Reviewing Indian Culture And Society Senarios Film Studies Essay

Reviewing Indian Culture And Society Senarios Film Studies Essay Hindi cinema has always been a major point of reference for Indian culture and society. Not only has it shaped but also expressed the changing scenarios and contours of Indias cultural and societal sentiments to such an extent that no other preceding art form could ever achieve. Hindi cinema has influenced the way in which people perceive and deal with various aspects of their own lives. Movies now portray live-in relationships, girlfriends and boyfriends, pre-marital sex, corruption, people following live and let live policy in life and family, liberal parents, colleges are depicted like dating parties and professors like friends. Of course one has to admit that it is all exaggerated and blown up, sometimes even in epic proportions, but the core idea, the crux, the central theme, comes from the society itself. Obviously those situations and reflections of life and society are exaggerated and blown up converting it all into a motion picture with elements of drama, suspense and comedy so as to attract spectators. The society and the world that we live in is changing and these changes are echoed in the cinema. Lets take the example of the humble and illiterate mother or ma depicted in the Hindi movies of 60s, through the 70s right till the 80. The ma was a female figure, an epitome of sacrifice and hard work, caring and bothered about nothing but her children. She burned the midnight oil to stitch clothes to afford two meals a day and to pay for the heros BA degree, has slowly got replaced with the modern, educated and sometimes even independent mom. The heroine who was normally a simple homely girl has now been replaced by a woman who is not only educated and bold but is also confident about her sexuality. The hero no longer falls in love with a innocent uneducated gaon-ki-gori. He has now been replaced by a simple boy next door with no palaces to live in, with human capabilities, flaws and aspirations. The result is that the audience can now easily relate with the lead characters of the film. But there is a different aspect, a different side to the coin, as well; cinema itself can herald or bring about changes in the society. It inspires fashion and crimes when people try to mimic what they see in movies, failing to realise that what they see on screen is an altered or modified version of reality that is made to look glamorous though instruments and technology and that life like cinema is not predictable. But, there are some movies that bring about positive changes as well like the recent change in the old policy followed by CBSE as a result the movie Tare Zameen Par (2007). CBSE now gives extra time to dyslexic students for their board exams. Similarly, public interest in hockey was renewed after the hit movie Chak De (2007). So it wouldnt be wrong to say that cinema isnt just a source of popular entertainment for families and individuals, but also a vehicle of social change, as it should be. Audiences like to see the familiar on screen. They like to see what they know, what they are aware of, what they believe and it is this reflection on screen that caters to the tastes and sensibilities of the masses. People derive joy, pleasure and amusement when they watch such films and therefore it is the audience that decides what goes into a film. Next it is the investor. The producer of a film would want to invest in something that would fetch him some returns on his investment and therefore they put their money in films that would make the audience happy and consequently bring in the greens for the investors. Unless a film caters to the mass audience, it will not be economically viable. The representation of women is often used as a selling point of the films. Audience likes to watch women on screen in various song and dance routines, in stereotypical images, in various costumes ( as discussed in chapter 2) and the reflection of women on screen change from time to time with changing trends in the continuously evolving society ( as discussed in chapter 3). It is true that the changing ideologies of a society have the power over what is depicted on screen and how it is depicted but another truth is the fact that the patriarchal undercurrents in our society are still the same. Women are still depicted in a way that caters to the male gaze. Women are still categorised and this has been achieved through song and dance sequences, through various forms of dress and through stereotypical images. All these factors help to compartmentalise women, turn them into a fetish leaving no room for the real woman to be depicted on screen. A cursory glance on the history on Hindi cinema and the changing trends of society and cinema leads one to believe that Bollywood has progressed over time in terms of depiction of women. Globalization and western culture has had a strong influence and a huge impact on the content films, the locations where they are shot and even the settings. But a closer examination of the films reveal that indeed there has been progress, but only in terms of technological devices that are used for special effects, locations