Accuracy of Bayley Scores as Outcome Measures in Trials of...

Introduction Long-term follow-up of high risk preterm infants has become increasingly important as the proportion of infants surviving has increased steadily over the past several decades. It is well known that these infants are at increased risk of cognitive impairment. (Class) With this increase in at risk survivors, many clinical research questions arise that can only be answered by long-term follow-up studies. (Vohr, Teune) Clinical trials that examine common perinatal therapies should also include a long term follow-up component in their research to examine later neurodevelopmental outcomes in their cohorts. Although there is no prescribed protocol dictating which specific neurodevelopmental tests are to be completed during follow-up, the Bayley Scales of Infant and Toddler Development and all its revisions, is the most widely used test to assess neurodevelopment of very preterm infants in the first three years of life (Luttikhuizen) and is a common outcome measure used in clinical researc h trials. Standardized developmental assessments such as the Bayley that are used in a pediatric clinical trial setting as primary outcome measures need to be reliably administered and scored. Trained test administrators and scorers are generally careful that the tests they are administering are conducted and scored correctly. However, given the range of numerical calculations and transcriptions required in scoring the results of these tests, there is always a chance that errors

The Ethical Implications Of Morality Essay - 2013 Words

As shown in the interview above, even the child that is interviewed â€Å"reason differently about moral actions that affect the welfare of others, and matters of convention in which the status of actions is a function of agreed upon social norms or the dictates of authority† (Nucci, 2009, p. 2). Since moral implications are independent of circumstances and contexts, whether it is homicide or involuntary manslaughter, both are morally unjustified acts and even when a crime in which the victim’s death is unintentional does not make it less susceptible to moral judgment compared to an intentional murder crime. With or without context, the act of taking someone else’s life is morally unsettling and unacceptable under the universal moral codes. Cultural relativists would say that there is no need to assess the ethical significance of different practices and beliefs because the notion of what is ethically right or wrong is solely determined by the each individual culture. It is important to note that this idea portrays morality as something that can be manufactured and social constructed, but in reality, morality is predetermined and an intrinsic aspect of human nature and to what I call, â€Å"the natural way of things†. At this point one might question the necessity and importance of universal moralism or morality for that matter. Morality embodies the concepts of moral standards, moral responsibility, and moral identity. Moral standards are principles that govern people’s behaviorsShow MoreRelatedEssay on your mom964 Words   |  4 Pagesyour mom I like your mom I like your mom I like your mom This module explores the ethical issues regarding sexual behavior. In this activity, you will develop an essay about contemporary sexual morality. Read the chapter on sexual morality in your e-text. Using information about sexual morality, select either (a) female genital mutilation or (b) same-sex marriage as your essay topic. 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The films Contagion, directed by Steven Soderbergh in 2010, and GATTACA, directed by Andrew Niccol in 1997, both explore themes of morality in times of crises, whether these crises are of personal nature or affect a widespread population. Both films explore ethical implications of technology as it pertains to scientific development, and in addition weaves in a narrative surrounding various moral decisions regardi ng the personal relationships between principalRead MoreFeminist Ethics : A Better Alternative Than Traditional Normative Ethical Theories Essay1540 Words   |  7 Pages I want to address the question: Could feminist ethics provide a â€Å"better† alternative than traditional normative ethical theories? In order to answer this question, one must have an understanding of what feminist ethics is and what it aims to accomplish. 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Sunshine Chapter 18 Free Essays

