The words and actions vivid Essay Example for Free

The words and actions vivid Essay Some incidents in the play take place in the public streets, others in other private settings. Choose two incidents, one public and one private and show how the settings help to make the words and actions vivid The two incidents I have chosen to compare are act one scene one and act one scene two. I have chosen these two scenes because in both scenes it shows clearly which one is public and which is private. Act one scene one is set on a Sunday morning in the streets of Verona, which is a charming city in Italy, where Two Capulet servants enters into the scene. The two servants, Sampson and Gregory are wondering about in the streets, were bored and miserable with nothing to do. As they walked in the streets, They run into two montogue servants. Sampson bites his thumb at them. This is considered an insult to the Montague servants. Without their masters, the servants were cowards, but when the masters came a big riot commenced between the two families and the rest of the town. The riot got so bad the prince arrives reinforced, which builds up the tension dramatically and makes the scene a lot more vivid. The prince comes out with a fine speech that has a great impact on the servants and the streets. Here is a extract of the script clearly showing this If you ever disturb our streets again, your lives shall pay the forfeit of the peace. Within this line, the prince said that if another fight is made in public streets then there will be death as a consequence. The riot ends. The result of his speech was something he expected, silence. Another scene I will analyse is Act two scene 2. at the beginning of this scene Romeo begins to speak about his love for Juliet by saying that he pretended to love Rosaline: Arise, fair sun, and kill the envious moon, Who is already sick with pain and grief, That thou, her maid, art far more fair than she. At this point Romeo is talking poetically to himself, he is saying that Juliet is the sun and Rosaline is the moon. When Juliet came out to the balcony she did not know that Romeo was downstairs hearing her every word. When they talk they tease each other. At that moment the nurse calls breaking the flow of the conversation. Juliet makes a proposal of marriage to Romeo: If that thy bent of love be honourable, Thy propose marriage, send me word tomorrow, To conclude from this analysis I have found that in a public place a character can not be themselves as it is not the right place to express their intermit thoughts and feelings out into the open. It is only when a character is secluded from the rest of the world where they can express these feelings. So Shakespeare has made some characters vivid by using a setting that doesnt allow characters to express their feelings. This is so that the audience only gets a slight impression of the characters. I think that this is a really good way of making characters vivid.

Domestic Abuse Case Study

Domestic Abuse Case Study Abuse can be defined as to treat wrongfully or harmfully. There are different categories of abuse that have been recognized and within our case study there appears to be two distinct forms of abuse, domestic abuse and child abuse. These can be sub divided into terms of physical abuse, emotional /psychological abuse, and non-organic failure to thrive. Physical abuse is the intentional inflicting of physical injury or harm or deliberately not preventing harm occurring. The minimum physical signs seen in our study to both Mrs Black and James are bruising with suspect excuses for their appearance. Emotional abuse is the continual failure to meet basic emotional needs. Emotional development is stunted and well- being impaired. The emotional signs in our case study can be seen in James by his actions of being withdrawn and non-communicative. The behavioural sign to abuse taking place to James is his aggressive behaviour. The short term effects of physical abuse to James are bruising and pain. In the long term recurring injuries can result in secondary illness and complications, permanent scarring and disfigurement. His emotional effects in the short term are a fear of adults or others, withdrawal, poor relationship with his peers. The long term emotional effects for James could be low self esteem, depression, inability to form relationships. Abuse can arise for many reasons and there are a number of theoretical perspectives which may be useful in clarifying why the abuse has taken place. The Feminist perspective believes that gender and family roles gives approval to a culture of abuse. Consider the historical and stereotypical ideas of the family, with men, women and children having definite roles. With the men having power and control in the perspective of abuse. In James case he lives in a reconstituted family with the father figure being dominant and a heavy drinker. From a psychological perspective, alcohol misuse can bring mental health problems which may increase aggression in the person and so James is more at risk from abuse by his step father. The family dysfunction theory suggests that the family is not functioning due to family dynamics. The dysfunctioning family attempts to find alternative ways of coping. The relationship between the mother and James, involves a dependency of James on his mother. With other problems in James mothers life, this leads to increasing stress and the inability of his mother to cope and manage the situation within the relationship. The attachment theory state that significant separations of a child from the carer in the early years can have an effect on their emotional development and can lead to psychological and social difficulties in later life. With the loss of both his father and his sisters` father with whom he was close, may have contributed to his deterioration of his behaviour If a client begins to make a disclosure of abuse it is important to ensure privacy and confidentiality. It is necessary to show that listening skills are employed and that I remain calm and receptive. I must listen without interruption and make it clear that I am taking their disclosure seriously. I must only ask questions of clarification if I am unclear as to what the vulnerable adult is saying. It is important that I acknowledge their courage in coming forward and tell them that they are not responsible for the abuse. I must let it be known to them what I will do to help them and where possible get their consent to inform my line manager. I must speak to my client in comfortable and quiet surroundings. I would ask my client to sit down where I shall use SOLER techniques to aid in communication. Using the SOLER theory I would use the five basic components used in communication. I would sit squarely on at the table turned towards one another. I would adopt an open posture. I would s it so that we have regular but varied eye contact and that my client could see my facial expressions and gestures to aid in communication. This would also let him know that I am involved in the situation. I would lean forward slightly to convey to him that I am interested and committed to actively listen to him. This adhered to our organizations policy on Confidentiality and the Data Protection Act of 1998 allowing my client to voice his concerns without worry and protected his privacy. I would inform him that they are not responsible for the abuse. I must let it be known to him what I will do to help him and where possible get his consent to inform my line manager. It is important that I make an immediate record of what the vulnerable adult has said, using only their own words. This should be recorded in the Incident Book, clearly, accurately and legibly, and then reported to the Line Manager who is responsible for any further action. As we do not supply a care service, we are not required to register with the Care Commission, but we ensure all our policies and procedures meet their standards. As all clients under these standards are legally allowed an individualized care plan, we instead have an activity plan. The policy and procedures on abuse of our organisation are underpinned by the National Care Standards which were set up under the Regulation of Care (Scotland) Act 2001. This Act came about to regulate the care and social work force and set out the principals of good care practice. The Care Commission was set up under this Act to register, regulate and inspect all care services listed in the Act. It also established The Scottish Social Services Council (SSSC). (ref1)The SSSC has aims and objectives to protect the service users, raise standards, strengthen and support workforce professionalism. An example of the code of practice on abuse, of the SSSC is `to protect the rights and promote the interests of the service users and carers. Strive to establish and maintain trust and confidence of service users and carers. Promote the independence of service users while protecting them as far as possible from danger or harm. Respect the rights of service users and ensure that their behaviour does not harm themselves or others.