Loss of Top Predators in the Ocean

Loss of Top Predators in the Ocean It is becoming increasingly difficult to ignore the sign of deterioration within the population dynamics of marine apex predators. Sharks, mammals, and large teleost fish amongst others species, play a critical role in maintaining a stable and balanced marine ecosystem by regulating species abundance, diversity, and distribution (Stier et al., 2016). Recently, researchers have shown an interest in the increasing densities of medium size predators known as the mesopredators due to rapid decline in apex predators (Brook et al., 2008). However, these rapid changes are having a serious adverse effect on the marine community, thereby leading to a top-down trophic cascade due to the removal of a top predator (Shackell et al., 2010). To be more specific, the loss of top predators affects the aquatic community on a number of levels: trophic, behavioral, and populations. This essay will provide an overview and highlight the importance of top predators in marine ecosystem as well as change in trophic levels and behavioral patterns that affect the aquatic food web. Apex predators have been victim to human imposed activities such as overexploitation through fishing industries, habitats destruction, introduction of invasive species and increased anthropogenic pollutants creating unfavorable conditions to thrive (Madin et al., 2016). The major impact relating to loss of top predators manifests in the trophic aspect following in a close correlation between the decline of the predators and preys (Baum and Worm, 2009). Extensive research indicates that the existences of the invasive species has a negative contribution towards the top predators (De Poorter et al., 2010). For example, in 1980s the comb jelly fish (Ctenophora) originally from North America was introduced in the black sea, which lead to a dramatic alteration within the food chain, thus releasing toxin causing the death a total of 14 humpback whales (De Poorter et al., 2010). On the other hand, overfishing across the globe has led to 90% decrease in large shark biomass regionally (Heupel et al., 2014). Due to the decline of larger sharks it has led to the inflexion of a particular ray species which diet constitute about 70% of scallops thus contributed towards the drop of scallop fishery causing ecological and economic losses in the North Atlantic Ocean (Ferretti et al., 2010) (Grubbs et al., 2013). For instance, a research conducted on the U.S eastern seaboard indicates that a decrease in 11 types of large sharks results in the additio n of 12 to 14 small mesoconsumers (Madin et al., 2016). Additionally, a decline in catch rates of 13 large pelagic predators results in an upsurge catch of pelagic stingrays and other small animals (Madin et al., 2016). Furthermore, studies showed that decline in the Canadian cod (Gadus morhua), led to the upsurge in the number of small pelagic and marine invertebrates. As a result, this has led to the cascading alterations in the copepod in addition to the phytoplankton communities (Araà ºjo and Bundy, 2012). Studies have also shown that shifts in the diet by destroyer whales, which move along the Aleutian island have resulted from a reduction in the number of sea otters present in the island. In effect, urchins are released from the predations thereby causing the reduction of kelp forest due to their overgrazing (Heithaus et al., 2008). Therefore, it is evident that there is a close connection between the decline of the predators and the prey in the ecosystems. Another aspect that should be closely examined is the behavioral one. The scholars believe that aquatic life uses the behavioral responses to different risk in efforts to avoid encountering predators. For instance, dolphins and other animals forage in productive shallow seagrass during a time when the number of sharks is reduced. However, they move to less industrious but harmless surroundings when the population of sharks in the ecosystem is high (Griffin et al., 2008). Additionally, when top predator disappear the mesoconsumer population increases and may shift their behavior in foraging pattern, which affect the ecosystem. For instance, shark and killer whale help maintain the seal population but due to loss in numbers the fur seals (Arctocephalus forsteri) in New Zealand thrives causing the temperate reef fish (morwong Chelilodactulus nigripes) to reduce foraging effort, leading to reduced grazing on turf algae (Heithaus et al., 2008). The impacts of behavior response to predation risks among the prey may include experiencing energetic cost and the lack of adequate utilization of resources (Langerhans, 2007). As such, their growth and reproductive outputs are limited in the ecosystems by the predation risks (Abdulla, 2004). In other cases, the risks of tiger sharks limit the number of prey and activate trophic cascades. Tiger sharks ultimately decrease browsing on the sea grasses in risky places but escalating in harmless environments that are portrayed in longitudinal