â€Å"My – unlikely friend. He should have come back, and he hasn’t. And I don’t know how to find him. We will write a custom essay sample on Sunshine Chapter 18 or any similar topic only for you Order Now † â€Å"And the binding between you?† I shook my head. â€Å"It isn’t strong enough, or – or it’s like it crosses worlds. And I can’t enter the vampire world.† Or I can, I thought, but I don’t know what to do when I get there. Like how to find anything. Like how to get out again. â€Å"Then perhaps he has not called you.† Interesting that she should know he had to. â€Å"I think he is in trouble. I think he may be in enough trouble that he can’t call me. Or he doesn’t know how. Vampires don’t call humans, do they?† One eyebrow stayed up as she thought about this. â€Å"I see the difficulty.† She sat silent for several minutes and I sat in that silence, half-remembering a thing called peace. I’d forgotten peace in the last four months. It said something about my state of mind that merely sharing the fact of Con’s existence with someone else with a heartbeat made me remember it†¦in spite of the hard, dreadful knowledge of the existence of Bo. She stood up and went inside. I gave myself another cup of tea and looked at the roses. Feeling at peace, however fragilely, made it easy to slip into the visionary end of the dark-sight. The rose shadows said that they loved the sun, but that they also loved the dark, where their roots grew through the lightless mystery of the earth. The roses said: You do not have to choose. My tree said yessssss. My doe stood at the edge of the forest shadows, looking into the sunlight, her back sun-dappled. You do not have to choose. I didn’t believe it. Hey, how many hamburger eaters on the planet are haunted by cows? When Yolande reappeared, her hands were full. â€Å"I can make something more connected for you, more like a – a loop in a rope; but here is something you can try straightaway.† Two candles, and a little twist of strong-smelling herbs. â€Å"Put the candles on either side of you, and the herbs before and behind you. Light them as well – do you have smudge bowls? Wait a few minutes till the smoke from all mingles. Then seek your friend.† I waited till full night dark, and then I settled on the floor inside the open balcony door. I lit the candles and the herbs, and stubbed the herbs out again. I waited for the smoke to mingle. It wasn’t exactly a pleasant smell, but it was interesting, and intense. A†¦drawing sort of smell. It drew me into it. I closed my eyes. Con, damn you, where are you? I’m sure you’re in trouble. Call me to come to you, you stubborn bastard. I was back in the vampire space, but the smoke had come with me, wrapped round and round me like an enormously long scarf, streaming behind me into the human world, streaming before me into the vampire beyond-dark. I lay, suspended, in between, but this time I felt neither lost nor sick. Sunshine, pay attention. I felt neither lost nor sick. It wasn’t the same space. It was some other weird Other void where no human had any business. The big difference was that this one wasn’t trying to kill me. At least not at once. Was this the back way, the little country lane way, after the speed and roar of the superhighway had been too much for me earlier? I still couldn’t read the map. Pity you couldn’t just take a bus. I wriggled a little where I lay – there was still the uncanny pressure of alien-space, the difficulty breathing, the blindness, the awkwardness, as if a human body was the wrong vehicle if you wanted to travel here; but it lacked the malevolence of the nowhere I’d been in that afternoon in Aimil’s living room, and the smoke-scarf gave me a little protection, as if against a bitter wind. If I were a car, then I’d rolled my windows up. Okay. Here I was. I practiced breathing. A little time went by, if time went by here. Till the strangeness, this nonmalevolent strangeness, began to feel like†¦merely the medium I had to work with. I was a painter who had been handed a dripping glob of clay, a singer who had been handed a clarinet†¦a baker of bread and cookies who had been handed a vampire. I bent and turned, seeking the alignment I wanted. There†¦no. Almost. There. And then I heard his voice. Sunshine. Once. Only once. My name. There. The shock of when I hit the exact bearing felt like putting my whole body in an electric socket. Wow. But then I was blazing along that line like an arrow from a burning bow. The smoke was stripped away by the speed of my going, my hair seemed to be peeling off my scalp, and the pressure was increasing†¦and increasing†¦I was being stretched – rolled like a ball of dough between palms to make breadsticks, a fluff of sheep’s wool twisted and squeezed to wind round a spindle – thinner and thinner and thinner, a bit of blunt thread crushed between huge fingers, poked painfully through the eye of a needle†¦ Wham. I dropped out of the darkness, the void, the Other-space, back into something like somewhere. Back into my body, if I had been out of it. I fell a little distance, smack, onto something. Something rather chilly, and slightly yielding, but not very, and also curiously†¦lumpy. I would have slid right off it again. Except that it wrapped its arms around me, rolled me over so that it was on top of me, pinning me securely with its weight, and buried its fangs in my neck. I froze. Well, what are you going to do? And all this was happening flickflickflick like the frames of a movie, too fast to react to. It was dark, black dark, as dark as the void I had so recently traveled, and while I could see in the dark, I didn’t have much practice in this kind of darkness, and also†¦well there was this other stuff going on, you know? My chief awareness was centered on the feeling of teeth against my neck. The teeth hadn’t broken the skin. His teeth hadn’t. His hair was in my face. I’d had his hair in my face once before, but he’d been bleeding on me that time. Maybe it was my chance to return the favor? He had said he wouldn’t turn me – that he couldn’t turn me. He’d also said that I could be killed, like any other human. Standard deaths of humans included being dry-guyed. Maybe vampires didn’t like drop-in visitors. Well, I’d tried to call ahead. Ha ha. His teeth were still against my neck. Other than that he was motionless. I mean that. Motionless. Like being lain on by a stone. A stone with fangs, of course. His hair smelled musty, damp. It wasn’t an unpleasant smell – if it reminded me of anything it reminded me of spring water, wet earth and moss on the rocks around it – but it wasn’t his usual vampire smell. Don’t ask me how I knew it was him but I did. Besides the fact that I guess if it had been any other vampire he wouldn’t have hesitated midway through the fang-burying action. He was cold. Motionless and cold. Cold all the way down the length of him†¦ There seemed to be a lot of skin contact going on here. I blinked against the dark. I shivered against his body. I felt, then, briefly, his lips against my neck, as they closed over the teeth. His face rested against the curve of my neck, a moment, two moments. Two of my heartbeats. He was growing less cold. I was used – sort of – to the lack of a heartbeat, but I was pretty sure he wasn’t breathing either. What vampires call breathing. The fizziness I’d put my arms around when I’d discovered my car was gone, that day at the lake, that wasn’t there either. He raised his head. Another of my heartbeats, and another. He shifted his arms, so he was no longer holding me like a garage clamp holds a recalcitrant engine. I turned my head fractionally. I could see the gray gleam of his cheek and jaw in the blackness: my dark vision was adjusting. I felt my eyes trying to see, like when the eye doctor gives you one of those funny lenses to look through and everything is all wrong. It was disconcerting to see in what I knew was darkness like†¦burial; no, not a good metaphor. But wherever we were, it felt underground, and I didn’t think that was just the darkness. He raised his head a little farther and turned his head to look at me, and I saw the stagnant-pool color of his eyes change to bright emerald green again. I remembered that the first time I’d seen his eyes, the night at the lake, they had been stagnant-pool-colored; how had I not remembered that transformation? Probably because I hadn’t seen it happen. That had been back in the days when I believed myself to be fully human, and when I couldn’t look into a vampires eyes. He was also getting warmer. He was now no colder (say) than a hibernating lizard. This was still a little chilly from where I was though. I felt his chest expand, and his first breath drifted across my face. I remembered being carried back from the lake, leaning against that chest, recognizing breathing, not recognizing any rhythm to it. He’d taken his weight onto his elbows, so I could breathe more easily. I remembered thinking, on the long walk in from the lake, that I wouldn’t have been able to match my breathing to his. But he was matching his breathing to mine, now. I also abruptly realized that I was feeling his dick growing long and hard against my leg. We were both naked. I knew that vampire body temperature is at least somewhat under voluntary control, like circulation of the blood is. It is, perhaps, a bit variable, especially, perhaps, under stress. He’d gone from dead cold, you should pardon the expression, to what you might call normal human body heat, in about a minute. I’d known – I’d been pretty sure – he was in trouble; that’s why I was here. Perhaps I’d – er – roused him too suddenly. Perhaps he was in what passes in vampire biological science for shock, and his control systems weren’t responding. That didn’t explain the dick though. It was responding. He was now suddenly hot, as hot as if he’d been in a kitchen baking cinnamon rolls in August. I already knew vampires could sweat, under certain conditions, like being chained to a wall of a house with sunlight coming in through the windows. He was sweating again now. Some of his sweat fell on me. I’ve always rather liked sweat. On other occasions when I’ve had a naked, sweating male body up against mine, I’ve tended to feel that it meant he was getting into what was going on. This usually produces a similar enthusiasm in me. Not that there was anything going on†¦exactly. Yet. Remember how fast and suddenly this was all happening. And if he was in shock so was I. Maybe my brain hadn’t fully come with me in that zap through the void, like my clothes manifestly hadn’t. With a truly masterful erection now pressed against me I turned my head again and licked his sweating shoulder. What happened next probably lasted about ten seconds. Maybe less. I don’t think I heard the sound he made; I think I only felt it. He moved his hands again, to tip my face toward him, and kissed me. I can’t say I noticed any fangs. I had the lingering vestige of sense not to try anything clever with my teeth, which with a human lover I would have. But I was nonetheless busy with tongue and hands. I wriggled a little under him. I kissed him back as he tangled his fingers in my hair. I arched up off the floor a trifle to press myself more thoroughly against him. I was undoubtedly making some noises of my own†¦ I always thought the earth was supposed to move when you arrived, not when you’d only started the journey. One second I was raising my pelvis to meet him – and believe me, he was there – and the next second he had hurled himself off me and thrown me from him, and I was flying across the floor to fetch up with a bruising whap against the wall. He bounded to his feet and disappeared. I lay there, considering. Point one: wherever the hell I was (and I hoped this was not too literal a remark), it had a smooth, glassily smooth, stone floor. The wall I had caromed into at a guess was the same material. Point two: what the hell had happened? Point three: where did I want to start counting? I hoped I was going to have the opportunity to tell Yolande that she didn’t have to make me anything special, that the herbs and candles had worked fine. If you wanted to call this fine. I remembered, with an effort, that when I’d arrived – so to speak – Con had been cold and not breathing. But for all I knew this is merely the vampire