` The policy for protecting vulnerable people within our organisation is achieved through the careful selection, screening, training and supervision of staff and volunteers. Under The Protection of Vulnerable Groups (Scotland) Act 2007 a code of good practice for vulnerable adults within our organisation has been developed which expects staff or volunteers suspecting or have had abuse disclosed must immediately report the concerns to their line manager and write up an incident report. The line manager will discuss the concerns with the person reporting the abuse; she will clarify the concerns and obtain all known relevant information. This will then be forwarded to the ap propriate local Social Work Department stating that it concerns vulnerable adult protection. In the absence of a line manager the concerns should be reported directly to the local Social work department and then inform the line manager as soon as possible. The social work department after investigation may have to inform the police to investigate further.(ref2) the primary role of Registered Social Workers is the protection and promotion of the welfare of children, vulnerable adults and the promotion of the welfare of communities in accordance with the Scottish Social Services Councils Code of Practice for Social Service Workers. (ref3)The social work department will work with the police to carry out joint enquires if necessary and organise case reviews and protection conferences. The police will keep safe from harm the individual who has been subjected to abuse and may call for a medical examination. They will examine and collect evidence, interview suspects, identify offenders and arrange cases for prosecution. The GP or hospital Doctor maybe involved giving medical evidence of abuse and treating the individual. Under our code of good practice in preventing abuse it is important that I avoid unobserved situations of one -to-one contact with a vulnerable adult. I must never invite a vulnerable adult to my home; I must never offer to take a vulnerable adult alone in my own vehicle, if it is necessary to do things of a personal nature e.g. toileting, I must have the consent and knowledge of the carers and my line manager, before doing any of the above. I must not engage or allow any sexually provocative games involving or observed by vulnerable adults. I must never make or allow suggestive remarks or discrimatory comments to be made to a vulnerable adult. I must not engage in or tolerate bullying, or inappropriate physical behaviour. I must respect all vulnerable adults regardless of age, gender, ethnicity, disability or sexual identity. I must avoid favouritism and singling out troublemakers. I must never trivialise abuse and never let allegations of abuse go unreported, including any made aga inst myself. The policy and procedures of our organisation adhere to the Protection of Vulnerable Groups Act (Scotland) 2007 by ensuring as a way of vetting and barring every volunteer and employee has undergone a Disclosure which shows any convictions. If any convictions suggest that abuse of our clients is a possibility then they would not be allowed to volunteer or be employed. Sources of support for workers in the field of preventing abuse can be provided by statutory, voluntary, and private or independent organisations. Statutory services have a distinct concern laid down by legislation e.g. social services and NHS. The voluntary sector is run on a non profit making basis and have arisen through a recognised need and reflect society`s feelings. E.g. Advocacy, Mencap. Private organisations make a profit but I am not aware of any private local organisation that supports vulnerable adults suffering abuse. Support can consist of Casework, by working on a one to one basis, by counselling again one to one, and by group work bring people together with shared issues to resolve problems together. (Ref4) Cultural values play a part in defining what is considered abusive conduct .What we in the UK consider abuse may not be considered abuse in another culture. For example, domestic abuse has only recently become abhorrent in the UK. As up until the 1970s/80s, domestic abuse was considered a marital problem and to be accepted, but today we have little tolerance for domestic abuse. But, today, ethnic minority women still run the risk of long periods of abuse and find it difficult to report, families expect women to put up with it, as ethnic women are considered their husbands property. Honour killings` are not unknown amongst ethnic minorities using religious text as justification. (Ref5)Female circumcision is another culturally accepted form of abuse, still practised in 28 countries in Africa. It is seen to control female sexuality and sex outside marriage. This is done to girls age range from 4 to 12. It usually takes place in un- hygienic conditions with potentially fatal conse quences. Sometimes, workers may have trouble accepting the motives of people who are involved in abuse. There may be the need to ask why and how can they have abused? Where they just bad or mad? Perhaps the workers values and beliefs make working with an abuser distasteful. However, a professional approach to working with an abuser must be taken. For those who work with abusers there is a need to understand why people abuse. Abusive behaviour can sometimes be the result of mental health problems, empathy deficit, brain damage or being abused themselves. By becoming the abuser they believe they are taking control, some even believe that they are not doing anything wrong and cannot stop themselves. When working with individuals who have abused it is important to be aware that they may go on to abuse again and as well as trying to treat the underlying cause for abuse their is a need to protect the community from the abuser. So, the use of risk assessments are important to keep safe when working with an abuser. ( Ref7) It is important to be able to understand probable risks and take appropriate action to reduce them. Effective communication and personal skills are useful to understand and reduce potential conflicts. Reflection on my own values and how they may affect my practice and awareness and understanding of the abusers cultural values and background is required to ensure awareness and intervention is e mployed when required. References. SSSC. (2009). Codes of Practice. Available: http://www.arcuk.org.uk/silo/files/791.pdf. Last accessed 09/02/2010. Stephen Smellie. (2005). Role of the Social Worker: Protection of Title. Available: http://www.unison-scotland.org.uk/response/swrole2.html. Last accessed 09/02/2010 Elizabeth Bingham +. (2009). Protection including safeguarding and management of risk.. In: HNC in Social Care. Edinburgh: Heinemann. 229. Mary Barnish. (2004). Domestic Violence: A Literature Review. Available: http://www.domestic-violence-and-abuse.co.uk/information/Cultural-Differences-in-the-UK.php. Last accessed 13/02/2010. Frances A. Althaus . (1997). Female Circumcision: Rite of Passage or Violation of Rights? Available: http://www.guttmacher.org/pubs/journals/2313097.html. Last accessed 13/02/2010. Kathryn Patricelli. (2005). Why do people abuse?. Available: http://www.mentalhelp.net/poc/view_doc.php?type=docid=8482. Last accessed 13/02/2010. Elizabeth Bingham +. (2009). Issues involved in protection from abuse. In: HNC in Social Care. Edinburgh: Heinemann. 217.