processes of seagrass nutritional components (Griffin et al., 2008). Having examined all the points, that were mentioned in the paragraphs above, one is able to come to the following conclusion: top predators are important as they regulate the species abundance, diversity, and distribution that contribute to a healthy marine ecosystem. The significance of the risk effects as well as individual predator species depends on the community diversity, habitat heterogeneity, life history features of mesoconsumers and predators. A decrease in the predator diversity in some occasions leads to positive impacts on the mesoconsumers (Baum and Worm, 2009). The comparative impacts of specific predator type elimination can decrease per an upsurge in variety, which relies on the pursuing strategies utilized by the alienated slayers in the population. The environmental structures have an influence on the ecological effects of top predators declines as well as the relative strengths of risk effects. Furthermore, the decreased number of predators results in the increase d prey populations and other adverse effects such as shifting coral reefs to algae dominated habitats, a decline of seagrass among others. Resent research states the predators play a major role in carbon cycling within the ocean (Atwood et al., 2015). Therefore, there is the need to protect these predators from future declines through establishing some effective strategies. The strategies may include decreasing the demand for shark products, reducing the number of top predators reared for commercial fisheries and ensuring improved management. References Abdulla, A., 2004. Predator-prey interactions in coral reef fish: The implications of Predation risk on the behavior and growth of prey (Doctoral dissertation, James Cook University). Atwood, T.B., Connolly, R.M., Ritchie, E.G., Lovelock, C.E., Heithaus, M.R., Hays, G.C., Fourgurean, J.W and Macreadie, P.I., 2015. Predators help protect carbon stocks in blue carbon ecosystem. Nature Climate Change, 5(12), pp. 1038-1045. Araujo, J.N. and Bundy, A., 2012. Effects of environmental change, fisheries and trophodynamics on the ecosystem of the western Scotian Shelf, Canada. Marine Ecology Progress Series, 464, pp.51-67. Baum, J.K. and Worm, B., 2009. Cascading top down effects of changing oceanic predator abundances. Journal of Animal Ecology, 78(4), pp.699-714. Bourdaud, P., Gascuel, D., Bentorcha, A. and BrindAmour, A., 2016. New trophic indicators and target values for an ecosystem-based management of fisheries. Ecological Indicators, 61, pp.588-601. De Poorter, M., Darby, C. and MacKay, J., 2010. Marine Menace. Alien invasive species in the marine environment, IUCN. Edwards, H., 2016. When Predators Become Prey: The Need For International Shark Conservation. Ocean and Coastal Law Journal, 12(2), p.5. Ferretti, F., Worm, B., Britten, G.L., Heithaus, M.R. and Lotze, H.K., 2010. Patterns and ecosystem consequences of shark declines in the ocean. Ecology letters, 13(8), pp.1055-1071. Griffin, E., Miller, K., Freitas, B. and Hirshfield, M., 2008. Oceana: Predators as Prey: Why Healthy Oceans Need Sharks. Grubbs, R.D., Carlson, J.K., Romine, J.G., Curtis, T. and McElroy, D., 2013. Save the bay, eat a ray: a purported trophic cascade mediated by declines in large shark populations and the consequences of applying simplistic models to complex ecosystems. Conference abstract. In 141st American Fisheries Society meeting. American Fisheries Society, CITY, Maryland. Abstract_Book_ (pp. 9-20). Heithaus, M.R., Frid, A., Wirsing, A.J. and Worm, B., 2008. Predicting ecological consequences of marine top predator declines. Trends in Ecology Evolution, 23(4), pp.202-210 Heupel, M.R., Knip, D.M., Simpfendorfer, C.A. and Dulvy, N.K., 2014. Sizing up the ecological role of sharks as predators. Marine Ecology Progress Series, 495, pp.291-298. Langerhans, B.R., 2007. Evolutionary consequences of predation: avoidance, escape, reproduction, and diversification. In Predation in Organisms. Springer Nature, pp. 177-220. Madin, E.M., Dill, L.M., Ridlon, A.D., Heithaus, M.R. and Warner, R.R., 2016. Human activities change marine ecosystems by altering predation risk. Global change biology, 22(1), pp.44-60. Myers, R.A., Baum, J.K., Shepherd, T.D., Powers, S.P. and Peterson, C.H., 2007. Cascading effects of the loss of apex predatory sharks from a coastal ocean. Science, 315(5820), pp.1846-1850. Shackell, N.L., Frank, K.T., Fisher, J.A.D., Petrie, B. and Leggett, W.C. 2010. Decline in top predator body size and changing climate alter trophic structure in an oceanic ecosystem, Proceedings of the Royal Society B: Biological Sciences, 277(1686), pp. 1353-1360. Stier, A.C., Samhouri, J.F., Novak, M., Marshall, K.N., Ward, E.J., Holt, R.D. and Levin, P.S. 2016. Ecosystem context and historical contingency in apex predator recoveries, 2(5). Thomsen, S.K. and Green, D.J., 2016. Cascading effects of predation risk determine how marine predators become terrestrial prey on an oceanic island. Ecology, 97(12), pp.3530-3537.

