Tokyo Riots Essay examples -- Papers

Tokyo Riots The heaving mass of people pushed and hurled abuse at the front line of the riot police. There were hundreds of them, some of them genuine, protesting for something they feel is right, however, others just want trouble. The police know that they can only strive to prevent a disaster, they cannot stop one, only contain it and the problem is that the rioters know this too. They also know that the police cannot kill them or even harm them, their only weapon is arrest. The wave of pushing against the police teams shields drones on and on gradually getting larger and more powerful. The police officers faces are etched with fear as they attempt to hold back the swarm of people. Their attempts were failing, they were becoming tired and sub-consciously hurt by the comments being fired at them. It wouldn't be long until their wall of resistance would be smashed. Suddenly, in the corner of the team commander's eye through his grid locked riot helmet he could just see one of his men fall to the ground as the rioters penetrated the line. This was the signal to the rioters, chaos broke out immediately, action had to be taken. Everyone began fighting each other, vandalising property and attacking the police. The police were vastly outnumbered and had to think quickly. Re-enforcements ran into action attempting to push the rioters back out and arrest the offenders. Police vans were constantly escorting arrested rioters to the police station. Overhead, a helicopter surveyed the riot searching for instigators and known criminals so as to alert the troops below. "Hotel Echo Lima India to ground patrol, main instigator and drugs... ...how, I doubt that. For you see, I'm not really hereà ¢Ã¢â€š ¬Ã‚ ¦" and with that Willis wellà ¢Ã¢â€š ¬Ã‚ ¦ vanished. Was there a crime? Two shadows danced in the shadows as its two matching figures walked hand in hand down the dimly lit back alley. Gone was the rubbish dump but the stench of downtown Tokyo clung to the walls as though it had been burnt by the hot sun of many scorching days only to be cooled by the sticky hot nights that hid all dark and devious deeds. As the previous two figures passed under the soft orange glow of a nearby streetlamp their faces emerged from the darkness that had previously smothered their features. One was a man and one was a woman. The man in his forties, although he looked sixty-odd, and the woman had dark brown shoulder-length hair andà ¢Ã¢â€š ¬Ã‚ ¦a tattoo on her left shoulder of an elaborate red dragon.

George Lucas Essay

No other 20th century filmmaker has had a greater impact on the film industry than George Lucas. His zeal for innovation forged a new relationship between entertainment and technology that revolutionized the art of motion pictures. His uncanny business acumen turned film licensing and merchandising into a multibillion-dollar industry. And his â€Å"Star Wars† trilogy ushered in the era of the Hollywood mega-blockbuster. Slide 2: In 1967, Lucas re-enrolled as a USC graduate student in film production. Working as a teaching instructor for a class of U.S. Navy students who were being taught documentary cinematography, Lucas directed the short film Electronic Labyrinth: THX 1138 4EB, which won first prize at the 1967–68 National Student Film Festival, and was later adapted into his first full-length feature film, THX 1138. Lucas was awarded a student scholarship by Warner Brothers to observe and work on the making of a film of his choosing. The film he chose was Finian’s Rainbow (1968) which was being directed by Francis Ford Coppola, who was revered among film school students of the time as a cinema graduate who had â€Å"made it† in Hollywood. In 1969, George Lucas was one of the camera operators on the classic Rolling Stones concert film Gimme Shelter. Slide 3: Lucas was born in Modesto, California, on May 14, 1944. As an adolescent who, as he says, â€Å"barely squeaked through high school,† Lucas aspired to be an auto racer. He changed his mind about a racing career, however, when a near-fatal accident crushed his lungs and sent him to the hospital for three months just days before his high school graduation. The experience changed Lucas. â€Å"I realized that I’d been living my life so close to the edge for so long,† he says. â€Å"That’s when I decided to go straight, to become a better student, to try to do something with myself.† Lucas enrolled at Modesto Junior College, where he developed a fascination with cinematography. Deciding on a career in film, he applied to the prestigious University of Southern California (USC) film school. USC was a milestone for Lucas. â€Å"Suddenly my life was film-every waking hour,† he says in a 1997 Playboy interview. He concentrated on making abstract science fiction films and mock documentaries, which caught the attention of director Francis Ford Coppola, who invited Lucas to sit in on the shooting of â€Å"Finian’s Rainbow.