Elizabeth Ann Seton And Raissa Maritain - 1512 Words

Elizabeth Ann Seton and Raà ¯ssa Maritain both valued education in a way that was unprecedented for young women during the era in which they grew up. Once Seton and Maritain converted to Catholicism, they dedicated their lives to spreading the notion of love, faith, and knowledge to eager students. The most comparable aspects of their spirituality lie within their zealous education and missionary work once they converted. Both Maritain and Seton dedicated their lives to Christ in unique, yet comparable ways through how they chose to spread the word of God and educate others. Starting from an early age, both Elizabeth Ann Seton and Raà ¯ssa Maritain enjoyed the benefits of a formal education. Seton’s father, a physician, served as her role model, leading her towards her academic goals. After his death in 1801 , Seton still continued educating herself and immersing herself in scripture. Her marriage to William Magee Seton and the birth of her children pushed her even further i nto academia and religion as she continued to write and journal her thoughts, daily activities, and hardships. Raà ¯ssa Maritain, very similarly, had a formal education beginning at the age of seven years old. Maritain grew up in a Jewish household in imperial Russia. Her mother, knowing that her daughter would not receive a fair and equal education as a Jewish girl during such a controversial time period, moved the family to Paris, France. There, Raà ¯ssa blossomed and continued her education as it was

Throughout The Course Of The Years, The World Has Been

Throughout the course of the years, the world has been greatly affected by many detrimental factors. Many of these detrimental factors include fossil fuels and pollution are having a negative impact on our planet. Luckily, engineers have developed new and innovative technology that can potentially help lessen pollution and other detrimental factors. Green technology has the immense potential to generate a new method to help produce a less toxic environment ( What Is Green Technology ). Our world is slowly decaying as a result of our human actions everyday. Yet, what if specific technology could really help and change the world for the better? It is essential to develop new and efficient ways to help society fulfill their daily tasks and†¦show more content†¦Factories go through processes in order to generate electricity. However, the electricity that is produced for human usage tends to release greenhouse gases into the atmosphere. Of course, this has a detrimental impact on our environment. For instance, research shows that the generation of electricity has greatly increased the amount of greenhouse gases in the atmosphere. As a result, an excessive amount of greenhouse gases in the atmosphere is absorbed and emits radiation. Yet, not only can the generation of electricity harm humans but animals as well. There has been numerous research done that shows that the generation of electricity can harm animals as well. The Seattle PI association explains how animals many birds fly into power lines and suffer extensive injuries. For instance, â€Å"a 2009 study found that the Chernobyl nuclear disaster resulted in lower animal populations even 20 years after the disaster† (How Does Electricity Affect the Environment?). Yet, there are a plethora of solutions to these problems. New techniques and practices have been developed. In one case, our society has been starting to use wind energy, and solar power. 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Business Law Westphalia Marts Pty Ltd

Question: Describe about the Business Law for Westphalia Marts Pty Ltd. Answer: Issue The main issue is to determine if the contract between Mojo Beverages and Ben is indeed enforceable. Further, opinion also needs to be rendered with regards to the claim amount. Law For enacting a legally enforceable contract, it is imperative that the contract essential must be satisfied. These are as stated below (Carter, 2012). Valid agreement comprised of offer and acceptance Intention to enter into legal relations Valid Consideration Parties must have the capacity to enter into a contract The fulfilment of the above conditions leads to the formation of a valid contract between the two parties. Offer is extended by a party known as offeror and directed to a particular offeree or multiple offerees. It is defined as any proposal for indulging into a particular activity for a particular consideration in the hope that the proposal would receive approval of the other party called as offeree. This is in line with the argument offered in the Gibson v Manchester City Council - CA (1978) case (Latimer, 2005). Further, in accordance with the arguments put forward in the Carlill v Carbolic Smoke Ball Co (1893) case, it is apparent that the offer would have to be communicated to the offeree for ensuring that it is valid. It is imperative that the offer terms should be definite and should lack ambiguity. This is crucial for uploading the offer validity in the court of law (Gibson Fraser, 2014). With regard to valid agreement, it is imperative that the offeree must offer confirmation to the extended offer.as apparent in the verdict of the Brogden v Metropolitan Railway Co. (1877) case. It is required that the offer terms must be agreeable