Absinthe - One Verdant Drink Essay -- Exploratory Essays Research Pape

Absinthe - One Verdant Drink What inspires artistic genius? Some proclaim God, others beauty, many believe instanity, and a few say†¦.mind altering drinks. One cannot but notice the companionship of alchohol with music, literature, and poetry. During the late nineteenth century and early twentieth century, Absinthe was the beverage of choice for many prominent artists, and was at the center of the lives of such famous minds as Degas, Manet, Gauguin, and Poe. Le Feà © Verte (its pseudonym, meaning green fairy) while immensly popular at one point, was prohibited because of its dangerous side effects and â€Å"immoral† connotations. However, its sudden come back in Europe and the U.S. has only reaffirmed its symbol as a drink for artistic revolution and just plain drunkeness. The history of Absinthe saw its beginning as a medicinal herb and a transition into a popular drink. Hippocrates perscribed soaked wormwood to his patients for rheumatism and menstrual pain. However,in the sixteenth century, Dr. Pierre Ordinaire distilled Wormwood to its liquid form and what we now know as Absinthe. In 1797, Henry-Pernod was the first person to manufacture and distribute the drink to cafes across France. By the nineteenth century, Absinthe became madly popular in continental european night life. Val-de-Traviers in Switzerland and Pontarlier in France were manufacturing powerhouses of La Feà © Verte. Among the Bohemian community, artists such as Van Gogh and Manet were known for making it the subject of their art and imbibing it in large quantities. Ernest Hemingway, an Absinthe connesieur, explained that â€Å"One cap of it took the place of the evening of papers, of all old evenings in cafes, of all chestnut trees th... ...utionary Bohemian artists back at the turn of century . Art and substance are sometimes concomitant. One verdant drink, Absinthe, is a landmark to an era long passed among the modern age’s most brilliant artistic minds. Although originally used for medicinal treatment, it was consumed ravenously by such famous individuals such as Hemingway, Van Gogh, Degas in Parisian cafes. However, the rise of the prohibitionist movement and fear of its narcotic effects led to its ban across western Europe in 1915. Nevertheless, its resurging popularity stands as a testament to a yearning of the radicalism and change at the turn of the century. Works Cited 1. Informative Site on Absinthe, http://www.sepulchritude.com/chapelperilous/absinthe/absinthe.html 2. Drug Library, The Vaults of Erowid, http://www.erowid.org/chemicals/absinthe/absinthe.shtml

High Concept Films

According to Justin Wyatt the high concept film is valued by some in the film industry and derided by others. He states, ‘Whereas creative executives such as Katzenberg would stress the originality of a high concept idea, media critics would suggest that high concept actually represents the zero point of creativity’. Discuss the validity of both points of view with reference to Terminator 2: Judgment Day (James Cameron, 1991) and one other film. The high concept film represents the economically invested interests of Hollywood, as the high concept film is produced to be highly marketable.With Hollywood simply being a profit seeking business, the high concept film provided an assurance of box office revenue in a time when the industry was in decline. It can be argued that this change in filmmaking merely altered the style of Hollywood films, allowing film makers to thrive conceptually in simpler narratives. Conversely, it can also be argued that this resulted in the produc tion of creatively bankrupt films, where the importance of marketability far outweighs that of creativity, originality and complexity.This essay will argue both sides of this debate with reference to Terminator 2: Judgment Day (Cameron, 1991) and Jaws (Spielberg, 1975). James Cameron's Terminator 2: Judgment Day (1991) is an example of a director exploring complex conceptual meaning beyond the simple high concept narrative. Whereas Steven Spielberg's Jaws (1975) is an example whereby the simplicity of a high concept film not only limits creative exploration, but also breeds consecutive similar films such as sequels and remakes.High concept filmmaking emerged from a post-WWII America, where Hollywood studios were struggling to produce a product that would re-energise decreasing profits. The 1948 Paramount case saw the Supreme court decide that the Big Five Hollywood studios were monopolizing the film industry (Balio 1990, p. 5). This decree was concluded on the basis that the Big Fiv e (Paramount, Warner Bros. , MGM, Twentieth Century Fox, and RKO) owned studios, worldwide distribution, and controlled theatre chains; therefore