equivalent of a nap. Lots of humans are cranky when they’re woken unexpectedly. No. I didn’t think his eyes would go stagnant-pond-colored for a nap. Okay. Maybe I had accomplished my mission – that he’d been in some kind of vampire trouble and I’d got him out of it. I should have been embarrassed. I should have been paralyzed with embarrassment. I was sitting – no, I was crooked up – naked on a cold stone floor in the dark, having been cannoned off the wall by a†¦well, a creature†¦that I had been under the impression I was about to have an intimate encounter with. Maybe I should try to be grateful at having been spared intimacy with the most dangerous of the Others. Gave a whole new meaning to the phrase under the dark. I wasn’t grateful. You want to talk cranky, coitus interruptus takes me well beyond cranky. My engorged labia felt like they were pressing on my brain – what there was of my brain – and if I didn’t get to fuck someone, something, now – a vampire would do – I was going to fucking explode. My cunt ached like a bruise. Beyond cranky, rather fortunately, doesn’t transmute into embarrassment. It transmutes into fury. As my blood pressure began to rearrange itself to a more standard unengorged pattern I was seething. I couldn’t care less that I was also naked and alone in the dark of I had no idea where. Well, I couldn’t care much. Not very much. Really. It was a large room. Empty – except for me – and the ceiling was so high even my dark-sighted eyes couldn’t make it out. No furniture. No windows. No anything. Funny sort of place for a nap. Or maybe for a solitary siege. But then I wasn’t a vampire. It was at least as dark as the inside of my closet. So nothing flickered when I looked at it. What there was to look at. Wow, what a bonus. I would try to control my euphoria. He reappeared. He was wearing what I was beginning to think of as his standard get-up of long loose black shirt and black trousers. No shoes. I couldn’t be sure but I didn’t think I’d ever seen him in shoes. He was carrying something else, which he came close enough to hand over without looking at me. I unfolded it and discovered another long loose black shirt. When I had pulled it over my head it came nearly to my knees. Gods bloody damn it all. I was not in a good mood. He was still not looking at me. I was still seething. â€Å"I beg your pardon most profoundly,† he said. â€Å"Yeah.† I said. â€Å"Nice to see you too.† He made one of those quick vampire gestures, too rapid for human eyes. My no-longer-quite-human eyes could about follow it: at any rate they registered frustration. Good. That made two of us. Although on second thought, or maybe semi-thought, I doubted he was indicating physical frustration. Uncomfortably I began to be glad of the long black shirt, which probably made me look like death, especially in this light, er, this no-light: black is not my color, any way you hang it. But then looking like death might be very attractive to a vampire. In which case there was even less to explain why†¦My anger was subsiding. I didn’t want it to subside. I needed the warmth. But he’d thrown me away, hadn’t he? Whatever his dick said, he didn’t want me. Anger was much better than misery. Misery approached. I wrapped my arms around myself and shivered. Maybe he saw the shiver. â€Å"After your – † He paused. â€Å"You need food,† he said. â€Å"I can’t even feed you.† He glanced down at himself as if perhaps he was expecting a peanut-butter sandwich to be suspended about his person. If he was contemplating opening a vein and offering it to me, the answer was No. If he was contemplating it, he rejected the notion. I wondered what he meant by can’t even feed me. â€Å"I must also thank you for†¦retrieving me,† he said. Finally he looked at me. Retrieving? Shiva wept. â€Å"Any time,† I said. â€Å"I’m sure I’ll enjoy reviewing my assortment of new scars and recalling how I got them too. The ones from being slammed on my back and landed on like a sack of boulders, and the ones a few seconds later from being thrown across the room into a wall.† I saw him flinch. One for the human. â€Å"Sunshine,† he said. He made a move toward me, and I flinched away. One for the vampire. I didn’t mean to say it. I didn’t mean to say anything about it. I was determined not to say anything about it. My voice came out high and strange, and sticky with wretchedness: â€Å"Why? I know about having to – invite – one of your kind.† For about six months when you’re thirteen or fourteen it’s every teenage girl’s favorite story: because it’s about finding out that you have power. â€Å"Maybe I got the details wrong? Like you need it engraved RSVP – I suppose you prefer the black border to the narrow gold line – delivered to your door at least forty-eight hours before the moment? Maybe you need it printed in blood on – on vellum. And silly me, I couldn’t find your door to deliver it.† My voice was getting higher and higher and squeakier and squeakier. I shut up. He stood there with his hands loose at his sides, staring at the floor. His hair flopped down over his forehead. I wanted to brush it back so I could see his eyes†¦I wanted to do nothing of the kind. I would bite my own hand off before I voluntarily touched him again. â€Å"I believe you were inviting more than you knew,† he said at last. I sighed. â€Å"Oh good. Cryptic vampire utterances. My fave. Now you’re going to say something opaque and oracular about the bond between us, aren’t you? That it got me here but let’s not get carried away maybe?† He moved so quickly I would not have stepped aside in time, but he stopped himself short and did not touch me. But he didn’t stop very short. As it was he was standing so near it was hard not to touch him. I put my hands behind my back like a dieter offered a choice of Bitter Chocolate Death or Meringuamania. â€Å"I do not disturb you by choice,† he said. â€Å"Can you not believe that?† He made another of those vampire noises: it went something like urrrrrr. â€Å"Perhaps you cannot. This – our situation – is not made easier by thousands of years of my kind†¦disturbing your kind.† â€Å"Disturb is one word for it, I suppose,† I said, nastily. I was still in a bad mood, still unhappy and wanting to cause unhappiness in return. And still half blasted out of my skull by events since I had found out that evening that my landlady knew I was jiving with a vampire. A lot had happened in a short space of time. Not just one particular thing out of a morbidly kinky soap opera. â€Å"I too am disturbed,† he said quietly. I had my mouth open for my next uncharitable remark and changed my mind. I moved away from him, found the wall, and leaned back against it. I didn’t want to sit on the floor – and have him looming over me – and there wasn’t anything else to lean on. Except him, of course, and that wasn’t an option right now. Disturbance: okay. If I could stop feeling mortally wounded in the ego for a moment I might begin to remember again what was going on here. He was a vampire. I was a human. We weren’t supposed to have any bonds between us, except straightforward generic ones of murderous antagonism and so on. And, speaking of kinky soap opera, no one ever had an affair with a vampire, not even in Blood Lore, which was always getting prosecuted for one thing or another. The reason why, when you were thirteen or fourteen, you outgrew your fascination with the idea that a vampire couldn’t do you unless you let him is that you began to take in the fact that shortly after you’d said, â€Å"Come and get me big boy,† you died. It was illegal to write stories and make movies about sex between vampires and humans. It was, in fact, one of the few mandates the global council really agreed on. The stories and movies got written and made anyway, but if the government caught you at it, they threw your ass in jail. For a long time. Okay. He probably was disturbed too. I looked at him, wondering if he was wondering how we’d wound up here, wherever here was. About why we’d been able to create this antithetical bond, and what exactly it consisted of. It probably was a good idea not to make it any more complicated – and intense – than we had to. A small part of me whispered, â€Å"Oh, rats.† Another small part whispered, â€Å"Yeah, well, how come he’s the one who managed to remember?† Suddenly I was exhausted. â€Å"Truce?† I said, still leaning against the wall. â€Å"Truce,† he said. I was only going to shut my eyes for a moment†¦ I woke up feeling rather comfortable. I was lying on something soft, but not too soft, and wrapped in something warm and furry. And there was a smell of apples. My stomach roared. I opened my eyes. No, I didn’t open my eyes, I only thought I had. I was having the most ridiculous dream of my life thus far – and I’d had some pretty ridiculous dreams in my day – something out of Gormenghast or The Castle of Otranto or House of Tombs. I wanted to say to my imagination, oh, come on. But my stomach was still roaring (I often eat in my dreams, I know you’re not supposed to) and the apples were sitting beside me with a loaf of bread, and a fantastic goblet hilariously in keeping with the general flamboyance of my immediate surroundings, so I sat up and reached for the nearest apple. And saw the silky black sleeve falling back from my arm. I didn’t hiss as well as he had, the night he discovered the wound in my breast, but I gave it a good shot. I was so used to my eyesight behaving strangely that the flitteriness of the lighting hadn’t at first registered, but it did now: both that there was light, and that it wiggled. There was some heat source behind me; I turned around. The fireplace, of course, was huge. It was shaped like some monster’s roaring mouth; you could see the monster’s eyes (well, two of them; I chose not to look for more) gleaming above the mantelpiece of its writhing lips (you might not think writhing lips would have any flat spots, but there were candelabra balanced up there, shaped like snakes’ bodies and dismembered human arms); each eye was bigger than my head, and gleamed red, although that may have been the firelight. No, it wasn’t the firelight. Con, cross-legged on the floor, straight-backed, shirtless, barefoot, his head a little bowed, looked rather as he had the first time I saw him. Only not so bony. He was also less gray, washed in the ruddy firelight. And my heart beat faster when I looked at him for different reasons than it had that first time. He looked up as I turned; our eyes met. I looked away first. I picked up the apple and bit into it. So, maybe he lived near an orchard (how long had I been asleep)? That didn’t explain the bread. I wasn’t going to ask. I wasn’t going to ask about the bottle of wine on the floor next to the little table either (the table was a depressed-looking maiden in a very tight swathe of material with no visible means of support, holding the carrying surface at an implausible angle between her neck and one shoulder. Even more implausible was the angle of her breasts, which I don’t think even cosmetic surgery could achieve), which was a straightforward local ch ardonnay. I’d have preferred a cup of tea. A glass or two of this on top of everything else that had been happening and I’d be off my chump. But hey, I was already. Off my chump, I mean. I poured some wine gingerly into the goblet. Pity to waste it: he’d already drawn the cork. Ever the polite host. The wine seemed to go a long way down before it hit bottom, like dropping pebbles in a well. I ate a second apple and had a dubious sip of the wine. (It still tasted like straightforward local chardonnay, even from that histrionic beaker.) The damn goblet tingled in my hand. I really didn’t want to get into some kind of communion with an overdressed tumbler. It was knobbly with what looked like gemstones. Oh please. I ate a third apple and started on the bread. Texture suggested cheating: additional gluten flour, probably, but the taste was not too bad; the baker must have the patience or the sense to let the sponge sit a while and ripen. Maybe I was just very hungry. â€Å"Thank you,† I said. Con’s shoulders rippled briefly: vampire shrug facsimile, maybe. â€Å"It is little enough,† he said. â€Å"How long did I sleep?† â€Å"Four hours. It is four hours till dawn,† he replied. How to cite Sunshine Chapter 18, Essay examples