as in they are more scenic, the films have begun to represent N.R.Is, the speech has westernised, the dresses have a modern influence and the entire aspect of film making and marketing has becoming more commercial and corporate like. It has truly become an Industry, a business. Women are still depicted or portrayed in the old moulds of feminity. Heroines are westernised, as is everything around them, but this has resulted in turning a woman into a commodity that needs to be made a spectacle of so that the film can sell well. The western influence and modernisation has led to more skin show in order to make the film commercially viable as it is now sold to Indian as well as western audiences. Mythology, religion, notions and ideas about family and tradition, cultural ethos, all of these strongly influence Bollywood and consequently the representation of women on screen. But one must understand that all these values that dictate the trends of Bollywood are ruled and dominated by the premise of patriarchy and therefore women are represented in a manner which is submissive to these values and therefore subject to control by men. The women are shown in subordinate roles, upholding traditional values. They represent the community and are seen as repository of community values. Women authenticate a national/cultural identity. The body of the woman is the carrier of cultural signs. Symbols of marriage like the mangalsutra, sindoor etc. are fetishized.  [1]   Women are represented as prototypes, one dimensional characters as daughters, wives, daughter-in-law, courtesan, lover, widow. Such stereotypes have no personal traits, no substance in terms of character and temperament; they only exist in relation to men, to heroes on screen. They are there as foils to the male characters so as to highlight their characteristics. Feminity as it is outlined by the premise of patriarchy is more often than not adhered to in Indian films. However, through an analysis of new emerging trends in Bollywood cinema as well as the parallel cinema, it becomes clearly visible that some women break this mould. There are films that portray women in bold and strong characters and sometimes even as individuals but such films are not very successful commercially. And also the answer to the question whether women in Hindi cinema are constructed so as to attract male gaze remains yes because even in those films, the heroines who played the bold, strong and individual characters were good looking and attractive, they were used in various song and dance sequences and were objectified through the use of costumes and other cinematic tools. There have been attempts to emancipate women from the constraining stereotypical moulds through representation of strong women characters in powerful roles in mainstream cinema but they have been only partially successful because those films were made but they werent very successful. The art movies or parallel cinema as they call it, emerging in the 1970s, avoided objectifying women, and focussed on showcasing the prevalent oppression and exploitation of women in our society. But the overriding themes, ideologies and concepts of religion, culture and tradition have a very strong foothold when it comes to Hindi cinema and they entrap representation of women in fixed moulds of stereotypes strengthened by patriarchy. Events seldom catapult women characters of Indian cinema to a white-hot spotlight. They are dumped into the quagmires of tension-packed fireworks of the home-prison or the ambitious exploitations of healers and killers, lovers and betrayers. The women are shown as having no spheres of their own, no independent identity, no living space. They go down in collective memory as organic imperfections, ramshackle, rickety, unhinged creations, mere fictional constructs of the fragile handle with care male ego.  [2]   Hindi films with excellent photography, picturesque locations, designer costumes and gorgeous heroines enthral and influence audiences in a manner which slowly and steadily transforms the way they think and perceive the world around them. The youth that forms a large chunk of the audience start aping what is shown in screen in terms of costumes, language, style and above all the norms and ideologies highlighted by the films. These ideologies prescribe that domestic bliss and societal recognition is achievable only through submission to the pre-established hierarchies. One of the dictates of such ideologies is that women should be submissive and subordinate to the males in family and in society in general. Films often show heroes pursuing the heroines not with poetry, as the idea of chivalry preaches, but with songs and sequences that manhandle the heroine, pestering her with antics like playing with her dupatta, pulling and pinching her cheeks, blocking her path, coming too close for comfort and sometimes even kissing her without her permission. The girl initially tries to get away from this brute but finally gives in to him and accepts his love. The marvel of marvels happens when she succumbs to such degrading antics and is won over by his charm. Is it any wonder that eve teasing is rampant in this country when films show women giving