monopolizing the production, distribution and exhibition of the industry (Balio 1990, p. ). This verdict saw the studios separated from exhibition as not only was block booking and unfair film distribution condemned, but the Big Five also had to divorce their theatre chains (Balio 1990, p. 5). The paramount decree in conjunction with the raising middleclass, suburbanisation, and the domestication of the television, saw Hollywood profits drop significantly. Where middle-class Americans may have had more time and money, this was predominantly spent on domesticated items and vacations (Balio 1990, p. ). In addition, the move to the suburbs had audiences drawn away from city theatres and instead take to watching television more conveniently (Balio 1990, p. 3). As a result movie attendance halved, and thousands of theatres were closed down (Bal io 1990, p. 3). It therefore becomes clear that Hollywood needed products that would return profits to the industry. Where Hollywood was struggling to survive in a diminishing industry, it also had to compete with rivalling television entertainment.This caused for Hollywood to differentiate its product and furthermore encouraged collaboration with the new entertainment medium, which consequently bread the high concept film. Hollywood differentiated it's product technologically for the most part, through gimmicks such as 3D experimentation, different widescreen technologies, and colour film (Balio 1990, p. 24). During the 50's, colour films were being produced as a superior product to black and white television; however the novelty quickly wore off (Balio 1990, p. 24).Widescreen and 3D techniques were also explored with technology such as Naturescope, Panavision, and CinemaScope; again these brought audiences back to the cinema, however they were no more than temporary attempts (Bali o 1990, p. 26-28). It became evident that specific demographics had to be targeted – much like television does – in order to market films successfully to audiences (Balio 1990, p. 28). This saw a collaboration between film and television as old films were aired on television to fill time slots; Hollywood generated revenue through telefilm production; and foremost, film marketing had access to television (Balio 1990, p. 8,31-32). This consequently bread the high concept film, as a film had to be sold in a single sentence when restricted to a short TV ad slot; thus associating the term with marketable plots (Wyatt 1994, p. 8). It's reasonable to believe that high concept films were therefore â€Å"designed to be sold† (Wyatt 1994, p. 14). With the term high concept unarguably associated with films that Hollywood favour in return of predictable commercial success, there's no doubt that they're heavily influenced by marketing and merchandising integration (Wyatt 199 4, p. 7).This creates a style of filmmaking that has an emphasis on star personas, fashionable subject matter, presold premise, and the ability to be pitched (Wyatt 1994, p. 12). The pitch is generally a single sentence summary of a film, which will at first sell the film to studios, and secondly it will create the marketing hook that catches the attention of audiences during ad campaigns (Wyatt 1994, p. 8). This influences the narratives of high concept films as they're sculpted to be pitched. Wyatt notes that this produces an idea that is â€Å"very straightforward, easily communicated, and easily comprehended† (1994, p. ). Many films value this simple narrative approach, such with Snakes on a Plane (2006) being a film simply about snakes on a plane; American Gangster (2007) is about Frank Lucas and the gangster culture during the 1970's; Star Wars (1977) is about epic intergalactic space battles. The use of stars also become prominent in the high concept film, as stars not only attract audiences, but they can also be attached to specific star personas, both of which favour marketing (Wyatt 1994, p. 10). For example John Wayne or Clint Eastwood in a western film is instantly recognizable.Fashionable subject matter involves cashing in on what's popular culture, such as the recent string of alien films. These include Cloverfield (2008), District 9 (2009), Battle L. A (2011), Skyline (2010), Cowboys and Aliens(2011) and Predators (2010) to name a few. Pre sold premise is the production of films that are already successful and have pre established audiences, which Wyatt suggests is limiting new ideas, â€Å"relying heavily upon the replication and combination of previously successful narratives† (1994, p. 3). This is most evident in the abundance of comic book adaptations over the years – mostly superhero films – such as Batman (1989) and Batman Begins (2005), or Superman (1978) and Superman Returns (2006). It's therefore clear that t he marketing and