Vanilla Sky by Cameron Crowe Essay Example For Students

Vanilla Sky by Cameron Crowe Essay To effectively examine how to analyse film form I have chosen to study Vanilla Sky1 Directed by Cameron Crowe,Vanilla Sky is a film that resides within many genres; a culmination of romance, drama, thriller, and science fiction with elements of a black comedy. It is a representation of a journey to consciousness and self(Rountree 2002)2. There are many different themes that are approached by the film these include love, hate, jealousy, self-worth, dreams and identity to name a few. The love is of Davids for Sophia who truly embodies Aphrodite the love, generosity, abundanceSophia is Davids anima, the female part of himself. (Rountree 2002) 3 The self-worth aspect can be linked to Julie Gianni as she is the one made the step of announcing her own love in a brutally dark way. She is the personification of Davids conscienceand embodies his loneliness. (Rountree,2002)  The film poses questions onto its audience such as What is love? and What are we saying about love? These will have different responses and will be taken from the viewers own life story experiences. To analyse its construction, I will now examine a section of the film, which I deem to be of pivotal importance. The segment of Vanilla Sky that I have chosen to focus upon is a five minute section (102 edits in total) that begins at the scene directly after the love connection between David Aames and Sophia in her apartment and ending with the horrific car accident. This scene is the crux of David Aames life for on meeting Sophia he decides to become a different person, the best version of himselfand then he gets tested immediately; it embodies the voice of conscience that you shouldnt listen to, but often do that says, Just run one more emotional red light, no one will catch you. The location of the scene is the Manhattan area called Dumbo which is down underneath the Manhattan bridge overpass (a location rarely filmed in New York).  The Scene begins with a wide shot of David leaving Sophias apartment that continues to pan to the right with him as he crosses the street and is accompanied with a poetic and upbeat music track. The song is called The last goodbye5 and its upbeat tone contrasting to its downbeat title is echoed throughout this scene and the themes of the film to say goodbye to someone you love, or to a life forever changed; it is a This wide shot is used to establish the change from an interior to exterior shot and lets the audience examine the surroundings. The early morning sun is shining and leaves a glowing golden colour on the opposite building and so is casting shimmering reflections and streaks of light along the street, this could be seen to amplify the feelings of elation between David and Sophia from their romantic meeting the previous night. David walks in a smiling bewilderment as to what just occurred; a connection on any level with another woman, especially platonic, is a rarity he hasnt been able to fully experience until now. As he looks back to the place he just left, as if in awe of what had just occurred, there is a quick edit to the interior of Sophias apartment and she is seen to be excitedly running around the room. This is showing the audience that they are both on the same level as for their feelings for each other; although it could be said in argument that this isnt so, due to the exuberant display of emotions Sophia displays while running around the room set against the casual walk of David with a fleeting look back. This is not the case though as these are just the different ways each character deals with their newfound love. .ufb2c244b0f69fdd73e2622da14d704d1 , .ufb2c244b0f69fdd73e2622da14d704d1 .postImageUrl , .ufb2c244b0f69fdd73e2622da14d704d1 .centered-text-area { min-height: 80px; position: relative; } .ufb2c244b0f69fdd73e2622da14d704d1 , .ufb2c244b0f69fdd73e2622da14d704d1:hover , .ufb2c244b0f69fdd73e2622da14d704d1:visited , .ufb2c244b0f69fdd73e2622da14d704d1:active { border:0!important; } .ufb2c244b0f69fdd73e2622da14d704d1 .clearfix:after { content: ""; display: table; clear: both; } .ufb2c244b0f69fdd73e2622da14d704d1 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ufb2c244b0f69fdd73e2622da14d704d1:active , .ufb2c244b0f69fdd73e2622da14d704d1:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ufb2c244b0f69fdd73e2622da14d704d1 .centered-text-area { width: 100%; position: relative ; } .ufb2c244b0f69fdd73e2622da14d704d1 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ufb2c244b0f69fdd73e2622da14d704d1 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ufb2c244b0f69fdd73e2622da14d704d1 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ufb2c244b0f69fdd73e2622da14d704d1:hover .ctaButton { background-color: #34495E!important; } .ufb2c244b0f69fdd73e2622da14d704d1 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ufb2c244b0f69fdd73e2622da14d704d1 .ufb2c244b0f69fdd73e2622da14d704d1-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ufb2c244b0f69fdd73e2622da14d704d1:after { content: ""; display: block; clear: both; } READ: History of the American Film Industry EssayHe continues to approach his car that is parked on the corner of the opposite street. This has its relevance in the way that the sunlight does not reach the road here, obviously due to the fact that the building keeps it in the shade, but a less obvious reason can be found in that it also gives the viewer the feeling of a more gritty and foreboding act that is yet to occur.  This ties in nicely with the timely appearance of Julie Gianni (his no-strings sleeping partner). David reaches his car, (now within a medium shot but with the use of the same camera thus signifying a steadicam being used) and even with the quick edits to an d from Sophia, Davids walk still keeps a natural flowing speed as if you were walking beside him. Upon reaching the car a set of headlights in the distance blink on and the car approaches him. A good use of camerawork imagery here as we have an edit to a close-up of the headlights, a metaphor of the ever-watchful eyes of Julie Gianni. The audience can also assume that something uneasy is happening for Julie knew exactly when to interact with David signifying an all night wait for him in her car alone. When she pulls up aside him an eerie likeness between her car and her eyes, a turquoise/green is quite noticeable; it was intentional and it was haunting to watch because her eyes are the same colour as the car; the two of them together became a very lonely and dangerous image. (Crowe p.17)6 The chosen colour adds weight to her jealously of Sophia thus giving credence to the phrase green-eyed with envy. And that is Julie Gianni; its a personification of all she imbues and like the pointillism of an impressionist landscape, a life can be entirely different when examined close up.(Thomson)7 Amongst dialogue driven edits (to and from each other), mixed with the use of the steadicam again, the two characters talk irritably hidden under a veil of polite pretence. Again, as if within a wink to the audience as to the coming rage, Julie exudes her jealously by the irritable playing of her hair, the callous calling of Sophia a moth-girl and the obvious sarcasm towards the night he had just spent with her. David then explains to her that if theyre friends shell understand to which she replies with a comment of emotional blackmail the fact that he didnt invite her to his birthday party. This, coinciding with his weakness for saying No, leads us into the next shot with the camera slowly zooming in on Davids unsettled face that invokes a sense of foreboding and hints of a sinister act that will take place if he enters the car with her. Leading the audience into the next shot another music track begins and being so close to the previous it is obvious to deduce that a strong theme within the film is the iconography of pop culture. The song is titled I fall apart8; I feel it to be quite relevant to Julie Giannis state of mind and was specifically written for this scene being sung by Cameron Diaz herself as it was my own idea and she just seemed to revel in the new medium(Crowe,C. p.19). The next edit is of buildings and trees in autumn leaves moving either side of the shot giving a sense of Davids perspective in the car looking out through the windscreen. This fly-on-the-wall feeling gives a sense to the audience of literally taking the journey with him and imagining what they might have done in his position. Its a scene that would have been filmed many times and in separate sections; a camera would have been used from within the front of the car to give the perspective from both the characters eyes and also a camera positioned behind them to give the audience the feeling of being a third passenger; a camera would have been positioned on the bonnet of the car so to shoot the inward looking shots; a camera would have been attached to each side of the vehicle; and then there would have been cameras placed at key areas of the location to get the exterior action shots; this would have needed a long process of planning and careful editing to reach the finished result. .ua18f3741b48dcaa56aa35db48fc00f69 , .ua18f3741b48dcaa56aa35db48fc00f69 .postImageUrl , .ua18f3741b48dcaa56aa35db48fc00f69 .centered-text-area { min-height: 80px; position: relative; } .ua18f3741b48dcaa56aa35db48fc00f69 , .ua18f3741b48dcaa56aa35db48fc00f69:hover , .ua18f3741b48dcaa56aa35db48fc00f69:visited , .ua18f3741b48dcaa56aa35db48fc00f69:active { border:0!important; } .ua18f3741b48dcaa56aa35db48fc00f69 .clearfix:after { content: ""; display: table; clear: both; } .ua18f3741b48dcaa56aa35db48fc00f69 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ua18f3741b48dcaa56aa35db48fc00f69:active , .ua18f3741b48dcaa56aa35db48fc00f69:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ua18f3741b48dcaa56aa35db48fc00f69 .centered-text-area { width: 100%; position: relative ; } .ua18f3741b48dcaa56aa35db48fc00f69 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ua18f3741b48dcaa56aa35db48fc00f69 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ua18f3741b48dcaa56aa35db48fc00f69 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ua18f3741b48dcaa56aa35db48fc00f69:hover .ctaButton { background-color: #34495E!important; } .ua18f3741b48dcaa56aa35db48fc00f69 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ua18f3741b48dcaa56aa35db48fc00f69 .ua18f3741b48dcaa56aa35db48fc00f69-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ua18f3741b48dcaa56aa35db48fc00f69:after { content: ""; display: block; clear: both; } READ: Stereotypes of Women in Disney Animated Films EssayAgain there is an establishing shot, the two characters sitting together within the car and this shows that he has succumbed to his way of trying to please people and this is his first failure to adjust into the man he wants to be. The pace of the editing from the moment hes thinking about getting in the car to the point that he is seen inside it is fast and brief thus signifying the fact that Davids lust for quick thrills is still evident and that it really didnt take him much time to debate this active mistake. He has been living a dream and he wanted reality, which he sees in Sophia, but at the moment he chooses to get into the car he forgoes his vision of reality with his other life of a carefree world.

Act of Kindness Essay free essay sample

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A Synopsis of the Documentary Regret to Inform Essay Example

