The slave trade in Latin America. Profit and human misery Research Paper

The slave trade in Latin America. Profit and human misery - Research Paper Example As early as the 15th century the Spanish were gaining a stranglehold on Mexico and the various tribal lands of Latin America. A series of conquistadors, essentially privateers, more adventurers than soldiers, struck out on their own to secure the spoils and riches of the new lands. Up to the 16th century activities in this part of world were predominantly exploratory treasure hunts. Standing in their way, however, were the multitude of sedentary and fierce nomadic indigenous tribes which had to be overcome if the land was to be subjugated. By 1502 the first shipload of Africans had been landed in Hispanola. By the time of the full conquest of Mexico in the 1520 and Peru in the 1530s, all the elements of the colonial system of Latin America were falling into place. In Mexico, farming and mining were underway. In Brazil, under the Portuguese, the initial period of some coexistence through bartering and trade with the Indians was morphing into formal Spanish and Portuguese royal control .1 Along with it came the beginnings of a plantation economy. On the main land, as in the Caribbean, indigenous resistance and subsequent depopulation was spreading throughout Latin America, and by 1570 war and disease had taken its toll. Traditional sources of free labor diminished, and within thirty years of the Spanish landing tribes had been decimated. Along with depopulation and the emerging economy came the recognition that a large labor force would be needed to work the mines, ranches and sugar plantations cropping up like seedlings throughout Latin America.... rld, the need for slaves expanded, prompting the Portuguese traders to explore new markets for their â€Å"product.† Within thirty years of Columbus’s discovery, the Portuguese, beginning in Brazil, tapped into the growing market and before long were supplying an unending cache of slave workers for a burgeoning sugar industry. Assessing the northeastern coast of Brazil as particularly adopted to sugar growth, they began importing thousands of African slaves to that area, each of which was â€Å"not a mere captive but a commodity†¦ an investment†¦[that]†¦ impelled a vast expansion of the American sugar dominions. 2—an expansion that would eventually evolve as a lucrative commercial enterprise over the next three centuries via numerous other European slave traders. Estimates say that â€Å"By 1700 nearly three-quarters of the population of the British West Indies was African.† 3 Many countries including the French, Dutch and British eventuall y became prominent in the slave trade. The details of the actual practice seem today stunningly inhumane. And least it be forgotten, the truth remains that â€Å"The slave trade [its practices] was so awful in itself that one is apt to forget that it was merely a means to an end.† 4 That end was profit. Life on the Slave Ship Numerous accounts exist of the misery, suffering and dehumanizing environment of the slave ship that defy all modern sense of morality â€Å"as a brutally efficient piece of technology and site of struggle.† 5 All of the Europeans—Portuguese, Spanish, Dutch, British, French and Italians--freighted ships laden with barter to trade with Africans for African slaves. To those slave traders 16th through the 18th century, practices that would now be condemned universally as nothing short of â€Å"deliberately concealed

Qualitative and Quantitative Research Essay Example | Topics and Well Written Essays - 750 words

Qualitative and Quantitative Research - Essay Example In one of the qualitative studies titled ‘exploring consumer engagement in an e-setting: a qualitative research of marketing executives’, the aspects described above concerning qualitative researchers is evident. This research study sought to understand the level of consumer engagement online pertaining different brands, with the increasing popularity of internet marketing. After the identification of the research question, the researchers defined the conceptual framework which would serve as the blueprint of the study. There were two hypotheses, in line with the conceptual framework described. The research relied on in-depth interviews as the preferred data collection strategy. It was highly subjective as it relied on the opinions and convictions of the 17 marketing practitioners, who described their experience in depth. The 17 marketing practitioners selected for the study were working with international organizations and were identified through LinkedIn. The interview sessions focused on two questions that required detailed responses from the respondents. Data analysis followed, with the initial steps being the compilation of data obtained from the respondents.A quantitative research titled ‘Quantitative marketing research on the behavior of the small and medium companies on financial advisory services’ used statistical deductive approaches in a bid to determine whether there was any existing correlation between the size of the firm and the number of financial advisory services outsourced.