commercial aspect of high concept filmmaking influences the narrative and style of films produced in Hollywood. This can foremost be seen as an indictment of Hollywood, as creativity is no doubt limited when favouring those films that are adaptations, sequels or remakes.The film Jaws (1975) is no doubt a high concept film, as the attributes of the pitch, stars and pre sold premise are evident in its production. The film has the simplicity of a high concept narrative, possibly pitched as ‘giant shark attacks swimmers'. For example the pitch used in the trailer was â€Å"Jaws. See it before you go swimming† (Jaws 1975). Therefore the pitch would have sold the concept of the film to studios, and also been used in the marketing for the film. Furthermore, the film starred Richard Dreyfuss, Roy Scheider and Robert Shaw, each of which were prominent film and television actors that were featured in the Jaws trailer.However, the fact that Jaws (1975) was a preso ld premise would have been the primary studio attraction to the film. With Peter Benchley's novel Jaws a bestseller, the film was able to use the novel's success in their marketing; noting such achievements in the film trailer. These marketing attributes of the film therefore create the simple high concept narrative of Jaws (1975). Directed by Steven Spielberg, he even proclaims a desire for such a simple narrative, â€Å"I like ideas , especially movie ideas, that you can hold in your hand† (Wyatt 1994, p. 13).From this the negative connotation associated with the high concept film is introduced, as Jaws (1975) bread sequels, a franchise, and similar Hollywood productions. For the most part critics condemn such high concept films as creatively bankrupt, claiming that they're â€Å"the zero point of creativity†¦ relying heavily upon the replication and combination of previous successful narrative† (Wyatt 1994, pp. 13). Being a novel adaptation, this is no doubt re levant to Jaws (1975), however I don't believe it to be a creatively bankrupt film, as there is an art in adapting a novel for screen.Where I do agree however is in regards to the 3 Jaws (1975) sequels, each of which used the same concept merely with altered plot elements. This is no more than exploiting a successful film by using its generic plot that was so easily summarized for marketing purposes. Furthermore, this high concept film has inspired other similar giant creature films such as Lake Placid (1999) and Shark Attack (1999). In addition to this, the Friday the 13th (1980) franchise could be said to be Jaws (1975) with a man instead of a shark.Both of these films rarely depict the ‘killer' killing, and both films have consistent suspense music that plays during the presence of the killer. To continue this further, Friday the 13th (1980) established a repetitive franchise of 10 films, again exploiting a simple high concept narrative. These examples clearly indicate a ha bit to duplicate and exploit high concept films, which I believe is where creative potential is most hindered in this debate. Also considered a high concept film is James Cameron's Terminator 2: Judgement Day, as it too incorporates Hollywood stars, pres sold premise, and the simplicity of the pitch.Again this film is also a presold premise, as it's a sequel to The Terminator which was also successful. Therefore the narrative of this film simply continues from that of The Terminator, however now the terminator must protect the Connor duo. This is simply summarised in the trailer as â€Å"this time he's back. For good† (The Terminator 1984). This sequel brings back stars Arnold Schwarzenegger and Linda Hamilton, with Arnold primarily featured throughout the films marketing. So with the stars and simplistic narrative both a result of Terminator as a presold premise, this film is no doubt a high concept film.As a result of this, critics would assumedly favour Terminator 2 as a m arketing plot, as sequels are economically strong due to the ability to be marketed through the previous films (Wyatt 1994, p13). However, this is a critically narrow perception of high concept films in general. Tho Jaws may be seen as a lack of creativity in relation to its franchise, Terminator 2 has been studied beyond its simple narrative, granting it more value and meaning. While critics prefer denouncing high concept films, those within the industry favour and encourage the high concept.Wyatt claims that the industry stresses the originality and uniqueness of high concept films, and such Terminator 2: Judgement Day (1991) will be the example (1994, p. 14). While Terminator 2 (1991) may be a high concept film, James Cameron managed to provide a film that can be analysed beyond the simple cyborg narrative (Radner 1998, p. 249). By contrasting Sarah Connor from Terminator 