A Synopsis of the Documentary Regret to Inform Essay Example A Synopsis of the Documentary Regret to Inform Paper A Synopsis of the Documentary Regret to Inform Paper Essay Topic: Cry the Beloved Country â€Å"Our deaths are not ours they are yours; they will mean what you make them. †- Regret to Inform â€Å"The terrible price of that nobility is one that nobody should have to pay†- Barbara Sonneborn In 1968, the director Barbara Sonneborn was informed that her husband, Jeff Gurvitz, had been killed in a mortar attack in Vietnam. The words â€Å"We regret to inform you† appeared on the telegram, and the message arrived on her 24th birthday. Sonneborn is the director, writer, and producer of the notable documentary film Regret to Inform. Although she remarried and has a lovely new life, she was haunted by the lost of her beloved husband and had strong, begrudging feelings about the war. After twenty years, on the date of Jeff’s death anniversary, she decided to follow her ex-husband’s footsteps in Vietnam and film a documentary about the influence of the Vietnam War on American and Vietnamese women. Through the film, the memory of the loss is relived by her again. This film was an Academy Award nominee in 1998, and won the Independent Spirit Award in 1999. It also won Best Director, Best Cinematography, and Feature Documentary awards at the Sundance Film Festival in 1999, and several others prestigious awards. 1 The Vietnam War, also known as the Second Indo-China War, is also called the American War by the Vietnamese. It had its beginnings in 1957, subsequent escalation in 1960, and finally ended in 1975. The war was fought between the North Vietnamese government and US-supported South Vietnam. It concluded with the defeat and dissolution of South Vietnam. A total of 1,230,000 Vietnamese died in the conflict, and 330,000 people were reported missing. On the American side, a total of 58,209 Americans died, and about 2,000 American were missing in action and never accounted for. 2 A critic from the New York Times Magazine stated, â€Å"Every documentary film has an agenda, and the interviews that make up the bulk of Regret to Inform add up to a damning indictment of war in general and in particular the Vietnam War, which it portrays (without actually coming out and saying it) as a disastrous miscalculation. 3 Elsewhere, Anthony McCosham wrote of Regret to Inform: â€Å"A common complaint about filmic representations of the Vietnam war, particularly those produced in Hollywood, is that the films tend to focus too narrowly on the personal relationships of the characters involved, ignoring not only the political context of the war but also the viewpoint of its Vietnamese participants. † 4 McCosham criticized commercial films of the Vietnamese War without reservation, and at the same time he pointed out that Regret to inform presented a key point, the women’s point of view. Moreover, Lindsay Anderson commented that Regret to Inform shows the personal truth about war, and one comes away with the conviction that the only way to really understand war is on this personal, experiential level. No one who really knows this truth can ever mouth platitudes about glory and honor in war again, or advocate the necessity of war without a grave and conscientious acknowledgment of its devastating cost. 5 This critique enhances Regret to Inform’s argument and appeal against the war. In other words, the commentator also provides a sincere advice for the people who have ever been to the war because only the people who really came through from the war can really understand its destructive influence. Sonneborn’s Regret to Inform is a documentary that argues against war by presenting the personal stories and grief experienced by women on both sides of the conflict. She focuses on women, unlike so many other war films, and provides a uniquely feminist take on the Vietnam War. She effectively employs interviews, letters home, Jeff’s notification, Jeff’s reflection, music, and historical portraits to convince the audiences to rethink their support of war. In the beginning of Regret to Inform, Sonneborn introduced herself to the viewers and gives the reason for her journey to Vietnam. She wondered how and where did her husband died; therefore, she decided to find out the truth by herself. During the journey, she also interviewed many war widows who were influenced by the war and shared the same experienced. The interview is one of the key elements of this film, and those heart-wrenching stories bring the audience to re-inspect the war and find no difference in the pain experienced by both sides’ war widows. For example, Xuan Ngoc, a war victim and the director’s translator, recalled the bombing of her village in South Vietnam when she was 14. She witnessed her 5-years-old cousin being shot to death by an American solider when he went out from their hiding place in search for water. During the war, she also witnessed her neighbor dying without helping him. She also took her girl friend’s food in order to live since her friend was seriously injured. Terrifyingly, during the war she had to decide who was going to live or die. On screen she was choking up and tearful when she spewed out those bitter memories. Then, she continued stating that she fled from her village and survived for a time by prostituting herself to American soldiers sometimes half-a dozen a night. Some of them were just yelling at her, crying in front of her, and sometimes hitting her. Subsequently, she explained that at that time she was only 14 years old and why she had to face that choice. The director did not use simulation and dramatic narration to present the Vietnam War; instead, she revealed the physiological harm and plight on the war widows by interviewing from female standpoint. From Xuan Ngoc’s facial express and statement, the viewers can understand she is still suffering for those memories after the war ended. She revealed that she was prostituting herself in order to earn money and live; indeed, she also stated that she used marijuana a lot otherwise she could not have taken off her clothing in front of strangers. Asian culture is conservative about sex, and women are told that they should not have sex before they marry. Therefore, Xuan Ngoc was not only facing physiological suffering but also conflicts with her moral code. In addition, she was forced to decide who would live and die, which is against all human morality since she wanted to stay alive. Xauan Ngoc asks how we could have allowed such conditions to occur why we did not try to prevent it. Here, the viewers can see the interviewee’s emotional and mental anguish. Above all, from her expression, Xuan Ngoc challenges the audience so they can rethink about their support of the war. In another interview, we meet one American widow who said her husband left her a note to tell her that he loved her so much, but he could not take the flashbacks anymore, and then he went into garage one day and shot himself after he returned from the war. Sorrowfully, in another interview, a Vietnamese widow relates how she watched nine members of her family herded out and killed. Many Vietnamese women revealed the same experiences that during the war they were afraid of being raped, so they hid themselves in order to avoid the danger. Another Vietnamese woman stated, If you werent dead, you werent safe. Everything that moved was murdered. 6 Vietnamese women revealed some ruthless torture at the hands of South Vietnamese and American soldiers not only for men but also for women. In addition, both side’s children questioned their mothers why their fathers had not come home yet. By facing those painful situations, the widows expressed their hopeless and powerless feelings toward the war. The widows of both sides were given a fair voice to express their feeling and thoughts about the war. Many widows suffer for the war even after the war. There have been many movies that tried to investigate the Vietnam War, but most of them were made by marketing purpose since they are exciting and interesting. However, they are fiction after all. In Regret to Inform, there were no scenes of heroic deeds and no citation for soldiers’ bravery, only thing the presentation of the widows’ heartbreaking experiences. Indeed, even though women may not have a major role in the battlefield those who lost their families or suffered during the war were as profoundly influenced by the war as the men were. Xuan Ngoc concluded that she knows she is a good person. Because if she had another choice, then she would not have done what she did. From those statements and recollections, the movie uncovers the truth of the war and provides the audiences another angle on the war, and thus they could resist the war. Gadamer writes, â€Å"Language is the universal medium in which understanding occurs. Understanding occurs in interpreting. †7 Through the interviews, the widows’ descriptions of truth help the audience interpret the war, and by revealing their own wounds, the audience gains a batter understanding of how the war forces people to do things they normally would not do. Their stories keep those important memories alive. â€Å"Truth† is always more elusive then we think it is. When seeing the widows’ struggles, the audience would objectively realize that deep grief caused by the war happened to both Americans and Vietnamese. In the film, some American widows questioned the justification of the war and did not understand the necessity of war since those people did not threaten their country. They also stated that they do not consider their husbands to be murderers, but at the same time people need to look at it for what it is and it is murder. From the question of justification, the viewers would start to think about â€Å"is the war justifiable? † Indeed, from those information the audience would realize that the war is an illegal activity because it would only take innocent lives, cause people’ suffering, and test human moralities. Above all, once the viewers become aware that an American widows and the director could listen, interview, and truly record those Vietnamese widows’ voice and not treat them as enemies, they would be deeply moved and feel sorry for the victims. Fairly reporting both sides’ dilemmas, Sonneborn used those interview as a vehicle to move the audiences into the forgotten history and re-interpret the psychological impact for war victims. The interviews also increase this film’s reliability, validity, and persuasiveness. In addition to the interviews, Sonneborn used much different scenes as the evidence to argue and reveal the influence of the war such as letters home from both sides, Sonneborn’s husband’s notification, and the tape which records Jeff’s voice to reveal the brutality of war. Due to the war, most of women were using mail to communicate with their husbands, and through the mail they would know if they husbands were still alive. Sonneborn presents letters home through scenes to the audience, and these letters contain many moving sentences to express their feelings of loving and missing family members such as, I love you or I miss you. These letters were written in the Vietnamese language and English, and these scenes again demonstrate that even though Americans and Vietnamese have different races and cultural backgrounds, their sufferings and grief were all the same. Also, both sides’ victims loved their husbands and families profoundly; indeed, this love no difference on either side. Similarly, the director offered her husband’s notification in the film and showed the points where gunfire entered Jeff’s body. By seeing the scene, the viewers could imagine what it looks like and how it feels when someone you love is killed by war. â€Å"Mutilated†, †blast damage fractures†, and several other words appear on the notification, and those words present a concept for the viewers about what kind of price they would have to pay once the war occurs. Moreover, Sonneborn provides us with an opportunity to hear Jeff in his own words, when she plays an audio cassette he recorded. She was able to bring herself to play a tape that arrived in the mail shortly after twenty years of Jeff’s death. Jeff reflects, â€Å"I feel I were a bystander at my own life, calmly watching myself to things that I never expected or desired to. † He felt suffering toward to the war because he might have to do something that he did not want to do, perhaps burying dead bodies or killing people. During this scene, the voice was along with Vietnamese landscape to present Jeff’s testimony. From the tape, he expressed his feeling to Sonneborn, and it is clean that he was suffering for his moral code. It exactly pointed out that the soldiers feeling go unsaid. The scenes in the film provide the audience a chance to look at the war from different perspectives, and the sound effects enhance the movie’s persuasiveness and help people to engage in their sorrowful stories and experiences. In fact, music is an inseparable element to express and emphasize the film’s main idea. In Regret to Inform, a lot of string and percussion instruments were used to create a sorrowful atmosphere that would help the viewers engage with this film emotionally. The music plays an important role in portraying the tragic truth of the war, and the composer, Todd Boekelheide, combined numerous Vietnamese instruments with Western instrumentation. 8 Otherwise, the directors also uses Vietnamese folk songs and ambient noise in the film. The Vietnamese folk songs were used throughout the whole movie to express the pain of losing their beloved ones. Also, the director used ambient noise to present along with different portraits to the audience such as noise of train or Vietnamese women’s chatting voice. Therefore the audiences would feel like that they had experiencing the same trip along with the director. Moreover, string instruments, particularly the viola and cello, produced a variety of sounds with passionate vibrato and glissando. For instance, when the women recalled the time that first they met their husbands, the cellos played the dance-like duet and expressed their happy times together through repetitious simple melodies. In contrast to that, when women recollected the unpleasant memories of the war, then the instrumentation changed. During this time, the gong joined to announce the tragedy. Most melodies were presented along with historical, responsive photographs with a strong musical track that combines traditional Vietnamese songs and the instrumentation. All of these musical elements create the feeling of catastrophe and making the movie more touching; therefore, even after the film the viewers would still feel the widow’s pain and grief. It is obvious that Sonneborn uses music to persuade. Further, the music also opens a space for the audience quietly to catch on different messages from the film. Indeed, the musical track created a space for people to imagine if they were in those victims’ shoes and engaged the audience in their bitter memories. Additionally, Sonneborn uses many historical, cruel portraits to show how war really is. Many different pictures were presented to the audiences, such as photos of young dead children’s bodies, American soldiers searching for innocent civilians, and U. S. soldiers tossing bombs from airplanes. In fact, she employs many photographs of American soldiers spraying chemical defoliants in the South Vietnam, and these chemicals continue to change the landscape, cause diseases and birth defects, and poison the food chain in Vietnam. Abusing the use of defoliants hurt not only Vietnamese but also American soldiers. One American widow revealed that her husband suffered for seven years and declined in health. Eventually, he died from multiple cancers after he returned from the war. Besides, some of the images presented many hopeless children bloody and crying. Some children were sitting on the ground around with defenseless innocent eyes. Some children were hurt with blood, and some of them were being hold by the Vietnamese women or soldiers. Those pictures showed most of the victims as children and women. In addition, photos of U. S. soldiers tossing the bombs from the airplanes in addition to the number of bombs are shocking. Since bombs lead to huge fatality, many innocent people were harmed. Some photographs are presented in black and white and some are in color, and the similarity of these photos shows the afflictive situation of the war, which is very difficult for the audience to imagine. At the same time, it is an effective way to evoke the viewers’ great sympathy for those children and women. Those pictures were presented along the music, and those pictures become a language that enables the audiences to perceive and interpret the war. By those portraits, the audiences realize these war victims’ hardships and heartaches that resulted from the war. Sonneborn manipulates her thoughts effectively by employing interviews, letters home, Jeff’s notification, Jeff’s reflection, music, and historical, responsive photographs to convince the audience, to move them to believe her antiwar concept, and to act on that opinion. This documentary highlights the ruthless truth of the war, reports widow’s plights, and tells us how the war change people’s lives thereafter. In fact, the director did not drastically express antiwar concepts in the film, but the audiences still could detect the metaphor of negative feeling of the war. Most importantly, this film points no fingers at specific policymakers. This film does ask question that foreground the war not as an inevitable event, but a conflict that resulted from policies centered around of inhuman and callous ideologies. The film left us to wonder if the war would only result people’s anguish, then why people choose to do so. This film is accessible and engages people to respond the war concept that the film spoke to us in powerful way. Baker stated, â€Å"We must listen closely to men and women who became both the victims and the perpetrators of the war, if we want to learn something real about this particular conflict, something real about the human spirit, something real about ourselves. 9 The film talks back to the people who support the war, and it shows both widows’ gut-wrenching pain thought its factual interviews within personal narratives and memories, evidence, sorrowful music, and stunning historical photographs. However, the film is a great lesson to those people who supported in the war, and they shoul d know better that there is no winning when it comes to war. In fact, this documentary is not about one side or the other. This documentary clearly points out that the war is the really enemy. Hopefully, people will start to heed the lectures of the dead and endeavor to cease war that makes no light injury.