Business Law-Legal Advise Essay Example | Topics and Well Written Essays - 1000 words - 1

Business Law-Legal Advise - Essay Example KED Resale offers ceramic capacitors, frequency control devices, SAW devices, RF modules, and other products manufactured by Kyocera Electronics Corporation. The Connectors segment provides ELCO automotive and telecommunication and memory connectors. AVX is a subsidiary of Kyocera Electronics Corporation where the latter owns 71% of the Company. The Companys top competitors include KEMET Corporation, Murata Manufacturing and Vishay Intertechnology Inc. In 2008, AVX acquired ATC for $230 million in cash. The acquisition is a major move for AVX to enhance the Companys advanced products segment. In addition, it will allow AVQ to venture into other markets including the development of High Reliability Products and High Frequency Products. Aside from this transaction, AVX has been eyeing other companies with potential of expanding the current offerings (Wyatt Investment Research, 2008). Moreover, the Company has been active in developing new products for various customers. AVX have introduced several high technology products. The Company has also been involved in developing solutions for energy exploration through a partnership with the U.S. Department of Energy. In particular, AVX developed a hybrid automobile engine to further enhance the governments oil exploration output (2008 Annual Report). One of the major initiatives of AVX in 2009 is the development of products that promote alternative or green energy. The Company expects that investing in the burgeoning market will provide an average of 20% growth annually. The targets of AVX are automobile manufacturers that have started developing hybrid cars and other vehicles. AVX have been innovating circuits, capacitors and connectors for such purpose (2009 Annual Report). In 2009, AVX announced that all offices will be moved from Myrtle Beach to Greenville which is both in

Sweatshop labor Essay Example | Topics and Well Written Essays - 1000 words

Sweatshop labor - Essay Example The facts are evidenced in how 7 percent of trade around the globe today is with counterfeit goods. (Thomas, p 2). This type of manufacture of goods is involved with such tragedies as child labor, abusive conditions, along with ties to terrorism and organized crime. Law mentions how counterfeiting results in more than just low wages, but in manipulation and funneling of monies into illegal activities that pose as significant threats to society as a whole (Thomas, p. 2) Conditions that children workers are made to endure are horrific by any reasonable person’s standard. In fact, it should shock the conscience of U.S. consumers and businesspeople alike. One example that Dana Thomas found in Thailand was a plant that had young children who were being forced to make counterfeit handbags for sale to the more developed lands such as the United States. The children had their legs intentionally broken by sweatshop owners and placed in such a manner that no healing of the broken limbs would occur. The owners did this to force the children to work against their will in the production of counterfeit goods (Thomas, p.1). Advanced nations like America are contributing to the problem of sweatshop labor and seeking low cost goods at the expense of human health and decency issues. This is a major society problem as Jim Hightower points to in his article â€Å"The Price of Cheap Goods†. One issue that Hightower points out is that America has such a demand for low-cost labor that critical safeguards for workers are being ignored or bypassed simply due to economic demand and pressure for ever more cheaper labor costs and higher profits for the American based companies (Hightower, p.1) One example that Hightower mentions is that research at one Hong Kong area factory discovered that the workers at the plant will break or

Economy Essay Example | Topics and Well Written Essays - 1000 words - 2

Economy - Essay Example Principles of Political Economy and Taxation was published in 1817. In this publication, Ricardo developed law of rent as well as the labor theory of money (Gonner, 2013). The theory of comparative advantage, as developed by Ricardo, tries to explain the benefit of engaging in international trade. The theory was initially discussed by Adam Smith in the Wealth of Nations. The theory was, however, clearly developed by Ricardo in the book On the principles of Political Economy and Taxation. In the development of the comparative advantage theory, Ricardo observed that if two countries with a capability of producing two products participate in free trade, each of the two countries will increase productivity by exporting the commodity that it has a comparative advantage in production. The country would then import the other commodity. In this theory, Ricardo implies that comparative advantage, and not absolute advantage, is responsible for international trade (Gonner, 2013). The example used by Ricardo to explain comparative advantage involved England and Portugal. In this example, the two countries produce cloth and wine. However, Portugal is more efficient in the production of the two commodities compared to England. England needs 100 hours to produce a unit of cloth and 120 hours to produce a unit of wine. Portugal on the other hand requires 90 hours to produce unit of cloth and 80 hours to produce a unit of wine. In this case, England requires 100 hours to produce cloth, which can instead produce an incomplete unit of wine. Portugal can produce a unit of cloth with few hours compared to England. However, Portugal must forego the production of more units of wine in order to produce a single unit of cloth. Although Portugal has an absolute advantage in the production of cloth, England has a comparative advantage in the production of cloth. In this example, England has a comparative advantage in the