Scorsese And His Use Of Red

Scorsese And His Use Of Red The eminent and much revered director Martin Scorsese first achieved critical acclaim with his 1973 picture, Mean Streets. The film was an independent production which also began his long standing collaboration with the actor Robert DeNiro. Without major studio backing, Scorsese operated with a very small budget, yet he overcame this setback with exceptionally strong acting creative and performances, powerful and striking visuals. Mean Streets is a brutal, moody and sharply detailed story about life in New York Citys Little Italy, as seen through the experiences of a group of small time hoodlums. Scorsese brings his own obsessions into all his movies, and Mean Streets is no exception. His ambivalence towards group and family loyalties, macho values, and the notion of success and the price it demands are all evident, helping to set up the unstable, confused and destructive world of the film, and in particular the main protagonist Charlie. Vital to the creation of this world is the rec urrent incorporation of the colour red into the mise en scene. Different colours has been used as a filmic code by numerous directors however this was not possible until colour film was technologically feasible, As a code, colour takes its cue from social codes: red is associated with passion and violence; blue with coolness and melancholy (Lacey: 38). One of the ways in which colour is used is to focus the audiences awareness within the mise en scene. It is done with bright colours, which draw the eye more than pastel shades. Colour is obviously linked with lighting. Film directors may suffuse their film with a particular coloured light: red in Taxi Driver [à ¢Ã¢â€š ¬Ã‚ ¦] and blue in Blue Steel (1989, Kathryn Bigelow). The effect of this is to link various themes in the film. (38 Lacey) The colour red has a instinctive impact when we first see it, not just in the form of blood, but also on fire trucks, stop signs, police lights and stoplights. Red lights constantly indicate warning and or danger unless they are in a red light district, where they imply a different kind of prohibited activity as seen in Taxi Driver. Scorsese frequently encoded the colour red into his films for many reasons. On the New York, New York special edition DVD introduction, he said that his codification was influenced by the films of the Classical Hollywood period which had the stamp of Hollywood of the 1940s and 1950s. Some of things he mentions are: the artifice of the film, the sets themselves, the obvious sets, sometimes the sets were painted, you could see it wasnt real. The street kerbs that were supposed to be in New York were too high. [à ¢Ã¢â€š ¬Ã‚ ¦] But we understood it to be a different kind of reality, a parallel universe in a way, to the reality I knew [à ¢Ã¢â€š ¬Ã‚ ¦] in the streets or at home. That didnt mean that the films are any less true, you see. And that doesnt necessarily mean that, because theyre coded in a sense [à ¢Ã¢â€š ¬Ã‚ ¦] a code that occurs. The happy endings werent quite realistic or true. There was something else going on emotionally in those films that were very true to the human condition. I tried to bring that out, but place it against and upon the old template. I decided the way to handle New York, New York would be to deal with the artifice right up front. As you can see from his interview is that he was implying that his films were heavily coded just like the films from the Classical Hollywood period. In this paper I will attempt to decode his films with principal emphasis on his use of the colour red. Scorseses profound stylised use of the colour red was inspired by The Red Shoes (1948, Michael Powell, Emeric Pressburger) which is included his Top Ten English Language Film List which exemplifies the use of light and color.[1] In an interview Scorsese remarked that the use of color in the movie isnt realistic. But it really reflects the heightened world of the ballet, the heightened world of theater. Color is always something that is going to be an aesthetic comment, no matter how you do it.[2] It is very clear, as the use of red in the film is very dominant in The Red Shoes. Such as the theatre curtains are red and so are Vicki Pages hair. The color exhibits a sexual power and an artistic passion. (LoBrutto: 29) The use of red in the film therefore does not represent sin or violence like in some of Scorseses films. The colour red connotes numerous diverse meanings, one of most well-known being alarm or danger, perhaps it is because it is the colour of blood. During the first few scenes in Mean Streets, Scorsese introducers us to the four main characters by colour coding their clothing. Firstly, Tony, who we see walking into the toilets of his own bar, where much of the action takes place, we notice on him, moments before he uses force to remove a heroin user from the toilets, and attacking a drug pusher a prominent red shirt. This subtly demonstrates his harsh, violent nature, and unites him with the bright red Hell that is his bar and his world. In other words his red shirt coordinates with the infernal red glow of his bar, denoting his sinful, damaging existence within its realm. After all, only a man of perilous intent with a taste for danger would fulfil his dream of caging a pet lion and a panther in his basement, illegally or not. Furthermore, the distinctive red shirt worn by Johnny Boy introduces him in a similar light to Tony, as a dangerous, unyielding individual. His mindless prank of exploding a red mail box immediately after he appears on screen only reinforces his reckless character suggested by the shirt, and unites him with the malevolent life of Tonys bar. Additionally in Mean Streets, Michaels superior involvement within the group of friends is signified by his striking red tie. The garment itself connotes his strong business aspirations and his destination for higher things, probably as a third rank mafia hood, whereas the colour connotes his brutal, dangerous nature, the result of which being the eventual bloodbath that marks the films ending. Indeed, one could not examine the colour red in Mean Streets and ignore the extensive use of blood in the films final sequence. In contrast to the other three characters, when we first see Charlie, he is wearing a white vest which subliminally separates him from everyone else. The first shot of the film is of Charlie waking up; as he stands up and walks across to his mirror we see two crosses. Firstly the one he is wearing around his neck and the second on his wall. This Christian symbolism, together with his white vest symbolises his purity. Through out the film Charlie comes across people who are wearing red and tempt him into sin. This is best exemplified by the black dancer in Tonys bar who is wearing nothing apart from red underwear. The close up shot of the red underwear worn by the dancer on stage reinforces the moral dilemma Charlie faces between his religion and his social aspirations. The existence of this red underwear present, in Scorseses terms, the notion of her being a whore as opposed to the virginal white dress worn by Vickie in Raging Bull, or Betsy in Taxi Driver, who appeared like an angel, or even Charlies white vest at the beginning of the film. The red underwear implies that the girl is immediately connected to the immoral world of Mean Streets, and therefore brands her a whore. However, the red also connotes Charlies obvious desire for the girl, an emotion strong enough for him to dance with her. Nevertheless, the dance is immediately followed by Charlies own penance of burning his finger on naked flame, a ritual of his we are first introduced to in the opening scene in the church, which again reminds us of how his religion has helped confuse his moral state of mind. Indeed, Charlies Catholic upbringing contributes greatly to his rejection of the black dancer from Tonys bar, even though he desires her. Comparably, J.D.s Catholic persuasion leads to his rejection of The Girl from Whos That Knocking At My Door, which is due to his need for a virginal bride. This example is particularly harsh, as his refusal is a consequence of her previous rape, which in his eyes means she is a whore. Whos That Knocking at My Door and Raging Bull play like diagnostics of the Madonna/Whore complex. The black and white cinematography only heightens the sexual stereotyping. As I have mentioned above that Vickie in Raging Bull, or Betsy in Taxi Driver wear white, Scorsese makes all his blondes wear white when we first see them in his films, such as Sharon Stone in Casino. The white clothing adds t o their virtuousness and virginal aesthetics before they are corrupted by the main male protagonists- very often played by DeNiro himself. The blonde in a white clothing could also be a reference to Alfred Hitchcock, as he also used to present his blonde female characters in white when we first see them. In Raging Bull, Jake Le Motta even buys his wife a white dress and white sunglasses as he wants her to be the virginal and virtuous type, as throughout the film he believes that she is cheating on him. In Mean Streets, the colour red serves as a metaphor for the hostile nature of the protagonist Charlie, his world and the destiny of him and those surrounding him within the film. Moreover, the brining red of Max Cadys sports car is perfect example of how the colour red has been incorporated as a subtext in Scorseses remake of Cape Fear. The gruesome, violent acts performed by Cady throughout the film, together with his brutal nature, are suggested by his extreme choice of vehicle. This frightening aspect of the colour red could be reference to The Counterfeit Traitor (1962, George Seaton). As Scorsese said of the film once- for kids brought up on the black-and-white battlegrounds of newsreels, the use of color here especially the color red, which is very important gave the film a presence and an immediacy that frightened us.