to the offeree as conditional acceptance amounts to a counter offer being made to the original offeror (Pathinayake, 2014). Further, acceptance on a mental level on the part of the offeree does not amount to acceptance in legal terms as evident from the decision of the Powell v Lee (1908) case. It is vital that the same must be extended to offeror using appropriate communication means (Lindgren, 2011). In event of alterations being introduced in the offer by offeror unilaterally, then the same must be granted acceptance by the offeree so as to result in a valid agreement. Unilateral alternations to the offer without the offeror giving consent and being aware of the same are not valid and do not supersede the original terms. With regards to unilateral offers, there is variation in the manner of acceptance, The acceptance is not requisite in such offers and the offeree indulging into the desired action is testimony to acceptance being given as is evident from the arguments made in Great Northern Railway Company v Witham (1873) case (Davenport Parker, 2014).. Application As per the given case facts, a unilateral offer was communicated by Mojo Beverages through publishing an advertisement whereby it offered a sum of $ 100,000 as prize money to any person who would find success in catching Lord Harry from the water. However, later it was realised that the prize money actually offered was only $ 1,000 instead of $ 100,000. The offer in the given case is unilateral which is open to the people and essentially acceptance would be communicated if any individual indulges in the activity of finding Lord Harry. Ben was aware of the modified offer before he could catch Lord Harry. Even though it was through an unreliable third party but Ben should have ideally clarified the matter before indulging in the act of catching Lord Harry. It is quite possible that Mojo Beverages had made an announcement about the modified amount of reward but Ben was not aware of it. But after having heard the rumour, continuation with the act of catching Lord Harry is assumed to be acceptance of the modified offer as ideally if Ben was not interested in getting $ 1,000, he should not stopped his activity. The silence of the Mojo Beverage representative does not change the conclusion as Mojo had already made a public announcement regarding this before Lord Harry was caught. Conclusion Based on the above discussion, it may be concluded that there is an enforceable contract between Ben and Mojo Beverages and as per it, the company should make a payment of $ 1,000 to Ben. Issue The central issue in the given case is to determine whether Livestock Brokers have a binding contract with Dorper Sheep Sellers Pty Ltd and hence can enforce the contract based on the case facts presented. Law For enacting a legally enforceable contract, it is imperative that the contract essential must be satisfied. These are as stated below (Latimer, 2005). Valid agreement comprised of offer and acceptance Intention to enter into legal relations Valid Consideration Parties must have the capacity to enter into a contract The fulfilment of the above conditions leads to the formation of a valid contract between the two parties. Offer is extended by a party known as offeror and directed to a particular offeree. It is defined as any proposal for indulging into a particular activity for a particular consideration in the hope that the proposal would receive approval of the other party called as offeree (Carter, 2012). Further, in accordance with the arguments put forward in the Carlill v Carbolic Smoke Ball Co (1893) case, it is apparent that the offer would have to be communicated to the offeree for ensuring that it is valid. It is imperative that the offer terms should be definite and should lack ambiguity. This is crucial for uploading the offer validity in the court of law (Fraser Gibson, 2014) In response of the offer being extended to the offeree, it is imperative that unconditional acceptance must be extended for the formation of a valid agreement. In case of conditional acceptance being granted, this would not result in the enactment of a valid contract. Instead as explained as in Hyde v Wrench (1840) case, a conditional acceptance would be considered as a counter offer (Pendleton Vickery, 2005) . This counter offer is directed to the original offeror and would result in the formation of a valid contract if accepted. However, as evident from the arguments made in Stevenson v. McLean(1880) case, the act of making enquiries with the intention of gaining more information does not amount to counter offer and hence does not lead to cancellation of the offer (Pathinayake, 2014). The acceptance of the offer must be communicated by the offeree to the offeror. In the event that the offeree does not communicate the acceptance to the offeror, then it is not held valid and does not result in formation of a valid contract. One of the means of communication that may be used for communicating acceptance is through post. As per the postal rules of contract formation, the acceptance is assumed to have been communicated by the offeree at the moment when the acceptance letter is sent to the offeror (Davenport Parker, 2014). Any delay in receipt of the acceptance letter does not alter the contract formation and hence a legal contract is in place irrespective