2 (1991) with her character in the original, it's clear that there's a contrasting development of femininity (Radner 1998, p. 253).This can be seen to not only symbolise her evolution in the narrative, but also as a reflection of Hollywood feminist culture (Radner 1998, p. 260). The Hollywood female being that of masculine desire, reducing â€Å"femininity to her image† (Radner 1998, p. 260). In The Terminator (1984), Sarah Connor appears â€Å"fragile, rounded and fecund†, being typically feminine (Radner 1998, p. 260). However, in Terminator 2 (1991) – after the term of her pregnancy – the same character appears much more masculine and irrational (Radner 1998, p. 249-250).This therefore defies the Hollywood model of femininity, while also inverting the rationality of men with the maternal mother (Radner 1998, p. 250). Cameron has used Sarah Connors body as not only a symbol of her evolution and a reflection of Hollywood culture itself, but also to encompass the complex – somewhat contradictory – character that she's become (Radner 1998, p. 251). While fearing for her sons life, she arguably neglects her maternal instincts in order to save humanity, and in doing so appears to jeopardise her sanity (Radner 1998, p. 252).In addition, she also helps to humanize the cyborg that she once feared (Radner 1998, p. 251). This is clearly a complex character transformation through the two Terminator films, and to discard such characterisation as creatively bankrupt would be nothing but generalisation and ignorance. With that, it's clear that the high concept film can be conceptually superior to what critics may give them credit for. In reference to sequels, remakes and adaptations, there's no doubt that the critical view of high concept filmmaking – put forth by Wyatt – is valid.This is evident with the Jaws (1975) franchise – as well as the other previously mentioned films – as the incentive to exploit popular ideas discourages the exploration and creation of new original ideas. In summary, the high concept film is undoubtedly produced at the cost of lower concept films, as low concept films rarely have the same marketing potential that has been discussed. However with reference to Terminator 2 (1991) comes the validity of the opposing argument, as this film has encouraged feminist analysis and reflection despite its marketing value and simple narrative.In addition, Terminator 2 (1991) doesn't stand alone as a superior high concept film, as technically any film can be analysed beyond the surface narrative. This proves that while the high concept film has it's commercial placement in Hollywood, there still remains a place for it artistically. Where marketing and economic interests may produce a ‘simple' style of filmmaking, filmmakers are still encouraged and challenged to explore artistically elsewhere in the production of such films. The high concept saved the Hollywood film industry financially, and is the primary reason for its success through to contemporary cinema.Therefore to brand it a creative burden is to ignore the current success and progress of the industry, and to praise it is to ignore the creativity explored in lower concept films. Reference List American Gangster, 2007, motion picture, Ridley Scott, USA. Balio, T 1990, ‘Introduction to Part 1', Hollywood in the Age of Television, London, pp. 3-40. Batman, 1989, motion picture, Dir. Tim Burton, USA. Batman Begins, 2005, motion picture, Dir. Christopher Nolan, USA. Battle L. A, 2011, motion picture, Dir. Jonathan Liebesman, USA. Cloverfield, 2008, motion picture, Dir. Matt Reeves, USA.Cowboys and Alien, 2011, motion picture, Dir. Jon Favreau, USA. District 9, 2009, motion picture, Dir. Neil Blomkamp, USA. Friday the 13th, 1980, motion picture, Dir. Sean S. Cunningham, USA. Jaws, 1975, motion picture, Dir. Steven Spielberg, USA. Lake Placid, 1999, motion picture, Dir. Steven Miner, USA. Predators 2010, motion picture, Dir. Nimrod Antal, USA. Radner, H 1998, ‘New Hollywood's New Wom en: Murder in Mind – Sarah and Maggie', in Steven Neal (ed), Contemporary Hollywood Cinema, London, pp. 247-262. Shark Attack, 1999, motion picture, Dir. Bob Misiorowski, USA. Skyline, 2010, motion picture, Dir.Colin Strause ; Greg Strause, USA. Snakes on a Plane, 2006, motion picture, Dir. David R. Ellis, USA. Star Wars, 1977, motion picture, Dir. George Lucas, USA. Superman, 1978, motion picture, Dir. Richard Donner, USA. Superman Returns, 2006, motion picture, Dir. Bryan Singer, USA. Terminator 2: Judgement Day, 1991, motion picture, Dir. James Cameron, USA. The Terminator, 1984, motion picture, Dir. james Cameron, USA. Wyatt, J 1994, ‘A critical redefinition: the concept of the high concept film', in High Concept: Movies and Marketing in Hollywood, University of Texas, pp. 8-20.