[3] As this quote shows that the colour red was sometimes used by Scorsese to scare his audience. This heavy use of red clothing is not only present in Mean Streets but almost all of Scorseses protagonists wear red such as DeNiro, Pesci and Stone in Casino wear it at various moments in the film. Scorsese in an interview said that on the streets of Little Italy that- The one thing you couldnt wear was the colour red. I remember wanting a red jacket, and my father said, Only pimps wear red, youre not having one and thats that. Wearing red was also a sure way to attract police attention.[4] As this quote shows Scorsese is very aware of the various associations with wearing red clothing, such as you might be associated with pimps and that you might attract police attention. This adds credence to the moral dilemma that Charlie faces in the film. The introduction of Michael considering the religious themes in the film his character could be a reference to Lucifer as he hunts them down and shoots them during the films climax at the end is important when considering Scorseses use of the colour red with relation to the rest of Mean Streets. Firstly, he delivers a large red box of Marlboro cigarettes to Charlie, which he places on the table between the two characters. The cigarettes are positioned centrally on the screen, automatically capturing the audiences attention. Initially, Charlie complains about the brand of cigarettes, but accepts them after Michael explains that for these prices Charlie, you shouldnt complain. Therefore, we assume Scorsese focuses on the cigarettes, by means of their red colour and positioning in the mise-en-scene, in order to present the ineffectual nature of Charlie within the realm of his world. Surely, forsaking his preferred choice of cigarettes is a minor, yet noticeable sacrifice; one he must make to be a part of the gangster life. As I have mentioned, Michael Powells influence is all over Scorseses work. His distinct usage of the colour red is a direct homage to Powell. It is interesting that Powell twice counselled Scorsese against the colour red. The first time was When Powell saw 8mm test footage of DeNiro sparring, he remarked that The red boxing gloves are too red. And Scorsese agreed and that was one of the reasons why [he] decided to make the film [in] black-and-white.[5] Another reason why Scorsese did not shoot the film in colour was because A number of boxing films were in production such as Rocky II, The Main Event, a remake of The Champ, and Matilda and so Scorsese wanted to go another way (LoBrutto: 223) and be original. Another scene that inspired Scorseses use of red, in The Red Shoes, was the main protagonists use of bright red lipstick which he used for Francine in New York, New York. As LoBrutto wrote that Francines deep red lipstick is accurate for the period but another opportunity to dominate many of the images with the color of his obsessions of hot tempers more than sexual temperature. (LoBrutto: 210) As the quote shows that this time Scorsese used the colour red not to symbolise violence or sin but as a sexual code. The colour red was no doubt a major colour not only in Mean Streets but also in Taxi Driver, particularly the scene set in the brothel. Red can imply danger, but in the case of the ambience of the brothel, the colour red could also imply wilful or morally wrong behaviour. The night time setting and the low key lighting has been significantly used in Taxi Driver and the constructed space closely echoes the look of film noirs. The red low key lighting produces a sombre and mysterious mood and emphasising deep shadows to create tension in the scene. During the final climax in Taxi Driver, the face of Travis and Sport have been clearly highlighted by the strong light effects from indoors and with red light emanating from the neon lights of the street even though there are not that many street lights when we saw an exterior shot of the building. At one moment during that sequence of the film we see a halo of white light dimly reflected over Travis shaved Mohican head which neutralises hi s violence and gives him the appearance of an (avenging) angel. As since white by tradition represents purity and innocence. Since red light draws the audiences attention, the function of flashing red lights increases the power of the colour such as the rotating red and blue light from the police car at the end of Taxi Driver. The colour red is not only used at night but also in the daytime. In these cases, Scorsese fills the mise en scene with bright red objects. For example when Henry crosses the street, to teach Karens neighbour a lesson for touching her, by beating his face with the end of his gun: the car, the flowers, the toolbox and even the house itself are all bright red. This scene shows that even the peaceful leafy suburbs are not safe during the day time when there are hoodlums present and that no one is safe from them. Also when Henry first explains how Jimmy hijacks trucks without using any force, we see Jimmy completely covered in red lighting. Or when Henry spends a paranoid day driving around his neighbourhood, prepping a batch of cocaine for delivery, and he keeps calling home to ensure his brother is properly stirring the bright red source (a symbolic reference to blood). In Taxi Driver, this technique is apparent throughout the film, with the streets of New York presented as an inferno of evil and treachery or as Bickle calls it: an open sewer full of filth and scum. Scorseses use of expressionistic colour shows us how Bickle observes the nocturnal world around him. Contrasting to the darkness, neon lights appear extra bright, and many shots are taken of blurry colours seen through water on the windshield. This palette of colour once again takes the audience inside Bickles mind. During the scene were Travis shoots the pimp, Scorsese employs the use of surrealistic colour. Everything inside the building seems grungy and dirty, and the extra bright red colour of the blood stands out over everything else. This theme was again used by Scorsese in After Hours, which again happened predominantly at night with various neon lights incorporated into the mise-en-scene. Both Minnelli and DeNiro in New York, New York wear red clothing which again connects their characters with the red symbolism of the city. By making the city red, Scorsese represents the city as malevolent. In Mean Streets, Taxi Driver and Goodfellas the city is colour coded in bright red. This is especially true in New York, New York, the city, no matter if it is interior space or exterior is predominantly red, and yet the opposite can be seen in the film. As DeNiro and Minnelli meet outside of the city in the woods, their clothing and setting is white or pale. This sudden change in colour instils in the audience the contrast between the peaceful and pure rural space with the sinful inner-city space. Not only is red an important colour in Christianity but also brown. In Scorseses Last Temptation of Christ (1988), he uses a very monochromatic brown colour to emphasise Jesus humanity and to contrast Jesus the poor peasant with the power and riches of Rome which are decorated in red and gold. However like his other films, red is another major colour symbolising the final spilling of Jesus blood. Of course in this respect, red is a prominent colour in many Jesus films, none more than Mel Gibsons The Passion of the Christ. Whilst the film opens under a blue filter, the rest of the film is subject to the bright red blood of Jesus. Religion is also at the heart of Scorseses remake of Cape Fear. Max in the film is sent to the family by God to test them. Each member of the family displays a tendency toward immoral behaviour or what they perceive to be immoral behaviour. Such as when Sam is asleep, Leigh is seen grooming herself in the bedroom mirror and day dreaming of other men, at which point Max appears outside the house, backed by a dazzling display of fireworks which is a sexually charged image as the night sky is associated with the feminine and fireworks can represent the male orgasm. The colour red is again important in the film as when she and Sam go out to investigate she guiltily wipes the red lipstick from her lips. It almost seems that her sinful thoughts provoked Maxs presence. Maxs superhuman ability to withstand pain is yet another religious clue. He is superhuman because he is what he claims to be, a messenger from God sent to test the family, he even says: Youre a VIP on Earth. Im a VIP in heave n. This is why he is able to fight back against the three thugs despite a beating that would render