essay will compare and contrast the three communication theories and decide which of these best simplify the conversation. Complexities of the conversation I was asked by George to take him down to the pub to meet up with Mark for a couple of games of pool, whilst chatting over a cold beer. George is nearly completely illiterate due to him leaving school at the age of 12, moving to the Northern t erritory and working on a cattle farm up until the age of 19, where he then moved back to Lissome.Mark is completely deaf and has next to no ability to lip read (this I had not known until I met him). Both George and Mark do not know sign language of any kind. George and has learnt to use abbreviations in text messages, which is about the extent of his written language capabilities. Problems that arose George had been avoiding this meeting because he finds the conversations very difficult, and this usually leads to heated discussions, especially when the conversations centered on Mark's granddaughter (which George has always had affectionate feelings for but never acted upon).Both George and Mark have their own perceptions on what is going on in her life, which has, and still causes either Mark or George to have expectations from the other, and creates selective perceptions (Withes 2009). This introduces psychological noise and detracts from the meanings of some of the messages in t he conversation. A one way lack of tone and inflection in the voice to communicate feelings and emotions more clearly can provide misunderstanding in the meaning of some messages. Language barrier from non-literate to literate people poses the greatest barrier to messages both to and from each other.Feedback is restricted to kinesics emblems, regulators, and illustrators (De Vito 2001). George aged 2 and Mark aged 64 both have different educational backgrounds in which written communication differs. Text messaging or testing (Shaw et al. 2007) can be a major source of misinterpretation, though Mark has been using his mobile phone for some time now. This leads to the conclusion that this increases the communication abilities of how Mark can interact with George, though there is still the written language barrier between them (Kumara et al. 2011).How George and Mark overcome these problems The over emphasis of kinesics emblems, regulators, and illustrators (De Vito 2001) had o be used as feedback due to the lack of language being used by George. Facial expressions become very important for Mark and George to try to convey their own, and comprehend each other's emotions, from understanding to frustration. Increased eye contact which would make most people more nervous and defensive (De Vito 2001) become a highly prized resource for feedback as well it had helped regulate the control of the conversation.Shannon and Weaver's transmission model (Shannon & Weaver 1949) seems to be the simplest model, and therefore maybe the est. for most situations; however, it lacks the detail in which the complexities of this particular conversation pose, and that need to be addressed, in particular the noise sources. Figure 1 : Transactional model (Source: Shannon & Weaver 1949) Fuller's ecological model is an elaboration of (Alleles 1948) model of â€Å"Who, says what, in which channel, to whom, with what effect† (Fouler 2004) though it takes into account of the use of dif ferent languages using modern mediums.This model is an excellent model but focuses on more of the use of the language and the media it is conveyed in and to so much on person to person communications. Figure 2: An Ecological Model of the Communication (Source: Fouler 2004) Union's expanded model of communication is more complex than Fuller's as well as Shannon and Weaver's models, though it is more appropriate to this conversation had between George and Mark due to the fact it shows that in order for the communication to happen the sender must pre-edit and then encode the message pass the message onto the receiver where he decodes and edits the message.Munson also takes into account the use of mechanical, behavioral and semantic actors of encoding, and understands that if the message is to be understood the receiver must be able to decode the message. This is particularly relevant, and highly important to this conversation between George and Mark due to the factors mentioned before. Context Figure 3: An expanded model of communication (Source: Munson 2012) Conclusion I have found Shannon and Weavers transactional model too simple and cannot evaluate the complexities of this situation, and that Fuller's model too broad and not able to focus on the problems that need to be addressed.Therefore, I believe hat Union's expanded model of communication is the most adequate to use out of the three models that were written about because Union's model has shown how a message from George is first pre-edited (thoughts), then encoded (written on paper), passed on through noise (physical, psychological as well as expectations and selective perception), decoded by the receiver (reading Georges writing) and then finally edited to Mark's own meaning and interpretation.This explains how there was some heated discussions in the past, and will continue to be so until they are able to actively listen' to each other before they place their own selective perceptions and expectations on their conversation.

The s Video For Bad Girls - 1496 Words

With souped-up cars, gold clad attire and reckless behavior, M.I.A’s video for Bad Girls is the definition of â€Å"life in the fast lane†. M.I.A, an alternative hip-hop artist, stays true to her roots in Bad Girls, beginning the video with bass beats that are characteristic of the hip-hop genre―immediately making you feel the music and want to dance along. All the while, she still captures the essence of the video by mixing traditional hip-hop rhythms with a Mediterranean flair, giving the song an overall hypnotic quality with a hint of sex appeal. Despite its upbeat tempo and steady beat, lyrically and visually, Bad Girls is full of political and social undertones. The first verse of the song, â€Å"Live fast, die young, bad girls do it well†,†¦show more content†¦Throughout the video, drifting and â€Å"sandal skating† (figure 1) take place. Despite these activities being usually performed by men, the video shows women driving the cars (figure 2) in which the men are sandal skating from. These frames of the video highlight the traditional male frivolity and opulence, contrasting the privilege that men have with the opportunity that women lack, but also empowers women by putting them in a position of power in which they would not normally assume. The video for Bad Girls continues to touch on the topic of feminism and gender equality through the clothing choices. In the video, a variety of women are represented. Some wear traditional Arab attire that covers everything, only revealing the eyes, while others, M.I.A included, wear more westernized clothing with touches of Middle Eastern and South East Asian accents (figure 3). Both types of clothing are presented as lavish, taking on bright colors and dripping in shimmering fabrics, occasionally draped with gold chains, as she references in the song itself. As a result, attention is brought towards the women, showing that they too can partake in the tradition of male opulence. Despite M.I.A’s attempts to make the stereotypes of Arab women the center of this video, it was this exact reason as to why she received so much backlash from it. Many argued that instead of increasing the visibility of Arab women in the media, the