- In looking at EITHER the study conducted by Stanley Milgram or Philip Zimbardo, discuss how the
researcher in conducting their study applied the steps of the Scientific Method. In addition, explain the process
and the outcome of the study and the impact the results have when viewing the individual in society. - Discuss the importance of the events surrounding the rape and murder of Kitty Genovese and what
researchers learned as a result of it. Identify how the actions of the murderer Winston Mosley were based upon
his beliefs of how society would respond and relate other examples of how individual responses in society are
based on the belief that someone else will step in to help. (This section you need to come up with examples
from life . . .example from your life or the show What would you do?) - In viewing population change within a society, explain the 3 main factors influencing population growth. In
addition, discuss how population growth differs in a society based upon technology and the different types of
societies. Finally, identify 3 pros/cons of population growth and urbanization in a society using key terms and
concepts in covering each area and making connections demonstrating your mastery of population changes in
society.
Sample Solution
For McLuhan, European filmmakers constitute his definition of ideal artists because, rather than interpreting the message on behalf of the audience, through their emphasis on the film as a medium, their work triggers a cognitive process within viewers, promoting critical thought through the combination of reality and imagination, thus empowering the autonomy of the viewer. In Amélie, Jeunet exploits the power of the image in our capitalist context to create opportunities for wonder, imagination and, as such, autonomy. In understanding the spectacle-as both the result and project of the existing mode of production- in the present model of socially dominant life, Jeunet exploits the value of the image through the surface of Amélie and the unreal visual aesthetic of the film. Returning from Hollywood, having finished work on Alien: Resurrection, Jeunet made a commitment to himself: that he would contribute to the national heritage of French cinema;as an homage, Amélie is a patiche, rife with references to French films. Controlling every aesthetic element, Jeunetâs shots are filled with intent. Beginning with the anamorphic format (2.35:1), Truffatâs Jules et Jim is conjured. Jeunet further references Truffat through the prologue of Amélie before showing Amélie watching a clip of Juels et Jim in a theatre. Jeunetâs shots at the Canal St Martin recall Carneâs Hôtel du Nord (1938) while the whimsy and colour red, prevalent throughout the film, are reminiscent of Lamorisseâs Le Balloon Rouge (1956). Jeunet even admittedly borrowed the title for his film from Guitryâs Destin Fabulux de Desiree Clary (1942), with the use of voiceover also recalling the same film. Montmartre as a setting is connected to Truffatâs 400 Coups (1959), and Claire Mauier-Madame Suzanne-having a role in both films, further establishes a bond. In addition to Claire Maurier, Mathieu Kassovitz-Nino Quicompoix-also has significant ties to French cinema. Jeunet employs the compressed zoom to focus on Amélie multiple tim>
For McLuhan, European filmmakers constitute his definition of ideal artists because, rather than interpreting the message on behalf of the audience, through their emphasis on the film as a medium, their work triggers a cognitive process within viewers, promoting critical thought through the combination of reality and imagination, thus empowering the autonomy of the viewer. In Amélie, Jeunet exploits the power of the image in our capitalist context to create opportunities for wonder, imagination and, as such, autonomy. In understanding the spectacle-as both the result and project of the existing mode of production- in the present model of socially dominant life, Jeunet exploits the value of the image through the surface of Amélie and the unreal visual aesthetic of the film. Returning from Hollywood, having finished work on Alien: Resurrection, Jeunet made a commitment to himself: that he would contribute to the national heritage of French cinema;as an homage, Amélie is a patiche, rife with references to French films. Controlling every aesthetic element, Jeunetâs shots are filled with intent. Beginning with the anamorphic format (2.35:1), Truffatâs Jules et Jim is conjured. Jeunet further references Truffat through the prologue of Amélie before showing Amélie watching a clip of Juels et Jim in a theatre. Jeunetâs shots at the Canal St Martin recall Carneâs Hôtel du Nord (1938) while the whimsy and colour red, prevalent throughout the film, are reminiscent of Lamorisseâs Le Balloon Rouge (1956). Jeunet even admittedly borrowed the title for his film from Guitryâs Destin Fabulux de Desiree Clary (1942), with the use of voiceover also recalling the same film. Montmartre as a setting is connected to Truffatâs 400 Coups (1959), and Claire Mauier-Madame Suzanne-having a role in both films, further establishes a bond. In addition to Claire Maurier, Mathieu Kassovitz-Nino Quicompoix-also has significant ties to French cinema. Jeunet employs the compressed zoom to focus on Amélie multiple tim>
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