any human demobilised. Another religious use of the colour red can be found in the scene in which Sam hallucinates crucifixion wounds in his hands which can represent that his soul has been saved. This can not be said about many of Scorseses characters in his other films as most have committed too many sins to be saved or die before they can be saved such as the final climax in the lift in The Departed. As LoBrutto noted, Red is also identified with blood, the Passion of Christ, the Crucifixion, and the suffering Jesus endured on earth for the salvation of mankind. [à ¢Ã¢â€š ¬Ã‚ ¦] The stigmata are wounds that bleed openly, corresponding to the feet, hands, side and brow of the crucified Christ. A substitute for a baptism of holy water is blood. (LoBrutto: 64-65) So therefore a character can be born again via blood baptism, for example, Travis during the climax of the film is covered in blood and therefore born again as he saves the girl. As LoBrutto also wrote: Scorsese was revealing his obsessions with Old Testament values: revenge, redemption, and the ancient rite of purification by blood. (LoBrutto: 64-65) These themes Scorsese has obsessed about for his entire career as they appear repeatedly in his films. As a young man, Scorsese wanted to become a priest, but he decided to become a filmmaker after his many visits to the movie theatre. He proposed that films are a new secular religion and that they can offer the viewer and the director redemption and salvation.[6] That is why in Mean Streets, it is not surprising that Charlies confessional speech in church at the beginning of the film focuses on the forgiveness of sin, an important theme that runs throughout the film, often in his narration. His tormented dialogue begins with the narration of Scorsese himself: Lord, Im not worthy to eat your flesh, to drink your blood. This profound image demonstrates immediately the importance of religion to the character of Charlie, and indeed Scorsese, as he himself explains: My voice is inter-cut with Harvey [Kietel]s throughout the film, and for me that was a way of trying to come to terms with myself, trying to redeem myself. In this sense we realise exactly how personal the film is to Scorsese, as a creative form of art, and as a source of redemption, and are able to make a comparison between Charlie and himself. Furthermore, Charlies narrative reference to blood relates to the blood red imagery apparent throughout the film, in this case utilising it to realise Charlies discomfort with his religion. As Charlie stands to move to another part of the church, we are presented with an aerial long shot of the chapel, whereby the dark red of the chairs seem almost like a tide of blood from the countless confessions typical to that of Charlies, in which the blood of Christ has been spilt in vain. Indeed Charlie explains before this scene his perception that: you dont make up for your sins in church, you do it in the streets and at home; the rest is bullshit. Consequently, we are aware that religion is not so much a belief of Charlies, but merely a formality, and as in Boxcar Bertha religion is an insidious, pervasive, destructive idea, inescapability allied to the forces of greed and manipulation. Moreover, the overt use of red candles surrounding Charlie in the church, which is similar to that in Iriss confessional scene in Taxi Driver, is symbolic of the burning hell he experiences, much of which is due to his overpowering dilemma with his religion. He explains that pain in hell has two sides. The kind you can touch with your hand the kind you can feel in your heart, and the spiritual side. And you know the worse of the two is the spiritual. Whilst he is uttering these words, the action on screen reverts from the church to the burning red of Tonys bar. Immediately we realise a connection between the hell Charlie describes in church, and the hell we perceive of his social climate, the colour red being a vital link in presenting this hell. Colour can affect us subliminally, and this is best exemplified in the modern day by restaurants fast food restaurants like Burger King have a lot of bright colours including red -which makes you want to buy the food quickly and leave whilst expensive restaurants use mainly neutral colours which make you more relaxed and stay for longer. Therefore the effect of the use of red in Tonys bar, in Mean Streets, could also then represent their fast pasted lifestyles in New York. The emphasised red glare evident within Tonys bar metaphorically can also instils a sense of hell being an unbearable inferno; suggesting an atmosphere full of sin and corruption, the occupants of which are doomed. Even when Scorsese showed Mean Streets to Michael Powell, Powell advised him the second time (the first being the red mitts in Raging Bull) told him that he overused the colour red in Mean Streets and that he should remove some of the red lighting, which Scorsese refused. [7] This expressionistic use o f red lighting can be examined in films as far back as 1927, when Fritz Lang emphasised the hellish qualities of the underground slave factory in Metropolis by bathing the entire mise-en-scene in ominous red tint. Whereas Langs use of red reinforces his overtly expressionistic style, Scorseses appears simply as a flash of expression, which combined with the strong, documentary style realism of Mean Streets, seems all the more significant. Furthermore, the long motion tracking shot on entering Tonys bar works well with the glaring red effect, establishing a tense, almost nauseating atmosphere, which emulates perfectly with the hell described by Charlie; a feeling that is further intensified by the use of soundtrack, in particular Jumping Jack Flash by the Rolling Stones. The sequence is similar in style to that of Goodfellas, whereby the camera slowly closes in on Jimmy, and using just only 30 frames of film per second. Although his character has no verbal narrative in this scene, the expressive combination of slow camera movement and contemporary music highlight Jimmys tension and anger, enabling the audience to share his hatred, and assume his intention to get rid off Mauri. This slowing-down of the film has become a trade mark for Scorsese as he uses it in almost every single film he has made, even in his earliest short films like The Big Shave. In Mean Streets, the red walls of the restaurant Charlie visits later in this extract is also an important device of Scorsese, used to subtextually progress the narrative through the elaborate mise-en-scene. On one level we could understand this use to be symbolic of Charlies frustration due to his long awaited possession of the restaurant. However, with relation to the red of Tonys bar it suggests, contrary to Charlies belief, the venture may not be a way of escaping his hell. In other words his moving from one red inferno, that of Tonys bar, to another, the restaurant, neither improving nor solving his problems. As Roger Ebert wrote in his Great Movies essay on the film, The real world is shot in ordinary colors, but then Charlie descends into the bar run by his friend Tony, and it is always bathed in red, the color of sex, blood and guilt.[8] This quote can also applies to the bar in Goodfellas, The Bamboo Lounge, which is also lit with a similar red glow with the red lighting of the bar lounge making the characters face completely red. Or on Henrys first date with Karen, when his influence and generous tipping allows them to skip the line at the Copacabana, the entire club is awash in red lighting. A similar technique is employed in Taxi Driver, where the red walls of the Palentine building suggest Betsy will not be the answer to Traviss problems, and she will not relieve him from the Hell in which he suffers. Scorsese has continually used red lighting to create an insidious inferno for his immoral protagonist to dwell. In the book Gangster Priest: The Italian American Cinema of Martin Scorsese, Robert Casillo writes that the red in Goodfellas is associated with blood, violence, suffering, and passion. It can even be read as more simple than that. Nearly every shocking deed of all shapes and sizes is emphasised onscreen by a splash of bright vibrant red. When the mafia men do something as gruesome as beat a man to death for insulting Pesci, they do it in a bar room filled with red lighting. And when he comes alive in their trunk as they try to dispose of the body, the cars brake lights casts an unbelievably strong red glare on DeNiro and Pesci. They are literally a washed in a bright red smoke filled mise en scene when burying their victim Billy. The malevolent extent of their crime highlighted by this expressive use of lighting, and the immoral world they share is inflamed upon us. The se quence even ends with a highly unusual fade to red. When they have to go back six months later and dig up the same body, things get even more abstract. Its as if their collective sins have stained the film stock permanently. There is no other colour apart from red in that scene. All of these scenes gave the impression to the audience of the images of Hell, which increased the insinuation of violence. As LoBrutto noted that as much as Scorsese enjoyed musicals and comedies it was the morality and street justice of the gangster film [that