† Coppola also persuaded Warner Bros. to make a film of one of Lucas’ student movies. The full-length feature, â€Å"THX-1138,† a bleak Orwellian tale, was released in 1971 to modest reviews and a lukewarm reception at the box office. But studio executives were impressed with Lucas’ obvious talent. Slide 4: â€Å"THX-1138† had earned Lucas a reputation as a skilled but mechanical filmmaker devoid of humor and feeling. Founder Lucasfilm and released his second film, â€Å"American Graffiti,† which was based on his own coming of age in Modesto, would change that. Filmed on a shoestring budget of just $780,000, the film became a smash hit soon after its release in June 1973 and eventually grossed $120 million. The film got rave reviews and made Lucas a Hollywood sensation. It also proved to be a defining moment for Lucas, as both a filmmaker and a businessman. Studio honchos pulled rank and made changes to Lucas’ final version. The changes were minor, but the scars were lasting. â€Å"I’m very aware as a creative person that those who control the means of production control the creative vision,† he says. â€Å"It’s not a matter of saying ‘You’re going to let me have the final cut,’ because no matter what you do in a contract, they will go around it. Whereas if you own the cameras and you own the film, there’s nothing they can do to stop you.† And that’s exactly what Lucas set out to do. Industrial Light & Magic (ILM), which he created in 1975 when he couldn’t find an outside company to do special effects for â€Å"Star Wars.† ILM’s first breakthrough was a motion-control camera, which could revolve repeatedly around stationary objects while remaining in constant focus, thus simulating flight. To generate cash, Lucas turned ILM into a service company. Having created a market for special-effects-laden films, he began taking on work from other filmmakers. This way he could keep developing techniques while other people funded his research. Charging up to $25 million per movie, ILM was almost immediately profitable, supp lying the special effects for such blockbusters as â€Å"Jurassic Park† and â€Å"Twister.† Lucas funneled ILM profits into related businesses that sprang from his research. Skywalker Sound emerged as the industry’s top audio post-production company, then branched out to providing a digital sound system for theaters and homes under the name THX (in honor of his first film). And with the founding of LucasArts Entertainment, Lucas moved into video games, producing such top-sellers as the â€Å"Star Wars†-inspired Rebel Assault, X-Wing and Dark Forces. When negotiating with 20th Century Fox in 1975 for his next movie, â€Å"Star Wars,† Lucas cut his directing fee by $500,000 in exchange for things Fox regarded as nearly worthless: ownership of the film’s merchandising and all sequel rights. It turned out to be a brilliant move, one that assured Lucas the real independence and creative control he’d been seeking. â€Å"Star Wars† shattered all box office records, earning Lucas about $40 million in its initial release-merchandising would later bring him tens of millions more. Most important, Lucas owned the sequels, and thus a franchise. To maximize its value, he financed his first sequel, â€Å"The Empire Strikes Back,† himself, borrowing heavily to cover the $30 million production costs. Given the success of â€Å"Star Wars,† it was a good bet, but a huge risk-if the film bombed, Lucas would be bankrupt. â€Å"Empire† did exceptionally well, however, as did the third film in the trilogy, â€Å"Return of the Jedi,† which Lucas also financed. â€Å"Everybody has talent. It’s just a matter of moving around until you’ve discovered what it is.†-George Lucas No other 20th century filmmaker has had a greater impact on the film industry than George Lucas. His zeal for innovation forged a new relationship between entertainment and technology that revolutionized the art of motion pictures. His uncanny business acumen turned film licensing and merchandising into a multibillion-dollar industry. And his â€Å"Star Wars† trilogy ushered in the era of the Hollywood mega-blockbuster. Lucas was born in Modesto, California, on May 14, 1944. As an adolescent who, as he says, â€Å"barely squeaked through high school,† Lucas aspired to be an auto racer. He changed his mind about a racing career, however, when a near-fatal accident crushed his lungs and sent him to the hospital for three months just days before his high school graduation. The experience changed Lucas. â€Å"I realized that I’d been living my life so close to the edge for so long,† he says. â€Å"That’s when I decided to go straight, to become a bette r student, to try to do something with myself.