The Gray Rider Real Estate Company Case Study Example | Topics and Well Written Essays - 2500 words

The Gray Rider Real Estate Company - Case Study Example It is evidently clear from the discussion that with Over 100 new graduate entrants every year, The Gray Rider Real Estate Company has been Voted the most admired construction company in the 2005 Management survey and is Winner of many Quality in Construction Awards(http://www.worldrealtynews.com). Thus, the success of an organization like The Gray Rider Real Estate Company has been on account of the apt application of the various concepts of organizational behavior like Motivation, Decision Making, Group Behavior, Communication, Power and Politics, Organizational Structure, Organizational Culture, Human Resources Practices and Change Management. Specific employee's attitudes relating to 'job satisfaction' and 'organizational commitment' are of major interest to the field of organizational behaviour and Human resource management. This is because of the fact that only a satisfied employee can have organizational commitment. Incidentally, Organizational commitment can be expected only f rom a satisfied worker and a satisfied worker is always a motivated worker. If there is no conflict between group goals and personal goals of a member of a group, i.e. goals of an employee and an organization in which he/she works are complementary and not contradictory, then the employee is motivated to work for the goals of the company, because, by doing so, he will be achieving his own personal goals. Organizational behavior is interdisciplinary in its nature with deep roots in psychology. The concepts of Motivation in The Gray Rider Real Estate Company have been elaborated in this study. Motivation refers to the way in which wages, drives, desires, aspiration, strivings, or needs, controls or explains human behavior. Motivation is the core of management. Motivation can be defined as a process, which begins with a physiological or psychological need, or deficiency, which triggers behavior or a drive that is aimed at a goal or an incentive. Motivation is a phenomenon by which 'Mot ives' based on 'Needs' will condition individual's behavior. Therefore, if there is no conflict between group goals and personal goals of a member of a group, i.e. Goals of an employee and an organization (in which he works) are complementary and not contradictory, then the employee is motivated to work for the goals of the company, because, by doing so, he will be achieving his own personal goals.

International Business Essay Example | Topics and Well Written Essays - 750 words - 4

International Business - Essay Example Globalization has led to integration of global production (global sourcing and coordination between the diverse locations) and integration of global markets (the rise of global brands and international distributors). Ultimately, globalization yields to increasing: culture convergences; interdependence among states economic integration; trade liberation; and, global capital markets (Hill 2012, p.4). Globalization of markets Globalization of markets delineates the progression witnessed in the assimilation and amalgamation of different world markets into a shared market. This means that national markets are increasingly amalgamating into one vast marketplace. This process eventually yields to the adoption of common products or services propelled by the resultant cultural shift. ... The growth of national companies such as Coca Cola and MacDonald’s into larger global organizations has drawn attention to the fact that global companies can now be able to synchronize their operations across continents, yielding to enhanced efficiency and attainment of economies of scale. One of the paradoxes of globalization that can be highlighted details that technology has fostered the efficient delivery of standardized products, as well as promoting diverse forms of tailored products for various markets; however, the registered growth of global markets has been highly prevalent within sectors that depend on standardized products for all clients. Markets for consumer products, on the other hand, have not been homogenized as anticipated (Reinert 2000, p.42). The positioning numerous markets, especially within advanced economies have increasingly been reversed as imports of standard products are frequently cheaper compared to the local equivalent. Hence, domestic manufactur ing companies are increasingly struggling to match the multinationals that enjoy economies of scale, in addition to, massive resources. Globalization of production The factors that impact on the situating of an entity’s manufacturing infrastructure usually vary between countries, and may be complementary in a foreign country relative to the host country. This means that entities are persistently placing their individual productive operations at highly rewarding global locations (Hill and Jones 2007, p.265). As such, it is becoming immaterial to label various products as ‘Japanese,’ ‘American,’ German,’ or ‘British.’ This derives from the breaking down of the manufacturing process into separate stages in which each phase takes place within the most

International Maritime Organization IMO-International labour Essay

International Maritime Organization IMO-International labour organisation ILO Co-relationship in Maritime Administration - Essay Example The establishment of the IMO in the year 1948 was in response to the proposal made by several countries stressing the need for an international body to promote maritime safety in a more effective manner. The IMO Convention proposed an article which summarized the purpose of the organization. It called for cooperation among governments in relation to technical matters governing the shipping industry, to adopt the highest practical standards for maritime safety, and to improve navigation efficiency and to control and prevent marine pollution (Introduction to IMO, n.d). Following the convention, the IMO adopted a newer version of SOLAS (safety of life at sea), which is concerned with maritime safety, in the year 1960. It further regulated international maritime traffic and the carriage of dangerous goods and also revised the measurement of tonnage in ships. In addition, following the increasing number of oil spills by oil tankers owing to the rise in the transportation of oil across cou ntries, the organization also laid down measures to reduce marine pollution due to tanker accidents as well as those resulting from disposal of chemical and garbage wastes into the sea. One of the important measures introduced by the IMO is the International Convention for the prevention of pollution from ships (MARPOL) which strictly regulated oil spills and also disposal of wastes into the sea (Introduction to IMO, n.d; IMO and ILO, n.d). In addition to taking measures to prevent marine pollution, IMO also adopted two treaties by which suitable compensation was provided to the victims who suffered losses due to the pollution. In the year 1970 the International Mobile Satellite Organization, which was launched as a global search and rescue system, has further improved the radio communication in ships. As a further advancement, the Global Maritime Distress and Safety System, which came into existence in the year 1988, now ensures that any ship in distress can be guaranteed with imme diate assistance through automatic message transmission (Introduction to IMO, n.d). The safety of the human force in ships are being taken care of by two standards, the International Safety Management Code and the amendment to the Convention for the certification and watch keeping of seafarers (STCW) (Introduction to IMO, n.d; IMO and ILO, n.d). In addition, further conventions related to maritime safety were adopted in the 2000s and several amendments have been adopted as a result changing technology or lessons learned from accidents. Some of the key issues of the IMO at present include tackling modern day piracy, reducing green house gas emissions from ships, and ensuring the safety of the seafarer. Secure, environment friendly, and maintaining sustainable cooperation in the shipping industry is the motto of the IMO and the organization is working towards achieving these objectives by adopting and implementing the right standards and legal practices (Introduction to IMO, n.d). ILO is the abbreviation for International Labor Organization which is a tripartite UN agency that oversees the labor standards, their rights and welfare across the world. It was founded in the year 1919 during the war crisis when it was strongly believed that universal peace can be achieved only through the establishment of a social justice system. Its representatives include the international labor conference, the

