THIS essay examines the idea of tolerance in our advanced industrial society. The conclusion reached is that the realization of the objective of tolerance would call for intolerance toward prevailing policies, attitudes, opinions, and the extension of tolerance to policies, attitudes, and opinions which are outlawed or suppressed. In other words, today tolerance appears again as what it was in its origins, at the beginning of the modern period--a partisan goal, a subversive liberating notion and practice. Conversely, what is proclaimed and practiced as tolerance today, is in many of its most effective manifestations serving the cause of oppression.
The camera pans down to reveal a large planet and its two moons. Suddenly, a tiny Rebel ship flies overhead, pursued, a few moments later, by an Imperial Star Destroyer—an impossibly large ship that nearly fills the frame as it goes on and on seemingly forever.
The effect is visceral and exhilarating. This is, of course, the opening of Star Wars: Episode IV—A New Hopearguably one of the most famous opening shots in cinema history, and rightfully so. Propaganda theory essay compare this to the opening of Star Wars: Episode I—The Phantom Menace It opens with some boring pilot asking for permission to land on a ship that looks like a half-eaten donut, with a donut hole in the middle.
The problem, though, is that it may not be the fairest of comparisons. In Menace, a Republic space cruiser flies through space towards the planet Naboo, which is surrounded by Trade Federation Battleships. The captain requests permission to board.
On the viewscreen, an alien gives the okay. The space cruiser then flies towards a battleship and lands in a large docking bay. In the opening of Jedi, an Imperial Shuttle exits the main bay of a Star Destroyer and flies towards the Death Star, which looms over the forest moon of Endor.
The captain requests deactivation of the security shield in order to land aboard the Death Star. Inside the Death Star control room, a controller gives the captain clearance to proceed. The shuttle then flies towards the Death Star and lands in a large docking bay.
As you can see, there are some definite similarities between the two sequences. And they both consist of a similar series of shots. But, at the same time, there are some clear differences between the sequences.
Third, the screen direction is reversed. The Republic cruiser moves across the frame from left to right, the Imperial shuttle moves right to left. Even some of the camera angles are reversed in a way. The cruiser enters the docking bay in a low-angle shot, the shuttle in a high-angle shot.
From this standpoint, then, the two sequences seem almost like mirror images of each other. Now, the prequels are filled with frequent callbacks to the original films, to be sure, but this seems particularly odd. Assuming it was intentional, why would the opening of Episode I reflect the opening of Episode VI and at such an incredible level of detail, no less?
It comes off like a script written by an eight-year-old. Episode III—Revenge of the SithStoklasa does offer up two possible explanations for any and all of the similarities between the old films and the new films: Anne Lancashire, professor of Cinema Studies and Drama at the University of Toronto and whose seminal writings on Star Wars form the basis for much of this essayoffers a third, perhaps more thoughtful, possibility that might help shed some light on the matter.
Lucas himself alluded to this in an interview following the release of Star Wars: Episode II—Attack of the Clones Like Luke, Anakin accepts the opportunity and is flown through space with his mentor to face a test for Luke, the Death Star rescue of Leia; for Anakin, a literal test before the Jedi Council.
Details of the narrative also correspond from one film to the other: This is also both the plot pattern of each of [Star Wars: The integrating viewer can now perceive that Star Wars 1 through 6 will give us the same pattern arching over all six films, in relation to Anakin as hero: Overall, though, Lancashire sees the repetitions as playing a significant part in the design and purpose of the films.
Now, Lucas has spoken often about the use of repetition in Star Wars.The Online Writing Lab (OWL) at Purdue University houses writing resources and instructional material, and we provide these as a free service of the Writing Lab at Purdue. terrorists, this Essay will focus on speech about terrorists in the United States.
More specifically, it will examine the depiction of terrorists through a critical race theory lens and through a propaganda lens. Propaganda does not allow people to think on their own, and in that sense, propaganda is unnatural and wrong.
Even if a certain piece of propaganda is promoting something positive, it still forces alteration to the mind, and persuades people in such a fashion that it is as though these people are being brainwashed by propaganda.
TIP Sheet FALLACIES and PROPAGANDA. It is important to be able to evaluate what you read and hear. If you did not sort the credible from the incredible, the serious from the playful, the essential from the nonessential, the world would be full of conflicting and bewildering messages.
October 31, by Mike Klimo | Star Wars RING THEORY: The Hidden Artistry of the Star Wars Prequels. How George Lucas used an ancient technique called “ring composition” to reach a level of storytelling sophistication in his six-part saga that is unprecedented in cinema history.
IN WATCHING the flow of events over the past decade or so, it is hard to avoid the feeling that something very fundamental has happened in world history.