in to such demeaning and crude gestures used by the male in the film in order to court her? In case a girl is raped in a film, the girl is compelled to marry the perpetuator of such a deplorable and detestable act. The girl isnt even asked if she wants to spend the rest of her life with the man responsible for violating her physically and psychologically in such a horrendous manner and robbing her of her freedom. The woman becomes the property of the man who ruined her life. If she refuses to marry her rapist she is immediately alienated from the society and is deemed undeserving of anyones sympathy and support for she refused to marry the man who violated her and then was willing to provide for her as his wife. The perpetuator, the criminal here becomes noble and self-righteous for in the act of agreeing to marry the woman he raped hes redeemed himself. The victim, if she refuses to marry him, becomes ungrateful, perverted and promiscuous for she refused a mans offer of marriage, a man who as per the norm, could have shrugged off all responsibility towards her. Most Hindi films portray love stories between a rich boy and a poor girl or vice versa. The predictable and often repeated story line being that they meet, fall in love, encounter opposition from their respective families, communities and society and finally they get married after innumerable trials and tribulations. The rich boy who wants to marry below his station is considered noble, heroic, sacrificing and generous while a rich girl who wants to marry the poor boy is often portrayed as fashionable, independent, spoilt, pampered and bratty who desperately needs to be tamed and domesticated so as to bring her in line with what the society expects. In other words she needs to wear Indian dresses with bindi and bangles, should be able cook and serve to the family and finally should see her husband as her sole reason for existence. This she is transformed into by the poor boy who as reward gets the woman as a trophy in the end. The whole idea defies logic. Why would a rich and pampere d girl want to marry a poor boy for there are enough good men in the world with the same moneyed background? The underlying patriarchal assumption being that any man is good enough to marry a girl, rich or poor doesnt matter. A woman, in a film, who puts her aspirations, ambitions and career before family is considered ruthless and also at time unwomanly but if a man does the same he becomes noble and virtuous. If a woman does it she is to be condemned for her professional goals come in the way of serving the family and her husband but if a man does it he is doing so to provide for his family which is commendable. The double standards of the society and hypocrisy of the patriarchal ideologies promoted by films are more than evident but such films are accepted by the audiences and they go on to become hits. The same ideology and story is repeated film after film transforming the ideology into a norm that soon becomes a trend followed by the people. Wielding the camera is probably a more onerous responsibility than wielding the pen, as the visual medium is several times more powerful than the written one. Add to this the sway that tinsel towns charismatic heartthrobs have over the masses and the job of film makers as arbiters of taste and public opinion becomes that much more accountable.  [3]   The ideology of patriarchy works through the concept of female morality setting territorial limits for the whole idea of feminine identity and exposing the hypocrisy of male attitude that ultimately seeks patriarchal domination of women. A females body remains central to the societys as well as her realization of self. Patriarchy, that asserts itself through marriage, adultery and rape, works through the female body. On the other hand a female who tries to resist patriarchy uses her body to express her freedom, desire and sexuality. Powerful woman characters and their impact is eclipsed by the manner in which she is depicted as stereotypes trapping a woman in roles that submit to the dictatorial conventions of our society in the process inhibiting the qualities of a woman as an individual at peace with herself and comfortable in the world of her personal aspirations and interests. This is because a girl child in the formative years of growing up is conditioned through the process of socialization where her freedom and liberty is cut down drastically. At a very young age she learns to submit to the whims and fancies of the patriarchal society. She gives in to the tyrannies of our society and forgets all about her own emotional, social and financial needs along with her individual aspirations. Women in our society are perceived and therefore represented as inferior beings. The realities of the patriarchal society and the standards set by it make the woman under confident and make her believe that the only form of security she can achieve is through obedience to the society that terrorizes her to begin with. This ideology perpetuated by the masculine world around her makes a woman consent to the unreasonable emotional, social and financial demands made upon her, all in the name of peace, happiness, order and security.