of the date on which the acceptance letter reaches the offeror or he/she reads the letter content. However, in case of usage of communication modes like fax which result in instantaneous communication, the above rules are not valid and thus acceptance becomes valid only when the offeror receives the fax which is evid ent from the arguments made in the EntoresLtd v Miles Far East Corporation (1955) case (Lindgren, 2011). Application As per the given information, Dorper Sheep Sellers Pty Ltd (offeror) made an offer to sell dorper sheep flock to Livestock Brokers (offeree). The offeror sent a letter to the offeree on June 1 detailing the offer with regards to the quantity of sheep flock on offer along with the applicable price. Further, a period of 14 days was given to the offeree to communicate acceptance to the offeror. In response to the offer by the offeror, the offeree sent a letter dated June 6 which wanted some additional information. It is apparent from the verdict of the Stevenson v. McLean(1880) case that mere asking queries or seeking incremental information does not amount to counter offer. As a result, the letter sent by offeree does not impact the offer which was still valid. Further, on June 14, the offeree through fax as the medium of communication expresses their acceptance to the offer and this was timely received by the offeror before the expiry of the offer, Thus, it may be concluded that in the given case, there is an enforceable contract between Livestock Brokers and Dorper Sheep Sellers and therefore refusal by Dorper Sheep Sellers to not entertain Livestock Brokers would amount to breach of contract and would have legal implications. In the event, the fax letter is not received by the offeror, then it is deemed that acceptance has not taken place during the time provided as communication of acceptance to offeror is pivotal. Hence, in this case, there is no enforceable contract between the two parties and there is no legal obligation on the part of either party. Conclusion Based on the discussion above, it is evident that in case the fax letter was received by Dorper Sheep Sellers on time, then there would be contractual relation between the two parties and Dorper Sheep Sellers would have to fulfil their legal obligation by providing Livestock Brokers with the requisite quantity of sheep at the communicated price. In case of non-receipt of fax letter before offer expiry, then there would not be any contract between the two parties. Issue Based on the relevant facts, the core issue is to determine if Westphalia Marts can recover the shortfall of lease payment along with the full amount. Law In case, there is a legally enforceable contract between the parties, these are expected to fulfil their contractual obligations. Some of the terms inserted into the contract are referred to as implied terms and the source of these terms is the presence of conventions and precedent. On the other hand, express terms are those which are explicitly concluded by the contracting parties. Violation of the terms of the contract may result in contract being breached (Latimer, 2005). It is the duty of the parties enacting the contract that the contractual terms agreed must be respected and not violated in bad faith. However, it is possible to amend the contract through change in terms or addition to the existing terms (Carter, 2012). This amendment to the contract may be achieved in the written or the oral form but the mutual acceptance of both parties is imperative. If the amended contract is written in nature, then it should bear the contracting parties signature. However, the oral contracts are also equally binding and amount to legal contracts (Lindgren, 2011). Application Stuart and Westphalia Marts Pty Ltd have entered into a written lease agreement whereby Stuart has hired a shop in the Prince Mall for a period of five years. In accordance with the lease agreement, Stuart is required to pay a consideration of $ 1,000 on a weekly basis. He made prompt lease payments during the initial 2.5 years as business was flourishing. However, then business took a downturn and hence Stuart offered Westphalia Marts Pty Ltd to accept a lower monthly lease payment of $ 700 till there is improvement in business which was accepted by the company. Hence, through an oral agreement, an amendment had been done to the original lease agreement. Such modifications are legally enforceable and also the contracting parties would have to comply with the amendments made. Hence, in the given case, the company cannot claim the shortfall of $ 300 per week for 2014 and also cannot demand a rent of $ 1,000 from January, 2015. Conclusion It can be concluded, that through the oral agreement between the company and Stuart, the original lease agreement is deemed to have been amended. Hence, now the shortfall cannot be recovered for 2014 and also the lease payment cannot be unilaterally increased to $ 1,000 without Stuarts consent. Reference List Carter, J 2012, Contract Act in Australia, 3rd eds., LexisNexis Publications, Sydney Davenport, S Parker, D 2014, Business and Law in Australia, 2nd eds., LexisNexis Publications, Sydney Gibson, A Fraser, D 2014. Business Law, 8th eds., Pearson Publications, Sydney Latimer, P 2005. Australian business law, 24th eds., CCH Australia Ltd. Sydney Lindgren, KE 2011, Vermeesch and Lindgren's Business Law of Australia, 12th eds., LexisNexis Publications, Sydney Pendleton, W Vickery, N 2005. Australian business law: principles and applications, 5th eds., Pearson Publications, Sydney Pathinayake, A 2014, Commercial and Corporations Law, 2nd eds., Thomson-Reuters, Sydney Cases List: Brogden v Metropolitan Railway Co. (1877). Carlill v Carbolic Smoke Ball Co (1893). EntoresLtd v Miles Far East Corporation (1955). Felthouse v Bindley (1862) Gibson v Manchester City Council - CA (1978). Great Northern Railway Company v Witham (1873). Hyde v Wrench((1840). Mendelson-Zeller Co Inc v T C Providores Pty Ltd(1981). Powell v Lee (1908). Stevenson v. McLean(1880)