Talent Essay Example for Free

Talent Essay 17:59 Nesrin A lot of people audition to talent shows very few of them actually got talent. Manyattend just so they can be on television, even though they get humiliated in front ofthe whole nation. The judges are rude and the audience is yelling depreciating words.People home in the living rooms are also criticizing participants. It is silly what peoplewill do for 5 minutes of fame. And it is incredible that they actually do it. There areactually some of them who believe that they are good singers, dancers etc. , becausenobody have had the guts to tell them that they truly suck at it. I feel very sorry forthem and I think it is the parents’ job to tell them, that they should not audition to theshow. It is very irresponsible to let your kids get humiliated in that way.I must not forget that there also are people who audition who are outstanding. Some of them have a really special gift and then the talent shows are good to get peopleconscious about the talent.I think the talent shows are held too often (especially in Denmark), in the states thereare loads of different shows: The X-Factor, American Idol, Americas Got Talent etc. Ido not think that talent shows in Denmark should be hold every year, because we aresuch a small a country and it is limited how many talents we have got. That is not aproblem in the states, because they are so many people.I think the talent shows have become more and more an entertaining show than ashow with focus on the talents. So when it is held so often over half of the people whotry out have no talent at all. It is very obvious that all the TV-stations care about is themoney and how many viewers they can get.In the United States and the United Kingdom the participants get a lot of publicity,and a lot admire them. People get success, and they keep being successful after manyyears. Some examples ar e Kelly Clarkson, Adam Lambert and One Direction. KellyClarkson won American Idol in 2002 and is still producing popular music. In Denmarkthe winners are forgotten after a few weeks. That is a shame because they are reallycompetent at performing or singing or what ever their talent is.In Denmark a new kind of talent show has started. The new thing is that when theperson who tries out is performing, the judges cannot see him. If they want the 17:59 Nesrin participant on their team, they press a button. Then, their chairs turn around so theycan see each other. I think that is a very good idea because the first impression formsthe basis of how you regard the person. In this show the first impression is theirvoice. It is a  excellent way to make sure they do not say no to you, just because youare fat, ugly, from an other race or what ever reason they could invent.