Refugee And Immigrant Children In Canada Social Work Essay

Refugee And Immigrant Children In Canada Social Work Essay Refugee and immigrant children and youth along with their families comprise the majority of Canadian society. Refugees and immigrants are the mosaic face of present day society. We as citizens have witnessed the process newcomers experience in order to receive their Canadian status. As we are aware of the possible complications that can arise both the Rossiter and Rossiter (2009) article along with Fantino and Colak (2001) article shed an interesting light on migration. These articles discuss how youth challenge these barriers to gain identity in the new society, how issues arise between their inner self and society and also how society can contribute to migration complications. The articles also review how society can be seen to have a positive impact to their experience during migration and adaptation. Both articles assume a similar theme when discussing the challenges/troubles these youth and children encounter during their acculturation period. Summary of articles:     Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Diamonds in the Rough: Bridging gaps in support for at-risk immigrant and refugee youth summarized the troubles both within the individual and society that is creating a gap within the youth. The gap between individual and society is brought to point in this article as creating a behavior in the youth to engage in high-risk criminal behaviors. Rossiter and Rossiter (2009) focus on the risk and protective factors that are perceived by key stakeholders to influence at-risk immigrant youth who eventually become involved in crime, gangs and violence in Edmonton, Canada (Pg. 2).   Rossiter and Rossiter (2009) organize their article on the view of immigrant and refugee youth behavior by discussing immigrants and crime, bringing upon a theoretical background focused on Maslows theory and how Maslows Hierarchy of need provide insight as to how inner fulfillment discourages negative actions/thoughts/behaviors.      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Rossiter and Rossiter (2009) review a study that was conducted in order to attain a deeper perspective of the migrating youth into Canadian society; they discuss the risk factors both in the community setting and within the individual. These studies first discussed negative factors affecting the youth and positive factors assisting the youth to not fall into criminal behavior. Lastly, both authors discuss a solution that I would like to classify it in order to understand these gap and misinterpretation between a trouble both within and outside the youth.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Rossiter and Rossiter (2009) state that youth who migrate to Canada with their family are faced with issues from back home, such as pre-migration violence and trauma were reported to be predisposing risk factors for youth involvement in violent and criminal activity in Canada: many youth from refugee camps have witnessed or experienced violence (e.g. rape, murder, and torture) and suffer from depression, nightmares, flashbacks and or disturbed sleep patterns (Rossiter and Rossiter, 2009, p. 9). A youth arriving in a country that has already developed their own culture and unique mother of tongue can further create a bigger barrier for the youth in terms of acclimating to this new society, their new home.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Social services representative discuss the complications of integration that can cause stress or anxiety-all their symptoms basically prevent them from learning and adapting (As cited by Rossiter and Rossiter, 2009, p.9). These youth experience pressure to fit in when it comes to the school system. They are encountered with peer pressure or alienation (Rossiter and Rossiter, 2009, p.9) as association with antisocial peers, however, can lead to violent altercations and crime (Rossiter and Rossiter, 2009, p.9). Education was one area where it was classified as a positive impact encouraging youth to act in a positive manner (Rossiter and Rossiter, 2009, p.4).   Due to the alienation that youth experience due to the want of fitting in within their peers, criminal justice representative said education was seen as extremely important for immigrant and refugee youth: Not having [education] is whats creating the push in the other direction, and having it is what would save them (As cited by Rossiter and Rossiter, 2009, p. 13). Creating these barriers furthermore sets this youth to drop out and as a school is seen as a recruitment into drug-related crimes (Pg.10). While seeing the complications that the lack of education can cause we can acknowledge the importance of school and education towards the future of the youth.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Rossiter and Rossiter (2009) discuss how youth first entering Canada with their families are seen to be lead by the government into subsidized housing (p.11) due to their lack of finances thus, these youth may not have the same economic standing as their peers. This makes the youth feel uncomfortable leading to the youth having to deal with an inner struggle between wants and needs (Rossiter and Rossiter, 2009, p. 9). The authors made it clear that contributing factors such as: family support and stability, socio-economic status, physical and mental health, age of arrival, language proficiency, interpersonal skills social networks, personal resilience, employment opportunities and housing and neighborhood, among others (Rossiter and Rossiter, 2009, p. 4) are seen as a pushing negative factor and also a helpful positive factor for the youth to get out of troubles in the criminal system. The authors prescribe mentorship and s chool activities to assist these youth out of the negative criminal behavior (Rossiter and Rossiter, 2009, p. 13-14). They discuss how teachers are often unaware of the challenges faced by immigrant and refugee students, and the education system itself is ill prepared to meet their complex needs. Isolation and a lack of social support at school and in the wider community mean that immigrant and refugee youth may be left with few options, and antisocial peers involved in drugs, crime and gangs may be perceived as attractive alternatives (Rossiter and Rossiter, 2009, p.16). Family and community support along with Maslows hierarchy of needs should be in place in order to assist these youth.   Families seen to be living in poverty are often unable to meet the physiological and safety needs of their children; at-risk youth who go to school without breakfast or lunch and live in subsidized housing may be especially vulnerable. Youth who lack close relationships to family, school and com munity or who suffer from feelings of inadequacy or failure are easy targets for gangs who promise to fulfill their needs for belonging and self-esteem. (Rossiter and Rossiter, 2009, p.16). The authors review the negative and positive influences that contribute to the idea of where funding should be focused. The authors provide the reader with a qualitative research method to get a better understanding by talking to adults who experienced youth criminal activities due to the barriers put forth. It is also important to note that the authors touched upon the lack of statistical research that is brought forth to the public that shows if immigrant and refugee youth are the only ones big in numbers in the jail system.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Refugee children in Canada: searching for an identity written by Fantino and Colak (2001) provide an overview of migration issues that arise and the troubles that these children are faced with pre and post arrival into Canada. Fantino and Colak (2001) discuss how the children migrating with their families bring with them issues that they face while coming to a new country as a refugee trauma from witnessing violent crimes, language difficulties, family disruption, and adjustment to a different culture-in addition to the challenges that accompany childhood and growing up (p. 587). Fantino and Colak (2001) draw comparison between immigrant children versus a refugee child. They both write how both classes deal with migration and endure the push-and-pull forces of home and school, which often work in opposite directions (p.589). As we are taught to believe that immigrants face less barriers due to their receipt of citizenship F antino and Colak do not fail to portray the similarities of both groups.   Both may encounter societys discrimination and racism, and developing a sense of identity-while trying to bridge generational and cultural gaps (Fantino and Colak 2001, p.589). Perhaps the greatest threat to these children is not the stress of belonging to two cultures but the stress of belonging to none (p.589.) If these children receive a sense of belonging this can open up and increase their self-esteem and further avoid future barriers and inner fights within the child.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   One specific concentration that Fantino and Colak (2001) bring forth is the desire for children in the school setting to be accepted by their peer group, be seen as a dependent and a master by interpreting for their parents (Fantino and Colak, 2001, p.589) these factors can contribute to the sense of belonging discussed earlier. These children are in essence parentified as they face the pressure of interpreting for their parents (p. 589).   This pressure can have a dramatic effect on the child as they are given adult responsibility in settings they are not familiar with. Fantino and Colak (2001) wonder if children really do adapt better to society (p.591). They discuss the trouble of parents with the lack of communication they have with their children (p.590). Fantino and Colak refer to these refugee children as children without history (p. 594). Both authors bring forth ideas of the host country providing a positive act in order to make integration as a positive role for the child and family.   One key factor in determining success is the reception of newcomers by the host society (p.589). Task force on mental healthi issues affecting immigrants and refugees (1998) writes that settlement support services, schools, health and social services and the community at large play a crucial role in assisting and supporting children to adjust and integrate into Canadian society (As cited by Fantino and Colak, 2001, p. 589). Fantino and Colak (2001) believe that in order for successful integration we must not ignore the parents who might also be facing trauma prior to arrival. They state that their challenge is to meaningfully integrate their history with the present and future realities of Canada (Fantino and Colak, 2001, p.595) it is only until we as Canadians work as a team to provide a safe haven for newcomers where we can assist and cater to their needs to provide them with adequate housing and support systems. As Fantino and Colak discuss migration trouble pre and post migration both authors do not fail to give Canadians a role on easy adaptation and this sense of guidance makes the struggle of migration as a societal problem and not solely a problem just with the migrating child with their family     Analytic discussion:   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Both readings discuss the resolutions and the causes of what a child and youth experience as they migrate to a new country. The identified theme of the harm of migration to the individual at hand arises concerns and a deep look at why changes should be in place to assist the migrating newcomers. By looking deeply at the barriers/causes placed by society we will gain insight on understanding why. Both articles gather information by using a qualitative research method that asks children and adults who were deviant youth in the past about problems faced by both immigrant and refugee children and youth; both articles looked at the trouble faced within the individual and the trouble put on by society. Both articles answer questions of why and how these issues arise, both articles discuss solutions and the lack of statistics that would help to really understand the criminal system in regards to over population of immigrant and re fugees in the institution. As both articles take on such approaches to understanding migration and the effect it has on children regarding identity and youth portraying criminal behavior I will provide an analytic discussion in regard to the theme of troubles of migration faced by the immigrant and refugee child and youth. By discussing how the comparison of both articles both discussed the lack of identity the youth and child face, both articles discussed support systems, whether it was lacking or being seen as a great contributor for successful migration, education as a primary target for success in the individual and lastly community assistance that the host community must act upon. As all articles discuss the implication pre and post the childs and youths migration I still believe that further questions need to be asked in order to get a more holistic and complete view of migration difficulties and criminal behavior that the child and youth experience.   