was] most reflective of the life he lived in Little Italy. [à ¢Ã¢â€š ¬Ã‚ ¦] He was raised in a coded culture that fenced out all others. [à ¢Ã¢â€š ¬Ã‚ ¦] He was tortured by conflicts presented by his two masters the church and the cinema. (LoBrutto: 63) As Charlie struggles with finding the right path in Mean Streets, the film begins with a shot of a projector showing us the film we are about to see. It is as though the characters now that they ar e in a movie and so Scorsese ties in the church and the cinema at the same time. Scorseses overtly violent style often involves an overwhelming amount of blood on screen, from his early short film The Big Shave, to Cape Fear, and here it helps to present a horrific image of the pain and penance experienced by Johnny Boy and Charlie for their sins, and highlight the extremely harsh consequence for Teresa who is oblivious to the extent of her brothers trouble. The Big Shave was widely read as a metaphor for the Vietnam War. On screen a young man enters a pristine white bathroom and walks up to a mirror just like Charlie does in the opening scene of Mean Streets in which he walks up to a mirror and scratches his face. The man in the bathroom begins to apply the puffy white shaving cream on his face which again connects to the notion of innocence and purity. Whilst shaving, one of the razor strokes pierces the skin and he begins to bleed. Confused, he continues his morning shave but now each lash of the blade tears into his tender flesh deeper and deeper. Soon his plain features are totally cut open. A daring ear to ear swipe of the razor literally slashes his throat open. Blood covers him and falls around him, the bright red contrasting the perfect spotlessness of the bathroom. The same way Scorseses blondes contrast at the beginning of his films as they wear white and the setting is filled with red. At the end of The Big Shave, there is ev en a fade to red just like the ending of the scene in which DeNiro, Pesci and Layoota bury Baits. As if the blood of the self torture soaks into the celluloid and fills the entire frame. So therefore The Big Shave is representative of USAs irresponsible participation in the Vietnam War, especially their self destructiveness. As LoBrutto noted that The Big Shave shifted the emphasis from personal to political (LoBrutto: 62) and so the red of the blood now represents the spilled blood of Vietnamese and American soldiers. In Mean Streets, we finally realise the true hell that constitutes Little Italy, and understand the violent outcome when anyone tries to subvert the statue quo. In addition, Scorseses powerful, gut-wrenching sequence in Taxi Driver, where Travis savagely takes out an entire brothel has been acknowledged for its abundant overflow of blood. Indeed, the MPAA was ready to give it an X rating for violence. They suggested he tone it down the red blood, in order to get an R rating. So, Scorsese put the scene through a special chemical treatment that made the blood darker. The darker version of the red blood turned out almost more powerful than the splattered ketchup style colour of the original. In Scorseses view, it made the scene more sickening and disturbing, but he got his R rating. And yet it is still the colour red as Jean-Luc Godard put it: Its not blood, its red.[9] Scorsese also uses the colour red for his opening titles as he himself has recognised that the burning credits and foreboding red glare of the opening of King Vidors classic western Duel in the Sun (also in his top ten English Language film list which exemplifies the use of light and color[10]), has affected his use of red at the beginning of his films and he also said how as a child he was amazed how the use of colour could produce such a powerful effect. Possibly one of the most blatant incorporations of the colour red in Scorseses work is the credit sequence in Raging Bull, whereby the prominent red letters of the films title and DeNiros name is set against the gloomy black and white image of the boxing ring. The boxing rings ropes split the screen into four distinct parts representing four different parts of his lif

The Truth Exposed in A Clockwork Orange Essay -- Clockwork Orange Essa

The Truth Exposed in A Clockwork Orange      Ã‚   Alex, the fifteen-year-old narrator of Anthony Burgess's novel, A Clockwork Orange, lives in a society where violence reigns. This novel has a very direct nature, and is often blunt to the point of offense, but this makes it more powerful and helps to further its point.   This point is that everyone is out for themselves, whether they be the police, government or citizens of this society.      Ã‚  Ã‚  Ã‚  Ã‚   In this book, the police can be just as violent as Alex and his droogs, or gang.   In fact, by the end of the novel, his droogs have themselves become the police.   The police have no qualms about beating people almost to the point of death as they do with Alex both at the beginning,   "...they all had a turn, bouncing me from one to the other like some very weak bloody ball...and fisting me in the yarbles and the [mouth] and the belly and dealing out kicks...I [was] sick...on the floor..." (70) and at the end of the book for no other reason than they feel like it. "...It was all panting and thudding against this like background of whirring farm engines..."  Ã‚   (150) There seems to be no difference between the people being beaten by streets punks such as Alex and the police, who are supposed to protect them. The novel begins with the police doing little to protect the citizens, for how else could a fifteen year old kid and three of his friends rule the streets?   They also seem to relish beating Alex for the reason that they don't get to do it often.   However, by the third part of this book, crime is almost non-existent, but   the police are far more brutal. Neither of these scenarios is the bet... ...of the violence and decide to settle down and start families.   This is something the citizens, police and government never learn.   A young woman defends herself by beating Alex at the beginning of the novel, and an old man beats him at the end.   The government changes him one way at the beginning, and still not satisfied, change him again at the end.   The police beat him at the beginning and the end.   Even Alex's social worker spits on him.   However, maybe we see hope for the future with the true change in Alex at the end of the novel.    Works Cited and Consulted Aggeler, Geoffrey.   Anthony Burgess:   The Artist as Novelist.   University:   University of   Alabama, 1979. Burgess, Anthony. A Clockwork Orange. New York, NY: W W Norton & Company. 1986. De Vitis, A. A.   Anthony Burgess.   New York:   Twayne Publishers, 1972. The Truth Exposed in A Clockwork Orange Essay -- Clockwork Orange Essa The Truth Exposed in A Clockwork Orange      Ã‚   Alex, the fifteen-year-old narrator of Anthony Burgess's novel, A Clockwork Orange, lives in a society where violence reigns. This novel has a very direct nature, and is often blunt to the point of offense, but this makes it more powerful and helps to further its point.   This point is that everyone is out for themselves, whether they be the police, government or citizens of this society.      Ã‚  Ã‚  Ã‚  Ã‚   In this book, the police can be just as violent as Alex and his droogs, or gang.   In fact, by the end of the novel, his droogs have themselves become the police.   The police have no qualms about beating people almost to the point of death as they do with Alex both at the beginning,   "...they all had a turn, bouncing me from one to the other like some very weak bloody ball...and fisting me in the yarbles and the [mouth] and the belly and dealing out kicks...I [was] sick...on the floor..." (70) and at the end of the book for no other reason than they feel like it. "...It was all panting and thudding against this like background of whirring farm engines..."  Ã‚   (150) There seems to be no difference between the people being beaten by streets punks such as Alex and the police, who are supposed to protect them. The novel begins with the police doing little to protect the citizens, for how else could a fifteen year old kid and three of his friends rule the streets?   They also seem to relish beating Alex for the reason that they don't get to do it often.   However, by the third part of this book, crime is almost non-existent, but   the police are far more brutal. Neither of these scenarios is the bet... ...of the violence and decide to settle down and start families.   This is something the citizens, police and government never learn.   A young woman defends herself by beating Alex at the beginning of the novel, and an old man beats him at the end.   The government changes him one way at the beginning, and still not satisfied, change him again at the end.   The police beat him at the beginning and the end.   Even Alex's social worker spits on him.   However, maybe we see hope for the future with the true change in Alex at the end of the novel.    Works Cited and Consulted Aggeler, Geoffrey.   Anthony Burgess:   The Artist as Novelist.   University:   University of   Alabama, 1979. Burgess, Anthony. A Clockwork Orange. New York, NY: W W Norton & Company. 1986. De Vitis, A. A.   Anthony Burgess.   New York:   Twayne Publishers, 1972.