Star Wars Extended Essay Example For Students

Star Wars Extended Essay This paper will explore the thesis, over the course of the Star Wars saga there is sufficient evidence to support the claim that the creators were able to create a sense of continuity between the first and second sets of trilogies. The plan of investigation throughout the argument intendeds to make the point there is sufficient evidence to support the idea that continuity exists between the two Star Wars trilogies. The terms Of measurement used to support this point are the utilization and technical progression of computer generated imagery used in set design and the physical creation Of characters. The sources seed in this essay include the films Star Wars: Episode V and Star Wars: Episode Ill. Additional primary sources used include interviews from bonus DVD documentaries with director George Lucas. The thesis, over the course of the Star Wars saga there is sufficient evidence to between the first and second sets of trilogies was not supported. The evidence provided by the sources used in the argument indicated that continuity was not achieved. Word count: 233 Table of Contents Introduction Argument Set Design Characters Conclusion Bibliography 4 The six part Star Wars series tells the story of intergalactic conflict between the roses of good and evil in the universe. We will write a custom essay on Star Wars Extended specifically for you for only $16.38 $13.9/page Order now The force, a metaphysical power that exists within us all and is more prevalent in some, allows us to communicate with the world around LOS_ In the prequel trilogy, Jed knight Quiz-goon Jinn, a guardian Of intergalactic peace, discovers Manikin Sneaker and believes he is the one prophesied to bring overall balance to the force. Manikin, his conscious clouded by fear, learned that by joining the dark side he could save those he loved from death. In joining the dark side Manikin took the name Dearth Evader, became a sits lord which is the antithesis of a Jed Knight, and lost everything and everyone he Ovid. During the original trilogy we meet young Luke Jaywalker, who we later learn is Dearth Evaders son. He defeats the sits lords not once, but twice, and realizes that he, not his father, is the chosen one who was predicted to bring balance to the force. After defeating his father, and the evil Emperor Palatine, Luke ends the reign of the Sits lords and this allows for the return of the Jed. Due to the hiatus been the production of the original and prequel trilogy Lucas purposely chose to take, there is doubt whether continuity truly exists between the original trilogy and the prequel trilogy, The purpose of this paper is o examine how set design and the creation to characters compare when created with analog effects with those created by computer generated images to answer the research question: were the creators of the six part Star Wars series, specifically in Episode Ill: Revenge of the Sits and Episode V: The Empire Strikes Back, able to create continuity between the antiquated and modern trilogies, specifically through the utilization of set design and the creation of characters? This essay will explore the thesis, that over the course of the Star Wars saga there is sufficient evidence to support the claim that the creators were able to create sense of continuity between the first and second sets of trilogies. The terms of measurement used in my essay include set-design, costume and make-up, as well as Stunts which use computer generated imagery. The term set-design refers to the background images seen in the films, set design includes buildings, plant life, bodies of water, and all Other nonliving entities on screen. Set design is generally a combination of sets built on a sound Stage and green screens Which become scenery in post production editing. Also to be considered is the costume and make up design through out the series. This reticular area includes various creatures created either through computer generated images or antiquated costume techniques. Special effects were a large component in the Star Wars series and helped to create galactic battles and light saber duels, where both analog effects were used along side computer generated imagery. Computer generated imagery is the application of computer graphics to a film to produce larger than life special effects or simulate the impossible. Analog, in terms of special effects, refers to man made sets or costumes, something tangible, as well as pyrotechnic or rigged stunts. Blue screen, or more commonly the green screen, refers to a screen used as a general backdrop on which images can