Grief Patterns in Children Essay -- science

Grief Patterns in Children A simple child That lightly draws its breath And feels its life in every limb What should it know of death. This question has been posed by many philosophers, religious leaders and psychologists for centuries, yet has been a potent taboo in society even today. As the field of psychology is gaining ground and knowledge in how behaviors affect the way in which we interact with others, we are discovering new ways to approach and view the mental processes of a human and apply them to how a person grieves that loss. But while oft times those assumptions, hypothesis, and theories are made by adults for adults, the child is a more difficult subject in which to study since it has not achieved its mature mental capabilities. For the adult, a full and eventful life is the predecessor of a grasp of what life and death actually entail, whereas for the child a pure and incomprehensible approach is taken when trying to understand and rationalize its loss. These differences cause much pain and suffering for both adults and children when one does not understand what each is going through and needs, especi ally those of the child. It is often mistaken that bereavement, grief, and mourning are all used synonymously, when they are all in fact quite different terms, which are essential to understanding what relates to a loss proceeding a death. Bereavement alludes to the stress that the person who has experienced the loss is feeling, but not necessarily defining the stress' nature. Grief is the actual process that follows in stages which may occur at different times ensuing the death and loss. According to Tom Golden, LCSW, "grief is related to desire. Whether the desire is large or small, if it is not met, (one) will probably have grief." (Tom Golden, Crisis, Grief, & Healing) Mourning, according to Sigmund Freud, is "the mental work following the loss of a love object through death." (Fuhrman, 1974, p 34, quoting S. Freud, 1915/1957) It not only concerns itself with the present loss but also with the future possibility of relationships. But when a person experiences the loss of a parent through death, they are forever shaped and mettled. Although it has been theorized and debated over whether a child mourns or is even capable of mourning, the affirmations on the cases' part have been very well supported. In order to understand the differ... ...h is a process, not an event." (p. 47) When expecting a child to demonstrate certain characteristics, it is not uncommon for the parent to be confused since both are on different levels of recognizing the loss and dealing with it. Attempting to understand and sympathize with the child and to help them effectively deal with their emotions and confusion is very helpful, not only for the child but for the parent. Everyone, at some point in their life, is going to experience a death or have someone close to them experience a death, the key is communication--opening up and being perceptive to the needs of the bereaved. Sometimes the survivors will exemplify attitudes and actions which show independence and strength yet have needs that need to be met. The everyday changes everyone experiences are and can be very burdensome, but for children, with the uncertainty of their worlds and the people that fill them, it may seem almost impossible to deal with. The significance is in helping the children to deal with their loss at a developmentally appropriate level and to help them "get through" their feelings and to rebuild their lives with the environment in which they've been left.

The Virtual Neighborhood and Its Social Implications :: Argumentative Persuasive Essays

The Virtual Neighborhood and Its Social Implications My own feelings about the "virtual neighborhood" fall somewhere in between those of Jim Dewer and David Noble. I will very briefly make an attempt to sketch out some boundary lines and find myself therein. I distinguish two sides of the issue. One is the concept itself and the other is the proposed list of uses. Admittedly, the two of these are related. The Concept First of all, the "virtual neighborhood" is no real neighborhood and we need to avoid being unduly convinced by a metaphor which is just that, a metaphor, of limited use. A "virtual promise" is no real promise. A "virtual promise" does not hold up in court where contracts have to be demonstrable, e.g., in writing. The word 'virtual' means something idealized by projection and not actualized. Calling the Internet a "virtual neighborhood" is making a claim that we can re-create a familiar experience by projection into an enormous "ideal" electronic experience. Second, let us not forget to check to see whether a metaphor is appropriate. Just because it is a metaphor is no reason to believe it is a useful metaphor --- that is, a "noble falsehood." Does the idea of a virtual neighborhood have some nobility? If we stretch the neighborhood all the way around the world, what features of it can we justifiably expect to carry over into the virtual reality of the metaphor? And what won't stretch? Clearly, actual visualization, moment-by-moment multiple perception, and direction recognition/identification -- essential features of truly human contact -- don't stretch across this medium. We don't get to watch a person's "body language." Is the person uneasy? Confident? Intimacy is something that also belongs to most neighborhoods but doesn't travel well. For one thing, the network is too narrow a channel and it's set up for too much speed. Neighborhoods develop because we watch each other's kids grow up and we borrow each other's lawn mowers. And finally, I do not believe that commitment is something we'll find in the virtual neighborhood. When my virtual neighbor's URL burns down, will I be there with my bucket of fiberoptic? A neighborhood is something complex, something rich. Saying that we can re-create a neighborhood virtually across incredible distances and through a very limited medium has to be, in some real sense, very audacious. This is especially the case, I think, when we claim that intimacy can move without alteration across this medium.