Finding Meaning in The Turn of The Screw, by Henry James Essay

  Ã‚  Ã‚   At first glance, Bly appears to be a rather lonely place. The vividly bleak backdrop for The Turn of the Screw houses a handful of servants, two orphaned children, and ghosts who fade in and out of view. But there are others present who are less obtrusive yet just as influential as Peter Quint and Miss Jessel. Peering into and out of Bly's windows and mirrors, engaging with the text and the lingering trace of author Henry James, a crowd of real and virtual readers hope to catch a glimpse of a specter or to unravel a clever Freudian slipknot that will tell them something: They may be looking for that which they think James intended as the text's truth - a transcendental center - or maybe they subconsciously wish to see a reflection of themselves, somehow transformed by the reading, smiling back from the gilded, glassy panes. Whatever they are seeking, this crew of interactive observers might be surprised to find out that there is not only one answer to James's literary mystery and that the worth of their readings centers on effect, not meaning. It is futile to seek the "answer" that is supposed to tell because, as Douglas forewarns, "the story won't tell." The langue of Bly is based on deceptions and ambiguities, ways in which "truth" is kept at bay. But many readers are unaware that they are really seeking effect, and thus experience effect only when they think they are searching for meaning. Whatever the motivation, the pack should not be deterred from the quest, for the creation that Wolfgang Iser calls the text's "esthetic pole," --its true value--depends upon a conscientious reader to notice the text's gaps and ambiguities, fill in some of the holes, and to revel in the pleasure, finally, ... ...ist's dream, how reassuring for everyone else that it will never happen.    Works Cited    Felman, Shoshana. "Henry James: Madness and the Risks of Practice." 1977. The Turn of the Screw. Ed. Deborah Esch and Jonathan Warren. 2nd ed. New York: Norton, 1999. 196-228.    Iser, Wolfgang. "The Reading Process." Reader Response Criticism. 1974. Ed. Jane Tompkins. Baltimore: Johns Hopkins UP, 1980. 50-68.    James, Henry. The Turn of the Screw. Ed. Deborah Esch and Jonathan Warren. 2nd ed. New York: Norton, 1999.    Lustig, T.J. "Henry James and the Ghostly." 1994. The Turn of the Screw. Ed. Deborah Esch and Jonathan Warren. 2nd ed. New York: Norton, 1999. 255-60.    Tompkins, Jane. "The Reader in History." Reader Response Criticism. Ed. Jane Tompkins. Baltimore: Johns Hopkins UP, 1980. 201-26.    Finding Meaning in The Turn of The Screw, by Henry James Essay   Ã‚  Ã‚   At first glance, Bly appears to be a rather lonely place. The vividly bleak backdrop for The Turn of the Screw houses a handful of servants, two orphaned children, and ghosts who fade in and out of view. But there are others present who are less obtrusive yet just as influential as Peter Quint and Miss Jessel. Peering into and out of Bly's windows and mirrors, engaging with the text and the lingering trace of author Henry James, a crowd of real and virtual readers hope to catch a glimpse of a specter or to unravel a clever Freudian slipknot that will tell them something: They may be looking for that which they think James intended as the text's truth - a transcendental center - or maybe they subconsciously wish to see a reflection of themselves, somehow transformed by the reading, smiling back from the gilded, glassy panes. Whatever they are seeking, this crew of interactive observers might be surprised to find out that there is not only one answer to James's literary mystery and that the worth of their readings centers on effect, not meaning. It is futile to seek the "answer" that is supposed to tell because, as Douglas forewarns, "the story won't tell." The langue of Bly is based on deceptions and ambiguities, ways in which "truth" is kept at bay. But many readers are unaware that they are really seeking effect, and thus experience effect only when they think they are searching for meaning. Whatever the motivation, the pack should not be deterred from the quest, for the creation that Wolfgang Iser calls the text's "esthetic pole," --its true value--depends upon a conscientious reader to notice the text's gaps and ambiguities, fill in some of the holes, and to revel in the pleasure, finally, ... ...ist's dream, how reassuring for everyone else that it will never happen.    Works Cited    Felman, Shoshana. "Henry James: Madness and the Risks of Practice." 1977. The Turn of the Screw. Ed. Deborah Esch and Jonathan Warren. 2nd ed. New York: Norton, 1999. 196-228.    Iser, Wolfgang. "The Reading Process." Reader Response Criticism. 1974. Ed. Jane Tompkins. Baltimore: Johns Hopkins UP, 1980. 50-68.    James, Henry. The Turn of the Screw. Ed. Deborah Esch and Jonathan Warren. 2nd ed. New York: Norton, 1999.    Lustig, T.J. "Henry James and the Ghostly." 1994. The Turn of the Screw. Ed. Deborah Esch and Jonathan Warren. 2nd ed. New York: Norton, 1999. 255-60.    Tompkins, Jane. "The Reader in History." Reader Response Criticism. Ed. Jane Tompkins. Baltimore: Johns Hopkins UP, 1980. 201-26.   