be overlaid in post production editing using CGI technology in order to avoid costly sets or to produce a background impossible to recreate in reality, The plan of investigation will incorporate specific quotations from several articles which discuss the use of analog and computer generated imagery in the star wars trilogies. Additionally two films, Episode Ill: The Revenge of the Sits and Episode V: The Empire Strikes Back, will be used as representation of their captive trilogy in order to determine whether continuity was accomplished in the overall series. Behind the scenes, interviews With George Lucas, and documentaries on the creation of the films will be used as sources. Finally, discussion and interviews With those associated With the film industry, specifically those educated in computer generated images Will be used as primary sources. This is real, this is real, this is real, not so real, not so real, not so real, said George Lucas, the director Of the Star Wars series, as he feverishly marked storyboards. This process of highlighting different parts of a shot on a black and White storyboard was a genius way Of color coding What components Of each individual shot would be created by physical sets or costumes and what would be created digitally. Lucas spent years creating an entire universe in his mind and now that he was no longer limited by technology his imagination could become reality. The worlds he imaged were unbelievably detailed and dangerously optimistic for the technology available during the production of the original trilogy, My original vision for Star Wars was to have a lot of epic scale to t, (Lucas) What Lucas means by epic scale is not only would the sets be enormous, but that the characters and plot would reflect aspects of epics in literature. While his films do not relate openly to any specific epic they share common characteristics such as the plot revolving around a savior and heroic feats. Set design in Episode V: The Empire Strikes Back was considered to be ahead of its time as it utilized techniques such as matte and blueberries. l know its goanna work because its impossible, (Lucas). The high standards to which Lucas held both himself as well as the creative teams that produced the worlds of Lacunas mind are the factors that are solely responsible for the ultimate creation of Star Wars. In my opinion this passion and excitement for proposing the impossible and creating something even more unfathomable is the driving force behind Lacunas genius. For the most part the crew had to produce large scale sets for scenes with tremendous amounts Of action because the computer generated images simply were not able to realistically create the effect of humans in motion. For example, the battle on the ice covered planet Hot, was shot on a glacier in Norway as opposed to being completely digitally created. The set crew dug trenches and built life size battle stations for the film. The complexity of creating a digital world through computer generated images is an enormous task and paired with the lack of sufficient technology a battle of epic proportions would have been impossible to create digitally. Physical sets were the the best choice in this case, and while other directors may have chosen to attempt to create a digital world, Lucas chose to film the battle on planet Hot without blue screens because, in general, actors are able to create a more authentic feel if they can see and react o what is physically around them, The technique used for most of the film was a method of compiling images on top of one another. .u0b5c7b888d4d012601f459aceee6853e , .u0b5c7b888d4d012601f459aceee6853e .postImageUrl , .u0b5c7b888d4d012601f459aceee6853e .centered-text-area { min-height: 80px; position: relative; } .u0b5c7b888d4d012601f459aceee6853e , .u0b5c7b888d4d012601f459aceee6853e:hover , .u0b5c7b888d4d012601f459aceee6853e:visited , .u0b5c7b888d4d012601f459aceee6853e:active { border:0!important; } .u0b5c7b888d4d012601f459aceee6853e .clearfix:after { content: ""; display: table; clear: both; } .u0b5c7b888d4d012601f459aceee6853e { 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; } .u0b5c7b888d4d012601f459aceee6853e:active , .u0b5c7b888d4d012601f459aceee6853e:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u0b5c7b888d4d012601f459aceee6853e .centered-text-area { width: 100%; position: relative ; } .u0b5c7b888d4d012601f459aceee6853e .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u0b5c7b888d4d012601f459aceee6853e .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u0b5c7b888d4d012601f459aceee6853e .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; } .u0b5c7b888d4d012601f459aceee6853e:hover .ctaButton { background-color: #34495E!important; } .u0b5c7b888d4d012601f459aceee6853e .