E-Cigarettes

BENEFIT OF USING ELECTRONIC CIGARETTE They are so many of smokers in the world and every day the numbers of them are increasing rapidly especially the teenagers,but nowaday with the advanced of the technology then its created the electronic cigarettes and its becoming more widely used by people to either help them quit smoking or reduce the number of cigarettes they smoke each day. Does the electronic cigarette help the smokers to reduce their habit or continue to quit.First of all,we can reduce the amount of the nicotine in our body slowly using the electronic cigrate. The cigrates does not burn like common cigrates that produce smoke but it burn somekind of liquid that will vaporized and the vapour contain an amount of nicotine that our body needed only. This will make our addiction to the cigrate will reduce and then we will quit from smoking. Secondly,we also can save the money that we use to buy cigrates because when we use the electronic cigrate,the cost are much more cheaper t han the common cigrate.This will not save the money of the smokers but also will make the smokers think twice about to continue their smoking habit that will cost a lot of money. As you known today,the cost of living in our country has gone up in recent years and this will make the smokers cannot affordable in their life because their addiction to smoke will make they always buy the cigrate. Lastly,the electronic cigrate also are less dangerous than the common cigrate because its doesn’t contain the chemical like the common cigrate and most important it doesn’t produce carbon monoxide and tar that will harmful our lung.With the fact that the electronic cigrate doesn’t contain those harmful chemical this will make the smokers think about to quit their smoking habits or to reduce and start using the electronic cigrate. Holistically,the conclusion is there are a lot of benefit using the electronic cigrate and that is the best way to reduce or continue to quit the s moking habits. We just need to be clever to think on how to make it well. The smokers will think about the benefit above such as reduce the nicotine addiction,save their money and last but not least will keep their lung healthy.

A Visual And Verbal Narrative

Malia Wittgenstein had finally made up her mind; she would pursue a promising job offer, with Starcom Fashion Design Company in Washington as a personal assistant to the director. Malia was willing to leave behind her usual life in Newcastle UK.Her lover; Jethro who was a Chef in a renowned Newcastle hotel, was not happy about her decision but he could not control her considering the fact that she had caught him flirting with a prostitute in a local pub. Jethro, had apologized profusely but Malia seemed to think that he was treating her that way because she was jobless at the time.Malia sat in the sitting room staring at the two bags she had packed for her departure. Emotions overwhelmed her, as she thought of her usual life in Newcastle. Malia had built all her life around Jethro but his betrayal in a drunken stupor had neutralized all her trust in him.As she stared at their portrait on the wall, so many emotions were running through her, she loved and hated him at the same time. Sh e smiled at the memories of good old times and shed tears when she remembered their latest scuffles with Jethro. Malia seemed to be sure that all she needed was to get away from Newcastle, and prove to Jethro that she could turn around and make it in life.She looked at a painting hanging loosely on the wall depicting a girl in pursuit. The painting seemed to collude with what she was going through and felt so much in touch with the painting. Suddenly she felt nostalgic and was not sure if she should go or not and tears filled her eyes.Malia was not sure if she was making a mistake or not by leaving Newcastle and more so if she was wrong about Jethro and if he really meant his love to her as he had promised earlier in a bid to try and coarse her not to leave him.She had decided to leave today because Jethro would be busy at work and would not try to stop her to leave through his sweet tongue. She cried and sobbed with a heavy heart not trusting if she could leave the life she had so much gotten used to. When she finally calmed she took a paper and a pen and wrote a letter to Jethro:To my first love,I never knew the meaning of love until I met you Jethro. You were the first man to take away my innocence and I don’t regret it because then I knew I loved you and you loved me. When my parents died and I lost everything, God brought you to my life and you have been the only family I have ever known.I am still hurting because you cheated on me the other day. I don’t know why, but I want to hate you so much yet I can’t because I still love you so much. Why did you hurt me so bad? Is it because I am jobless unlike you? This new job offer in Washington is promising and I think it will make me happy and that’s why I want to leave and let myself be.I hate to confess this but I don’t know if I will ever be able to get you out of my mind Jethro. Please don’t try to stop me because I won’t let you. I have to leave now don†™t worry I will get in touch after sometime. Jethro? Do you really love me as you are professing? Am I the woman of your dreams and are you certain that you really want to marry me as you told me last night?From your Cherry,Malia