Problems of Human Services Clients Essay

In this paper, I will be describing the range of problems facing human services clients and how the specific helping skills that can be used with clients. There are many problems a human services faces with a client. The needs can range from helping clients with issues such as, substance abuse, mental or physical illness, grief, disabilities, caring for children and families, domestic violence, Veterans, and a personal loss. Also, a human services clients can have a large range of family problems that can lead into more difficult problems. (Woodside & McClam, (2011). A human service worker must gain clients trust to help a client get the best possible help they need. For instance, some predictable problems are due to a rapid change in society such as loss of jobs, homeless of families with disabilities. However, we all need to work together as a team so that we can provide help with their daily needs. In addition, when human service professional is working with a child they must identify if the home is a safe place to live. Also, a human service must ensure that a child have its basic needs to survive. They can also work with the parents by helping them with family planning such as birth control for each individual. Moreover, a human service professional can also help with parenting classes for their parents. Some countries cultures are different. However, there are several ways a human service can guide parents how to fill out an application for food stamp assistance so that the family will have a meal to eat every day. Another problem a client may face is to find good childcare for their child. For instance, a client may have job, but can’t afford a daycare for their children due to low pay wages. (Woodside & McClam, (2011). Human services help clients that need assistance with low income housing. There are some people facing problems with domestic violence in their home. However, most situations can be dangerous and physical violent causing someone to get hurt or bodily injury causing a death. Moreover, children living in a violent environment can be in danger for their lives. Therefore, a child can be taken from their home by human services because the child is no longer safe. Human service helper must take the necessary measures to finding a foster or an adoptive parent for their client children’s. The primary categories of problems that affect a client of human services are gather together into social-cultural barriers. Moreover, there are a huge figures that affect clients whom need services under this group. There are many problems in some cultures, a women can’t accept family planning services from a human service provider because the woman can’t make that decision. They would have to get permission from their husbands. Communication is the key to understand one another by sending messages to each other. We use communication to get to know the client perspective of the situation. (pg. 201). A human service provider pay close attention of the client by focusing on the verbal and nonverbal messages from a client. Communication is a very important factor in helping with a client. According to Woodside & McClam, (2011). Furthermore, communicating with one another can make the problem solving process of a client flow smoother. Woodside & McClam, 2011 report that communication involves sending a message to another person with the conscious intent of affecting the receiver’s behavior. (pg. 201). In figure 7. 2 (pg.  201) shows the method when a person is receiving the message and if he understands the sender message correctly this is an effective communication. A message can be verbal or nonverbal. For instance, a client can walk into a human service office, the helper say to him verbally,† Hello, how are doing today? † A verbal communication is when words come out of a person mouth. The client didn’t speak to the human service provider, he just shrug his shoulders and nodded his head forward. The behavior of the client was non-verbal because he didn’t show any reaction. The well-educated skillful helper interpret the sender’s message by the client behavior. (Woodside & McClam, 2011). (OKUN & Kantrowitz, 2008). Reported the professional worker is able to hear what the client was saying by the way he reacted. Moreover, a person may smile and give out a handshake, this a non-verbal behavior. Non-verbal behaviors consist of a client’s posture, tone of voice, gestures, eye contact, and touch. For example, when we first go out on a date, we want to impress the other person by smiling, talking in a soft low voice. Furthermore, good eye contact is better whenever, we are communicating with each other. Therefore, we must make a good impression when we first meet a person. Next step in helping skills that can be utilized with a client is listening and responding. (pg. 204). Listening and responding according to Woodside and McClam, (2011). Researched that the way we listen and respond to person is very important in the helping skills process because a human service provider can build a trusting relationship with their client. Moreover, a person must hear what the other person is saying by sending a message verbally or non-verbally. Some people think they are good listeners, but most people aren’t. (See Table 7. 3). (Woodside & McClam, (2011). There are healthy behaviors in communication such as, verbal behaviors. Verbal behaviors are mirroring a person feelings, clarifying, showing a sense of humor, providing information that a client needs, explaining helper roles, sharing information about oneself, being non-judgmental, asking questions, making the right use of gestures and touching. Nonverbal behaviors are making eye contact, listening to a person, smiling, nodding head one’s head, leaning forward, maintain a relaxed posture, facing the client, displaying facial expression, being punctual, and maintaining a moderate rate of speech. (pg. 204). In addition, we must focus on the client by utilizing these helping skills to help provide the necessary help a client may need. In the text book, (pg. 205). There is a certain kind of listening a human service engage in is called responsive listening or active listening. There are two ways of responsive listening or active listening that is presented by Egan (2010, pp. 134-135) he offered that there are many things that a helper can do to talk to a person that they are paying close attention. (Woodside & McClam, (2011). In conclusion, Egan (20) researched that there are five behaviors that a human service professional can follow to let their clients know they are listening. First, s means face the client, O means adopt an open posture, L means lean toward the other person, E means maintain good eye contact, and R means try to be relatively relaxed. Furthermore, these are acronym SOLER. Moreover, remembering these acronym can show a person that the helper is listening. Attending behavior is another way a helper can let the client know that they are pay attention and listening. In this paper, I have discussed some ranges of problems facing human service clients and specific helping skills that can be used with clients.

Influence in Politeness

Influence in politeness -Culture †¢Politeness id considered a desirable characteristic in most cultures. However, cultures are different in how they define the politeness. Example: the English speakers showing consideration for others and presenting the confidence and polish as their politeness; on the other hand, the Japanese showing respect and presenting their selves with modesty as their politeness. †¢Cultures differ in the rules for expressing politeness or impoliteness and also in the punishments for the violation of the accepted rules.Example: in the Asian cultures, people who emphasize more politeness are often singled out when interview for a job; on the other hand, they will also receive harsher punishment for violation than the western cultures. †¢Politeness is recognized as an important part of interpersonal interactions in the business world. The rudeness in the workplace, it is been argued, reduces the performance effectiveness, hurts creativity, and lead s to increase the worker turnover. Example: because of her boss’ bad temper, my sister did not want to stay any longer in her previous company and search for a new job. Personality and professional training †¢Your personality and personal training will also influence your degree of politeness and the way you express the politeness besides cultures. Example: my degree of politeness is different when I interact with my classmates and interact with the lecturers. This condition depends on my personality in how I think of them. Another example: when I do the presentation, I speaks in formal language to show my respect to the audiences, and it will be different if I just attend the generally class. Politeness in Inclusion and Exclusion Inclusive messages include all people present and acknowledge the relevance of others and normally considered polite. Example: using English language in this university. When we discuss our homework, we will use English language to adjust to th e foreigners and respect them. oExclusive messages shut out specific people or entire cultural groups and are normally considered impolite. Example: when I talked to my family on the phone, I usually used my native language in order that the surrounding people could not understand what I said.