† Lucas enrolled at Modesto Junior College, where he developed a fascination with cinematography. Deciding on a career in film, he applied to the prestigious University of Southern California (USC) film school. USC was a milestone for Lucas. â€Å"Suddenly my life was film-every waking hour,† he says in a 1997 Playboy interview. He concentrated on making abstract science fiction films and mock documentaries, which caught the attention of director Francis Ford Coppola, who invited Lucas to sit in on the shooting of â€Å"Finian’s Rainbow.† Coppola also persuaded Warner Bros. to make a film of one of Lucas’ student movies. The full-length feature, â€Å"THX-1138,† a bleak Orwellian tale, was released in 1971 to modest reviews and a lukewarm reception at the box office. But studio executives were impressed with Lucas’ obvious talent. â€Å"THX-1138† had earned Lucas a reputation as a skilled but mechanical filmmaker devoid of humor and feeling. His second film, â€Å"American Graffiti,† which was based on his own coming of age in Modesto, would change that. Filmed on a shoestring budget of just $780,000, the film became a smash hit soon after its release in June 1973 and eventually grossed $120 million. The film got rave reviews and made Lucas a Hollywood sensation. It also proved to be a defining moment for Lucas, as both a filmmaker and a businessman. Studio honchos pulled rank and made changes to Lucas’ final version. The changes were minor, but the scars were lasting. â€Å"I’m very aware as a creative person that those who control the means of production control the creative vision,† he says. â€Å"It’s not a matter of saying ‘You’re going to let me have the final cut,’ because no matter what you do in a contract, they will go around it. Whereas if you own the cameras and you own the film, there’s nothing they can do to stop you.† And that’s exactly what Lucas set out to do. When negotiating with 20th Century Fox in 1975 for his next movie, â€Å"Star Wars,† Lucas cut his directing fee by $500,000 in exchange for things Fox regarded as nearly worthless: ownership of the film’s merchandising and all sequel rights. It turned out to be a brilliant move, one that assured Lucas the real independence and creative control he’d been seeking. â€Å"Star Wars† shattered all box office records, earning Lucas about $40 million in its initial release-merchandising would later bring him tens of millions more. Most important, Lucas owned the sequels, and thus a franchise. To maximize its value, he financed his first sequel, â€Å"The Empire Strikes Back,† himself, borrowing heavily to cover the $30 million production costs. Given the success of â€Å"Star Wars,† it was a good bet, but a huge risk-if the film bombed, Lucas would be bankrupt. â€Å"Empire† did exceptionally well, however, as did the third film in the trilogy, â€Å"Return of the Jedi,† which Lucas also financed. Lucas further increased his fortune in the 1980s by producing the three Indiana Jones movies, for which he earned well over $100 million. Then, at the very top of his game, he largely abandoned moviemaking and poured his fortune into digital experiments that, he sensed correctly, would transform the movie business. Slide 5: * He quit an early career when he realized it wasn’t right for him (he wanted to be a race-car driver†¦until he almost got killed in a crash) * He made a type of product he loved and cared deeply about (movies) * He made–and learned from–lots and lots of different products (There were many Lucas movies before Star Wars) * He evolved (Lucas’s early movies were artsy non-commercial films) * He studied and learned from the best mentors (Francis Ford Coppola, among others) * He became friends with other extremely talented people in the industry (Steven Spielberg, among others) * He was shrewd (He sold his directing services to Fox Studios for Star Wars for cheap–but kept all the merchandise, licensing, and sequel rights, which Fox didn’t want) * He was very, very patient (Unlike many of today’s entrepreneurs and investors, Lucas wasn’t looking for a â€Å"quick flip.† Lucasfilm was founded in 1971, 41 years ago) Slide 6: There are three lessons to take away from reading about how George Lucas achieved success. One, grow a thick skin and be prepared for criticism and early failures. Every time you start a business, risks will be involved and sometimes things do not go your way. The key to a successful entrepreneur is how that person responds to the situation. Does he persevere through the tribulations? The second lesson is that every entrepreneur should know his or her strengths and weaknesses to give him or her the best chance at success. Knowing what skills need improvement will help limit potential pitfalls for you and your small business. The third lesson†¦just as Mr. Lucas was innovative in bringing out-of-this-world special effects to his films, entrepreneurs should also work hard to be innovative. What special effects can you use to amaze your customers?