Biographies of Oneil and Adele Cannon Essay Example for Free

Biographies of Oneil and Adele Cannon Essay Oneil and Adele Cannon will be honored this year as they celebrate fifty years of an activist marriage. The following is just a short summary of the many ways Oneil and Adele Cannon have contributed to the history of Los Angeles. The great French philosopher Jean-Jacques Rousseau (1712-78) wrote in his work Emile: â€Å"there is no happiness without courage nor virtue without struggle†. This is a quote that certainly can apply to the lives of Oneil Cannon and his wife Adele. As they celebrate fifty years of an activist marriage, their life journey has exemplified the qualities of courage and struggle. The causes that they have fought together are a chronicle of the progressive movement over the last half century. Oneil Cannon was born in Plaquemines Parish, Louisiana on January 28, 1917. He attended grammar and high school in New Orleans, Louisiana. In his 20’s he was drafted into the Army in Louisiana. He first visited L. A. during his furlough from the Army, to visit his sister and younger brother. He met and married his first wife, Elizabeth, in New Orleans in 1939. After his discharge from the Army in 1945 he felt that Los Angeles would probably offer better opportunities for a man and his young family, so they moved to Watts. This was during the era of a large migration of African-Americans from the south to California and other northern states. In order to sustain an income in those beginning years, he had various jobs. In 1946 he obtained a position as an Insurance Agent with the historical Golden State Insurance Company (the first insurance company to predominantly serve the African American community in Los Angeles). As Oneil puts it: â€Å"My brother Fred and I had opened our own printing shop in Watts before either of us knew very much about printing. We were both just out of the Army (World War II) and after a time, we decided that I would go to school and learn printing. I studied printing at Frank Wiggins Trade School which later became Trade Tech Junior College in the years 1947 to 1950. Fred would stay and take care of the shop and then I would come home and teach my brother what I learned at school about printing. That was my job. That’s the way we did it. So we both became printers at the same time, but I became a printing teacher, the same day that I became a printing student. We ran the shop and studied between meetings and other community activities, which we were both involved in Mrs. Carlotta Bass, editor and publisher of the California Eagle Newspaper, (who also introduced Oneil to Paul Robeson) also had a printing shop needing someone to take it over at that time. So Oneil went in and made a deal with her–she rented him the use of the printing shop. Therefore Oneil was in business for himself as the California Eagle Printing Company (1950-55). Also, he still worked with his brother at the Quick Service Advertisers Print Shop on 111th and Wilmington. They printed signs, leaflets and advertisements for various funeral establishments, political causes and groups, and businesses in the community. One day Carlotta Bass came into the printishop with some people to talk to Oneil about the Printers Union. Because of his hands-on work and training as a printer, they invited him to join in starting a campaign to break the color line in the Printers Union. This was a significant point in continuing the struggle for equal opportunities for all, and shows his genuine concern and courage to bring justice to the community. Philip â€Å"Slim† Connelly from the CIO, asked if he could participate in this very important campaign. Prior to this time, the Union did not have any African American members. Considering Oneil’s history of activism, from the voting rights movement in the south in the 1930’s, to being involved in breaking the color bar in the International Typographical Union (ITU), this was one of the most important, telling and dramatic labors of his life. Oneil stated, â€Å"This is how I got started to working on getting into a printing union. After getting all sorts of â€Å"run arounds† from printing unions, somehow some of the Communists who were in the ITU came to me and offered to help, if I was really interested in breaking the Jim Crow status in the printing industry and unions in Los Angeles. I had absolutely no doubts that I was ready for this struggle; â€Å"a piece of cake†, after all, hadn’t I just come from â€Å"Jim Crow† Louisiana where I’d lived all my life, and hadn’t I just gotten out, after three years in a â€Å"Jim Crow† Army. I had been all over Los Angeles looking for, and working on different jobs. But you â€Å"ain’t† lived until you have to deal with well-organized trade union bigots. These dudes were really pros. Interestingly, I never once heard them attacking my desire for membership on the basis of race, but only because the people who advocated my membership were Communists. Incidentally, I never saw any membership cards, but saw that they knew of my efforts to become a printers union member, and that they were the ones who came to my assistance. Logic tells me that there was something strange about the Union’s argument, because if they hated Communists so badly, why were these white Communists â€Å"in the union†, and not one African American? This point was raised by one of the comrades on the union floor and he was roundly booed, but not put out of the union. † Oneil finally became a member of the Printers Union, but then was never sent out to jobs. When he went to the Union Hall, somehow there was no work for him. However, some of his friends benefited by Oneil breaking that barrier, and did get jobs. So the struggle