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u0b5c7b888d4d012601f459aceee6853e .u0b5c7b888d4d012601f459aceee6853e-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u0b5c7b888d4d012601f459aceee6853e:after { content: ""; display: block; clear: both; } READ: Ambiguity in Princess Mononoke EssayLayering images is now considered antiquated, however, at the time, this method was used for many scenes that took place in deep space and needed a background that could not be recreated in reality, An example of this process can be seen when the Millennium Falcon fought its way thorough an asteroid field. Within the shot there oeuvre several levels of images which created a realistic effect when combined. The first layer of this scene was the backdrop f a Star field and a shot Of an empire destroyer was superimposed on top Of this. The Final layer was the image of the Millennium Falcon, flying away through lasers Which were painted in, on each individual shot, by artists in the animation department. The painting in of laser beams is similar to the method Of Stop motion, having to slightly tweak something in each frame to create the illusion of movement. It is interesting to see how Lucas uses older techniques in his films instead of choosing the most technical route. The way he is able to appreciate the ingenious methods of those who created masterpieces before him ND combine their methods with his own is unique talent. In contrast to the set design in the original trilogy, the amount of computer generated imagery used in the prequel trilogy was much greater merely because the technology was available and Lucas seized the opportunity to be a pioneer in the field of computer generated imagery by integrating the digital art into his films. An extraordinary example of computer generated imagery in Episode Ill: The Revenge of the Sits, is the set design to the planet Mustard. This is the arena where the final battle between Manikin and Obi-wan takes place. Every detail of this planet was dreamt up by George Lucas and was created through technology used by animation teams and the artists at I. L_M. The real point is how can we, at ELM, manage to change the operating procedures in a way that we can completely revolutionize the way we make movies so this is doable? (Rick McCollum) The word change in the quote is the key term to describe the production of Star Wars and its use Of technology. Star Wars is revolutionary film in the way that expressionism was once revolutionary in the world Of visual arts. Creating new ways to bring the unimaginable to life is a evolutionary step in the world of cinematic technology and Lucas was able to harness the potential power Of this digital means Of creation and use it to his advantage. The first shot in which the audience sees the planet is a wide angle establishing shot of Padres computer generated ship entering the plants atmosphere. The planet is, in essence, an undulating sea of magma. Its landscape is riddled with erupting volcano spewing lava in every direction. There are canyons made of dark, rocky channels with flowing rivers of fiery slang at the bottom. Droids dart here and there taking care of the industrial jobs, arraying heaping buckets of magma, fixing structures, or mining the rock walls which line the peristaltic flow. This attention to detail is a trademark of Lucas. It is expected to Lucas, as well as his creative teams, to be overly detailed in their creation of realistically fantastic planets in galaxies far away, because without the minute details the audience is prone to feel as if the film they are watching is not based in reality, The process for creating the planet was extensive to say the least, The theatrical cinema as we know it is story telling and so the technology is used to tell a story ND tats the whole point, (Lucas). Lucas, as discussed, is the leader of the computer generated revolution in the eyes of millions, Where films had tried, and succeeded, to use computer generated imagery, Lucas was able to create a popular culture sensation which drove home the point that he was at the top of the digital field as far as cinematic advances are concerned. New techniques were utilized in every episode Of the prequel trilogy, for example, computer generated imagery was a main component in the creation of more than two thirds Of the shots in Episode I. Lucas reported that there was at least one computer generated component in nearly every scene. This allowed for the epic scale Of the unimaginable to be reached. The foundation of the planet was created by a team of animators. They used schematics from the art department, with direction from Lucas, to produce an electronic blue print for the planet. Mustard is layer upon layer of computer generated images with minute changes on each level, this is similar to the method of composing matte images on top of one another, however this new technique is digital which clearly shows the evolution of technology. While the films contrast in many aspects there are definite areas of overlap, for example, in Episode V blue screen was used to create special effects. After Luke Jaywalkers duel with Dearth Avatar, he hangs on to the ledge of a walkway with a seemingly endless drop beneath him. That is what is seen by the audience. In reality both the actor and ledge were created on a sound stage, and shot with a blue screen behind it. An arrests matte rendition of what lay below Luke Jaywalker was then superimposed on the negative space left by the blue screen, This integration of matte and blueberries was genius because at the time the gait imaging was not yet as detailed as a matte rendering of a scene In Episode Ill blue and green screen were used to create the background for the epic battle between Obi-wan and Manikin on the planet Mustard_ Interestingly Lucas chose to integrate green screen technology directly onto the set by painting sections Of the