Who is a refugee or immigrant youth or child when they come to Canada? It is to this thought that we can look at the identity of these young adults and children being challenged when entering a new country such as Canada. We are taught through both articles that when an individual such as a youth and child enter Canada we must realize the issues they have faced at home that might of led them to migrate: trauma from witnessing violent crimes, language difficulties, family disruption, and adjustment to a different culture-in addition to the challenges that accompany childhood and growing up (Fantino and Colak, 2001, p. 587). When one reads such statements I cant help but ask why arent these individuals dealing with the issues back home? Could it be that the government can no longer be trusted? Why migrate? Is Canada being portrayed to other countries as a loving, welcoming country? If so, we must change this. Canada being classified as a harmonious country or not has issues of its own. We are dealing with employment difficulties, high taxes, and are still involved in a war where other cultures are still being seen as a threat. Are we setting up this migrating youth with unrealistic expectations of Canada? Is this our fault as Canadians that we are simply setting up a trap for this migrating victims to have a difficult life in Canada?  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The issues back home which may have pushed their migration to Canada is not the only issue that these age groups experience. They also witness and experience issues in their new land, and this act should simply put the blame on us, on Canadians.  Support system in the school setting is seen to be lacked and to be a great contributor to be the line of helping the youth and child to avoid criminal behavior. The development of positive relationships with caring adults in the school setting, such as ESL or mainstream teachers, counselors and school resources officers, was also considered to be a protective factor. In some schools, member of ethno-cultural communities offer approved courses designed to help students develop identity and intercultural competence (Rossiter and Rossiter, 2009, p. 14).   After school programs where the student can receive assistance in studies or being involved in recreational activities can provide an outlet for the student to develop an identity by taking interest in other activities and also assisting with developing relationship with other students or guides. This not only provides them with a family setting in the school atmosphere but also an family unit when parents struggle to understand the school setting or simply when parents do not have much involvement with their children due to work or emotional difficulties. Dedicated workers such as these are helping youth exit gangs, offering them opportunities for success and keeping others from becoming involved with drugs and crime (Rossiter and Rossiter, 2009, p. 14) As this form of assistance provides the assistance of the host community it shows how we can contribute positively to the outcome of the future of the new generation. As this is so, we must be aware of the access these children a nd youth have to schooling. Funding is needed for better schooling not only for these newcomers but also for youth all around. In Canada the cost to incarcerate a youth for 1 year is approximately $100,000 (Rossiter and Rossiter, 2009, p.3), and sending your child to school has no cost then leaves the question of why spend so much in incarcerating youth involved in criminal activity when such money can go into schooling where programs can arise from? As we should be addressing the crime taken in each community (Rossiter and Rossiter, 2009, p. 3) we know that education can be seen as a way out for these youth to avoid them from falling into a trap of gang involvement and provide these children with a sense of identity and skills this is an investment that will not only help the migrating newcomer individual but where society would also benefit from. Derwing et al. (1999) and Watt and Roessingh (1994,2001) state that studies of school dropout rates of immigrant youth have indicated th at 46-74% of immigrant youth whose native language is not English fail to complete high school (As cited by Rossiter and Rossiter, 2009, p. 4) doesnt society see the need for funding?   Community assistance needs to be put in force in order for these youth and children to experience an easy adaptation to Canadian society. Communities provide a learning experience by comforting the individual and providing an exit from any future criminal activity that might come through the youths and childs life. These could be centralized in a love reception center, with ongoing follow-up and support in school and community setting (Rossiter and Rossiter, 2009, p.17.) Providing these follow-ups with children, youth and their families will give these newcomers being a immigrant or refugee a voice and provide a further perspective of changes and improvements that could be more active.   Social services assistance: including language translation services; help in location permanent housing and accessing English language classes; a community orientation; referrals to health and social services; including professional counseling services; and other services as needed (Fantino and Col ak, 2001, p. 590). Such services can also be seen to benefit the family unit as a whole as it is helping all members of the family to access and be aware of the services provided by the host community, and can also be seen as a contributor in helping family bonds strengthening when migration can be viewed as a challenging phase for the family. Permanent housing should include specifications and be geographically located where criminal behavior is not the face of that community. Peer ambassador programmers that carefully match newcomers with more established immigrants from the same culture can also be very helpful (Fantino and Colak, 2001, p.590) If newcomers encounter other newcomers they will feel a sense of   hope as they will see that their present challenges were possible to be overcome; this will provide the recent newcomer with a sense that they can do it. We can make a change, so why in a country where 11.2% of the total population of 31 million identify themselves as members of a visible minority (Fantino and Colak 2001, p.588) are being faced with such troubles? In a country where employment is seen as hard to get regarding youth employment why are we not addressing this problem? We realize that the Canadian Baby Boomers are affecting work labor in the present society (Foot, 1998, 82) so how can we assist these youth to find a job when the baby boomers are occupying the majority of the labor market? Do we need more jobs specifically targeted to this population? Why are we still letting in refugee and immigrant families when we can barely assist those already in Canada? Why is Canada still setting up a trap for these newcomers? As I agree with the standings and arguments/solutions that both articles make, I do believe that more questions need to be asked, mostly questions regarding Canada and why Canada is still letting this happen. Heller (1995) along with Jiwani (2002) and Roberts (2002) state that ethnic minorities and those with English or French language difficulties, are disproportionately represented in the Canadian criminal justice system (as cited by Rossiter and Rossiter, 2009, p. 2) and Canadas lack of providing statistics related to race and ethnicity can further show that numbers need to be put into place in order to understand migration issues and complication. Without numbers can it be fair to say that Canada is contributing to the problem? Without numbers can Canada take a position and assist solely on word of mouth? Providing this overview can be frustrating to understand how to tackle such an issue of migration, but I do believe that in order for us to understand, numbers that are lacked in the prison system if minorities really do make up the population in the jail system needs to be placed. Rossiter and Rossiter state that such a study might increase discrimination towards these individuals (Rossiter and Rossiter, 2009, p.3) but how can we help a group without knowing statistics? Since Rossiter and Rossiter tackles such a perspective it leaves the question if Fantino and Colak say that the host community must assist these newcomers due to the issues surrounding this population how can we assist youth as a community when we are unaware of youth involvement in criminal behavior for example? Without data, Canadians are left in the dark, and this must change.   We must make a change to recognize these newcomers diplomas (Rossiter and Rossiter, 2009, p.4.) and degrees to set them up for the work field in order for fairness and these barriers to fall down in favor of those newcomers. My approach to the solution of ending criminal behavior is to look at societal resolutions and also understand the change that needs to be placed. I believe that working with the individual and not for the individual will further assist these individuals on a personal identity level and guide them through the services that can help. Both articles bring upon an analytical overview of migration and the effects brought on by the host community and the services lacking these migrating youth and children. As we understand migration to have a negative effect on individuals we also must not rule out the good that migration can do, such as providing a safe haven for these newcomers from escaping from the harsh realities they faced back home. By communities gathering as a welcoming committee in order to provide the newcomers with a welcoming atmosphere the community must do more than accept the realities of just adapting to a mosaic country. We must work together to provide support for the ch ild, youth and their families. We must acknowledge the contributions that each youth and child carries within them and be culturally accepting. It can be instilled that the children are our future, and no matter what country these children and youth come from, all should be given a fair opportunity.   Ã‚