continued. Meanwhile, Oneil continued operating his own â€Å"Union† printing business Fidelity Lettershop, which he continues to run today. â€Å"I ended up not only running my own printing shop, but also teaching graphic arts at S. T. E. P. ne of the â€Å"Poverty Programs† and eventually I retired as a California State credentialed graphic arts teacher in 1999. This is where he first met (now Congresswoman) Maxine Waters. I still teach on a volunteer basis at the Paul Robeson Center in south Los Angeles, of which I am the director. I’ve been teaching printing a long time. † Oneil and Adele met in 1947, while working together as part of a political team in South Los Angeles during the campaign to put Henry Wallace (who was running against Truman) and the Independent Progressive Party (IPP) on the Ballot. Adele was also an activist, beginning with the Franklin Roosevelt campaign as a precinct worker. Adele Marx Rosenfield was born in El Paso, Texas in 1923. Her family moved to California in about 1936 and she graduated from Fairfax High School in 1940. She then attended UCLA to study Chemistry. After Pearl Harbor, she enlisted in the WAVES, but was discharged after only 17 days due to â€Å"political activities in civilian life†. It turned out the government had interviewed a friend of the family who told of her activities. She married and had two children—Jan and Dale Goodman. Adele and Oneil were married in December, 1954. When her youngest child, Jan Goodman, was in Junior High School she went back to school at UCLA Extension and then for her Masters of Business Administration at Cal State Dominguez, while working as an office manager, and raising a family. After earning her CPA and working as a full-time accountant, she served as the Peace and Freedom Party’s State Treasurer for 16 years and is still a State Officer of the Peace and Freedom Party. Since starting to work together as part of a political team in South Los Angeles during the campaign to put Henry Wallace and the Independent Progressive Party (IPP) on the ballot in the late 1940’s, they continued as a team when fighting to free the Rosenbergs and later Angela Davis. One fight always led to another, as they fought as part of the IPP to force employers to hire African and Mexican- Americans, where the slogon was â€Å"don’t bank or buy where you can’t work†. As part of the South-East Inter-Racial Council, they fought to end segregated housing and restrictive covenants and to bring Negro History Week into the Los Angeles City Schools. Always striving to bring peace, they gathered signatures to the Stockholm Peace Petition, fought and demonstrated against the wars in Vietnam and continue to fight for Middle East peace. As they raised their six kids, the Cannons fought to bring equal education to South Los Angeles, including the multi-years struggle led by Odessa Cox to bring a Junior college to South Los Angeles, which culminated in the establishment of Southwest Community College. They were also involved from the beginning to acquire a health facility of some kind in Watts, which ultimately came under the leadership of Ted and Bernice Watkins and the Watts Labor Community Action Committee (WLCAC), a predecessor of the Martin Luther King, Jr. Hospital. Oneil Cannon is known to current activists as owner/operator/union printer at his print shop, Fidelity Educational Press. Oneil, along with his wife Adele and others co-founded the Paul Robeson Community Center in 1986. When they were thinking about a name for this Center, their daughter Jan Goodman suggested it be named in honor of Paul Robeson since their goal was to establish a multi-cultural/multi-ethnic community center. Therefore, who better to exemplify multi-culturalism than Paul Robeson. In the Cannons’ fifty years as a team, they have certainly lived their motto to improve our community. Instead of leaving when the kids were grown, they stayed to continue the fight for better schools and living conditions in South Los Angeles. In this way they have been able to truly contribute to a multi-cultural South Los Angeles. Biographies of Oneil and Adele Cannon. (2017, Jan 14).

Crimonology Essay Example | Topics and Well Written Essays - 250 words

Crimonology - Essay Example With the introduction of prisoner rehabilitation series, correctional officers’ roles changed to incorporate rehabilitation. The correctional officers were also required to maintain a social distance with the inmates and to use the discretionary rule enforcement. The correctional officer was no longer adequate as a guard, and their role was to ensure that inmates were transformed and equipped with skills necessary to help build the society. The management role of a correctional facility has also changed significantly. Previously, the administration would have appointed anyone to the position of a correctional officer. Training requirements were minimal or nonexistence (Law). The management role involved ensuring that the prisoners were locked away, and their rights were not significant. Currently, in the correctional facilities, the management has to place measures to ensure that programs are offered to produce a positive effect on the prisoners. The correctional facilities are required to work as proactive learning facilities, and outcomes are evaluated. The role of managing a correctional facility has also changed to include the training and education of correctional officers (Law). The management has to ensure that inmates’ rights are honored, and rehabilitation opportunities awarded fairly in regard to age, gender, and race. Law. "Prisons: Correctional Officers - Changes in The Correctional Officer Role." - Inmate, Inmates, Rehabilitation, and Custody. N.p., n.d. Web. 04 May 2015.