Roots of Anti-Semitism Essay - 5756 Words

nbsp;nbsp;nbsp;nbsp;nbsp;After learning about the Holocaust, I’ve asked myself many times how this could have happened. Why would anyone believe it’s acceptable to massacre an entire people? This is my reasoning for writing my paper on how Christian theology influenced anti-Semitism. Much of the Holocaust appears to have it’s beginning with Christian theology. I will begin my paper with the early writings of Christians and continue chronologically until after World War II. The Apostle Paul was one the first people to criticize the Jewish people. At first, he tried to explain to the Christians not to adopt a superior attitude towards the Jews. IF THE PART OF THE DOUGH OFFERED AS FIRST FRUITS IS HOLY, THEN THE WHOLE BRANCH IS HOLY; AND†¦show more content†¦quot;The Gospel of John contains some of the most hostile anti-Jewish statement in the Christian scriptures. So sharp is the contrast in that gospel between Jesus’ exhortations to his followers to love one another and the hostile references to the Jews†¦John is ‘a gospel of Christian love and Jew hatred.’quot; (Charlesworth) nbsp;nbsp;nbsp;nbsp;nbsp;Some examples of John’s apparent sentiments towards the Jewish people include the following. †¦THE JEWS REPLIED†¦[JOHN 18:31] †¦MY FOLLOWERS WOULD BE FIGHTING TO KEEP ME FROM BEING HANDED OVER TO THE JEWS†¦ [JOHN 18:36] †¦HE WENT OUT TO THE JEWS AGAIN†¦[JOHN 18:38] †¦THE JEWS ANSWERED HIM, quot;WE HAVE A LAW, AND ACCORDING TO THAT LAW HE OUGHT TO DIE BECAUSE HE HAS CLAIMED TO BE THE SON OF GOD.quot; [JOHN 19:7] †¦THE JEWS CRIED OUT, quot;IF YOU RELEASE THIS MAN, YOU ARE NO FRIEND OF THE EMPEROR†¦quot; [JOHN 19:12] †¦HE SAID TO THE JEWS, quot;HERE IS YOUR KING!quot; THEY CRIED OUT, quot;AWAY WITH HIM! AWAY WITH HIM! CRUCIFY HIM!†¦quot;[JOHN 19:14] nbsp;nbsp;nbsp;nbsp;nbsp; Many scholars believe the Jews and Christians were still worshipping together around the middle of the first century. They discussed and acknowledged their differences, like a family fight. Yet, towards the end of the first century their relationships deteriorated. After the destruction of the second Temple in 70 CE, the Gentiles appeared to break away from the Jews. Jewish leaders whoShow MoreRelatedLife of a poet Essays1520 Words   |  7 Pagesï » ¿Summary of Whose canon is it anyway? â€Å"Whose canon is it anyway?† is an article written by Bethan Marshall. In the article, Marshall analyzes a review by Tom Paulin of a book by Anthony Julius about the anti-Semitism and literary works of T. S. Elliot. Despite being a well-known anti-Semite, Elliot and his poetry were studied in schools around the world. Therefore, by questioning his beliefs, we also question our own culture because Elliot’s works are closely related to its foundation. So, ElliotRead MoreAnalysis of The Jewbird Essay1017 Words   |  5 Pagescapacity to foster hatred towards those who are different in the form of anti-Semitism, and the conflict that exists between Jews who have assimilated into American culture and those who have not relinquished their Jewish identity. Humor and irony can be found throughout the story to define the characters and the conflict that exists between the protagonist Schwartz and the dominant antagonist Harry Cohen. Anti-Semitism, assimilation, and personal identity comprise the story of a talking crowRead More The Butcher’s Tale by Helmut Walser Smith Essay1184 Words   |  5 PagesAnti-Semitism is the hatred and discrimination of those with a Jewish heritage. 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Hitler fought to create this society through creating an anti-Semitic movement, his motivation and thirst for power and through his rituals of violence used to purge society of the undesirable races. Anti-Semitism, or the hatred of the Jewish people, has been prominent throughout history, even long before the Holocaust during World War II. Stemming from biblical times, the Jews wereRead MoreHolocaust : The Dead Bodies Of Jews1584 Words   |  7 PagesSlavs, and other races. Sources â€Å"Holocaust† say that â€Å"To the anti-Semitic Nazi leader Adolf Hitler, Jews were an inferior race, an alien threat to German racial purity and community†. The source â€Å"Holocaust† defines Anti Semitism is a discriminative prejudices against Jews based on their culture, religious beliefs and ethnicity. 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The document connects Christianity to its Jewish roots and indicates that the two faiths share a common origin through Abraham. The declaration