The Death Penalty Is Morally Immoral - 1030 Words

President Obama was quoted in 2006 saying, â€Å"If an offender has committed murder, he must die. In this case, no possible substitute can satisfy justice. For there is no parallel between death and even the most miserable life, so that there is no equality of crime and retribution unless the perpetrator is judicially put to death (Audacity of Hope 2006). As the leader of the free world and the President of our great nation, his values empower our society to believe in the same thing. The strength and influence of politics when it comes to such highly debated issues like capital punishment is substantial. Dr. Bruce Fein, Constitutional Lawyer and General Counsel to the Center for Law and Accountability believes that the crimes of rape, torture, treason, kidnapping, murder, larceny, and perjury pivot on a moral code that escapes apodictic proof by expert testimony or otherwise. Abolitionists may contend that the death penalty is inherently immoral because governments should never take human life, no matter what the provocation. But that is an article of faith, not of fact. â€Å"The death penalty honors human dignity by treating the defendant as a free moral actor able to control his own destiny for good or for ill; it does not treat him as an animal with no moral sense† (Fein, Bruce. JD). Lastly, a majority of people who contribute to an honest living and the betterment of society believe that our prison system is not good. We overpay with our tax dollars and these murderers andShow MoreRelatedEssay about Capital Punishment and The Code of King Hammurabi of Babylon1003 Words   |  5 Pagesof King Hammurabi of Babylon. Under this code twenty five crimes, excluding murder, were punishable by death. In historical data, the first death penalty was imposed to offender who was blamed for magic in 16th century BC Egypt (Regio, 1997). 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The most famous retributivist Kant, states that the guilty ought to get punished because they chose to act wrongly, and by punishing them, we are respecting them as a moral agents. This occurs because humans are given the ability to reason and act morally and thus if we don’t punish them we are not treating them as moralRead MorePhilosophy Ethics and the Death Penalty1083 Words   |  5 PagesUltimate Punishment†. Van den Haag discusses such topics as maldistribution, deterrence to society, miscarriages of the penalty, and incidental and political issues (cost, relative suffering, and brutalization). The death penalty is indeed the harshest/ultimate punishment a convicted criminal can receive in our society. I agree with Van den Haag’s article. I am in favor of the death penalty system in the United States. Through capital punishment’s determent process, I feel it is a necessary and effectiveRead MoreTaking a Look at Capital Punishment1080 Words   |   4 Pages Since 1608, legal systems have used capital punishment as justice. â€Å"As of November 2014, 32 states have the death penalty. There have been a total of 1348 executions from January 1977 to the end of 2014† (capitalpunishmentuk). The capital punishment only affects those who sentenced in the crime of rape or murder. The most popular death method is lethal injection. There are other options such as â€Å"electrocution, hanging, shooting, and the gas chamber† (capitalpunishmentuk) but theses alternativeRead MoreThe Moral Framework I Disagree1377 Words   |  6 PagesThe moral framework I tend to personally abide by is act utilitarianism. Utilitarianism is the ethical concept that the actions that lead to the most pleasure are moral and good, whereas those that lead to pain are an immoral evil (Boss 23). When making decisions, I contemplate the advantages and disadvantages of each option presented before acting upon it. In addition, I consider those who would possibly be affected by my decision both positively and negatively. Like utilitarianism, I choose theRead MoreEssay The Death Penalty1095 Words   |  5 Pagesthe death penalty, is the maximum sentence used in punishing people who kill another human being. It is one of the most controversial topics in America today. Capital punishment is still murder, simple as that. The death penalty needs to be abolished in all states. There are too many flaws that come with this punishment. Innocent people can be executed, it is morally wrong, and it does not discourage, or deter crime. nbsp;nbsp;nbsp;nbsp;nbsp;From 1976 to the present, data from The Death Penalty