physical set green Which enabled the actors to interact With a set while allowing the team at AL. M to add an extreme amount of detail in post production. Model sets were used in both films, We still use a lot of methods that we used in the very first film. Lucas) This is interesting because it shows, again, how Lucas reaches back into the past to revive techniques which ultimately bring the best result. Sometimes nothing beats the old fashion use of models and m iniatures, (Lucas), In episode Ill the artists create a model of a lava filled channel on Mustard. They used break away Styrofoam which can be easily modeled to look like rock, food preservatives as magma coupled with under lighting to create the glow of natural lava, and model industrial buildings, This large model was created with the intention to giving I. L. M a map tort their computer generated images. However, Lucas used footage of lava flowing down through the model, with digital images layered on top of it, in the final motion picture. Physical Character Development The physical creation of characters, how the characters came to life through the use of costumes and make-up combined with computer generated images, begin with characters that exist only Lacunas mind. In episode V a clever combination of puppets and costumes were used to create the intergalactic cast of aliens in the film. The primary example of puppet use in this film is the life like representation Of the master Jed, Wood_ This three toot, mossy green, grey haired character avgas created by Steward Freeborn, the clay sculpture Who created the original images Of Lacunas fantastical cast, and the animators department, as they handled the puppets as well. Amazingly the puppet Wood had a full range Of emotion. .u3f15f2ab7b833c944aa2993d74bcce52 , .u3f15f2ab7b833c944aa2993d74bcce52 .postImageUrl , .u3f15f2ab7b833c944aa2993d74bcce52 .centered-text-area { min-height: 80px; position: relative; } .u3f15f2ab7b833c944aa2993d74bcce52 , .u3f15f2ab7b833c944aa2993d74bcce52:hover , .u3f15f2ab7b833c944aa2993d74bcce52:visited , .u3f15f2ab7b833c944aa2993d74bcce52:active { border:0!important; } .u3f15f2ab7b833c944aa2993d74bcce52 .clearfix:after { content: ""; display: table; clear: both; } .u3f15f2ab7b833c944aa2993d74bcce52 { 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; } .u3f15f2ab7b833c944aa2993d74bcce52:active , .u3f15f2ab7b833c944aa2993d74bcce52:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u3f15f2ab7b833c944aa2993d74bcce52 .centered-text-area { width: 100%; position: relative ; } .u3f15f2ab7b833c944aa2993d74bcce52 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u3f15f2ab7b833c944aa2993d74bcce52 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u3f15f2ab7b833c944aa2993d74bcce52 .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; } .u3f15f2ab7b833c944aa2993d74bcce52:hover .ctaButton { background-color: #34495E!important; } .u3f15f2ab7b833c944aa2993d74bcce52 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u3f15f2ab7b833c944aa2993d74bcce52 .u3f15f2ab7b833c944aa2993d74bcce52-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u3f15f2ab7b833c944aa2993d74bcce52:after { content: ""; display: block; clear: both; } READ: Twin Peaks - Who Killed Laura Palmer? EssayThis is attributed to the complex mechanics within his plastic skull as well as the dexterity with which the puppeteer handled the puppet itself. These advanced mechanisms allowed for full movement of the eyes, eyelids, mouth, lips, and eyebrows. While these mechanics are not at all new, they are innovative in the way that Lucas had to Ely on theses simple mechanisms to create emotion in such a pivotal character in his film. When puppets were not enough to create the specific effect that Lucas imagined, when the puppets were simply too small for the epic effect the Star Wars films are famous for, costumes were the only other, Nan- digital, way of producing galactic_ characters. A great deal of how we respond to a character on screen is a result of the costume department (Lucas) Lucas meant that the way that the audience reacts to any character is based on how they see the character, literally and figuratively. How the character is visually illustrated can effect how an audience feels about the character throughout the entire film, and Lucas relies on this physiological occurrence to create a certain tone in his films. An excellent example of how costumes are used to create the unimaginable is the Wampum, an enormous Yeti like snow monster native to the planet Hot. The ten foot monster is played by an actor, Des Webb, a 6 10 foot giant himself. He stumbled through the Norwegian snow banks on two foot stilts topping Off his costume with a one foot tall Wampum head. As in more modern films, Harry Potter or example, directors tend to lean towards using actors Of enormous height when creating giant characters instead of depending solely on computer generated imagery. The costume department made every part of Des Webs costume, from finding snow monster appropriate shaggy fur, to painting the area in between the knuckle joints on the gloves in order to create perfect authenticity and meet Lacunas image. This passion for detail through costuming can be directly linked to Lacunas own passion for his films which seemed to be contagious among his crew. While costumes are supremely helpful in the realm of character creation, the trial evolution to character development is the turn to digital arts. The digital characters are what I need really to tell the star wars films, says Lucas. Lucas, as well as his team of artists, realized and embraced the fact that with the technology that they had waited years for, they would now be able to tell their story with more depth and detail as the technology would now allow for more creative liberties within This progression towards computer generated imagery is apparent in the making of the prequel trilogy. In Episode the character Jar-jar Pinks was originally cast as an actor in a costume, but then as used as a physical map for animators to create his computer generated counter part. Were pursuing the idea of doing the body on set and the head in digital, (McCollum) Executive producer, Rick McCollum, a man Of influence where Star Wars was concerned, was a large part of pushing for more computer generated images. Where Lucas had the dream Of having an all digital cast, McCollum brought these dreams to the screen. After preliminary animation testing, Jar-jar became a fully CGI character. One Of the things that could make this the most special thing in the world is that its a pure CGI character, said Rick McCollum. Named Best, the actor who was originally cast to play Jar-Jar Sinks, was no longer needed for the actual footage of the film, I. L. M dressed Best in a blue suit, made to be the same color as a blue screen, and using motion sensors on the suit they mapped out his acting, digitized the information, and used his motions to create Jaguars unique character. Wood was truly the pivotal character in the realm of computer generated imagery. Wood is one of the few characters who was originally analog a physical character, and became completely computer generated. The animators, while irking on episode l, spent their energy creating a completely computer generated Wood. They proposed to both Lucas and McCollum that using a fully computer generated Wood would enable him to have a more full range of emotions and participate in more elaborate fight scenes. However, in order to create a Wood which would both wow audiences and appear to be the same Wood in films previously released, the animation team at AL. M had to be cautious when considering the acceptable range of motion they planned to give to Wood. The fear that they would over step Hoods original range of both emotion and event, as well as being able to capture the essence of the character, meant that Prank Oz, the original puppeteer was an enormous part Of Hoods transition from analog to digital. The key, according to Oz, for keeping Hoods performance similar to those Of the original trilogy, was to keep a certain stiffness about him, I always took Hoods back aches and sore feet into account. (Oz) In conclusion the evidence provided in the argument answers the research question: were the creators of the six part Star Wars series, specifically in Episode Ill: Revenge of the Sits and Episode V: The Empire Strikes Back, able to create nonentity between the antiquated and modern tri logies, specifically through the utilization of set design and the creation of characters? The terms of measurement discussed do not support the thesis, that over the course Of the Star Wars saga there is sufficient evidence to support the claim that the creators were able to create a sense Of continuity between the first and second sets Of trilogies. The argument is a collection of examples pulled from clips of the films under investigation as well as primary and secondary source quotations from documentaries on the making of the films. Each point was presented using evidence from both films and then compared and contrasted to each other. Problems met during my plan of investigation was finding appropriate sources, sources which I would be able to glean viable information from. For instance one source used was a documentary about the making to Star Wars Episode V: The Empire Strikes Back and after searching every outlet the complete video was found in a 5 part series on Youth. Additionally my original plan incorporated all six films from the series, but after evaluation I chose to only use those which felt would truly aid me in my research. The number of times that the two trilogies differed far outnumbered the counts that the two were similar. The sheer amount of computer generated imagery mentioned in regards to the creation of episode V clearly overshadows the few times CGI was used in the original trilogy. For example it was said that nearly every scene in episode Ill had at least one component of CGI enhancement whereas in episode V the single use of CGI was in set design, specifically the use Of blue screen. What surprised me most concerning the research was the ingenuity used in original trilogy. The combination Of effects and their ability to overcome serious genealogical hurdles was fascinating to learn about. The reason for the surprise is that in modern filer both the filmmaker and audience assume that the latest in technology is available and ready to use, reading and watching the making of an older film, seeing more antiquated techniques being used effectively was inspiring. If I had to repeat this investigation would plan to find documents used in the making of the films.