Complex Narrative Structure Of Memento

Complex Narrative Structure Of Memento Due to the nature and complex narrative structure of Memento (Nolan 2000), one has to closely evaluate the succession of events before one could make the assumption that this film is a typical Hollywood mainstream motion picture. It is easy to assume that this film would in fact fit the criteria of the Hollywood mainstream motion picture, only upon looking at the cast and A-List director- Christopher Nolan- who one could assume would use his usual cinematic style to ensure the success of this film. The complex introduction to the film already creates the anxiety-driven need to finish watching the film, due to the unusualness of the opening scene that distinguishes Memento (Nolan 2000) from other classical Hollywood films. Jean Baudrillard: brief biography Jean Baudrillard, the French sociologist, cultural critic, and theorist of post modernity were born in Reims on the 27th of July, 1929. Even though his parents were civil servants and his grandparents were peasant farmers, Jean Baudrillard was the first University graduate from his family. He later went on to teach sociology at University and was named one of the most intellectual figures of his time. Throughout his childhood, he was exposed to the Algerian war of the 1950s and 60s, which had a significant influence on the way he thinks and perceives society (Jean Baudrillard-Biography [sa]). After becoming an assistant at Nanterre University of Paris in 1966, he was quickly connected with Roland Barthes and used Bartheses analysis of culture in his first book, namely The Object System (1968). When the students of Nanterre University revolted in 1968, Baudrillard joined in the action, and through inspiration, assisted with a distinctive journal of the time, Utopie. This journal was clearly influenced by situationism, structural Marxism and various media theories wherein he issued numerous theoretical articles about/on the environment of capitalist prosperity (affluence) and the evaluation of technology. Baudrillard then went on to teach at the European Graduate School (EGS) from the day that the school opened to the day of his death on the 6th of March, 2007 (Jean Baudrillard-Biography [sa]). Marxism and (post-) Marxism: Marxist film theory The Marxist approach to the study of films centres (focuses) on the continuous ways that cinema ideologically allow and even betrays the devises that diminishes the middle-class (bourgeois) view of society and the world. These devises (mechanisms) of ideology comprise both the social organisations (institutions), as well as the industrial knowledge that vigorously function to create (produce) the middle-class culture which society consume daily. Several precise illustrations of such social and industrial organisations are: (1) the way labour is divided to ensure revenue (capital); (2) hierarchy (social order and class-structure); (3) industrial transformation of revenue of production; and (4) replacing services (commodities). Each (and all) of the mentioned devices (mechanisms) have been incorporated into (and informed) the film trade since it originated. In the sphere of cinema and film, these mechanisms shape the influential culture-producing section of societal apparatuses that Ma rxist film theorists calls the cinematic apparatus (Netto 2000:[sp]). Jean Baudrillards opinion of Marxism In his book, The consumer society (Baudrillard 1998:183), Baudrillard makes the conclusion and commends multiple forms of refusal of common ruling (convention), obvious notable and eye-catching utilisation (consumption), and conventional thinking and behaving, which can ultimately be merged (combined) into a practice of radical change (Baudrillard 1998:183). Baudrillard then goes on to describe a state (situation) where isolation (alienation) in its entirety cannot be improved on since it is the very structure of market society (Baudrillard 1998:190). Baudrillard argues that in a social order (culture), in which everything is seen as a product or service that can be purchased and put up for sale, that isolation (alienation) is total. Thus, isolation (alienation) is ever present in the social order where everything (from products to services) can be bought (Kellner 2007:[sp]). In the early 1970s, Baudrillard had an unsure (ambivalent) relationship with the theory of conventional Marxism in the since that he agreed with the Marxian analysis of the production of social commodities, which ultimately defined and critiqued the various notions of estrangement (alienation), dominant power, and exploitation that was shaped by capitalism. One could say that Baudrillards evaluation of these notions corresponds with the traditional (standard) neo- Marxian viewpoint which puts emphasis on the culpability of Capitalism and makes the assumption that Capitalism is homogenizing, domineering and ruled social class systems whilst depriving individuals of their liberty, originality and imagination, time, and potential (Kellner 2007:[sp]). In contradiction, Baudrillard could never emphasise any revolutionary forces and above all, didnt argue the circumstances and prospectives of the working class as a driving force for an altered (changed) social order of consumption. Thus, with no suggestion of the subject as a participating driving force of societal modification, Baudrillard pursued the structuralist and poststructuralist assessment of the truth-seeking (philosophical) and practical subject matter which was extensively governed in French deliberation. Practitioners of structuralism and post structuralism argued that bias (subjectivity) was shaped by verbal communication (language), societal establishments, and cultural appearances and wasnt sovereign of its creation in these establishments and preparations (Kellner 2007:[sp]). Classical film noir: Definition, Primary characteristics, conventions and historical surroundings The role of the male protagonist In (post-) Marxist noir films, the protagonist is frequently depicted as a single white male, who is usually psychologically troubled due to disloyalty or some form of loss of something in particular. The male protagonist is also usually emotionally crippled or psychologically injured. This summary of the post Marxist noir leading male is applicable to the post Marxist neo-noir picture Memento (Nolan 2000) (Szyszka 2007:[sp]). In Memento (Nolan 2000), Nolan presents the character of Leonard Shelby (Guy Pierce) who could be seen as a combination of the typical private investigator that thrives in noir and neo-noir films and the defective (flawed) insurance salesman of the noir crime picture. The result is a brain damaged insurance investigator. This character in itself is already a complex and interesting one, but Nolen makes Leonard even more complex by turning Leonard into a serial killer who is unaware of the driving forces that influences him to commit these crimes (Szyszka 2007:[sp]). Further characteristics of classical film noir: mood, tone, visual and cinematic elements According to the British Medical Journal (BMJ), that did a study on films dealing with memory, and made the conclusion that in Memento (Nolan 2000)- different from other films dealing with the memory genre- Leonards character (with some form of amnesia) maintains/retains his identity and puts emphasis on a number of strenuous daily problems regarding recollection related to mental disorders (Szyszka 2007:[sp]). After watching this film one could argue that the disjointed, mosaic-like quality of the succession of edited scenes in Memento (Nolan 2000) ingeniously simulates the perpetual present characteristics of memory loss related conditions. The film does not however merely represent mental/neurological illness, but furthermore supports the (post-) Marxian notion of the leading white male point of view. This notion is supported by purposely bringing in a cruel femme fatale character named Natalie (Carrie-Anne Moss). Natalie makes use of Leonard by lying to him, whilst telling him that she is using him, since she is fully aware of Leonards condition and knows that his memory will fade. Yet again, Nolan does so to make a victim of the protagonist in order to distract the viewers from the plot by making use of empathetic relation to the character (Szyszka 2007:[sp]). Neo noir films In the 1990s, spectators all through the world were presented with a newer and darker adaptation of noir, which was concealed within old methods, yet they were presented as fresh and sleek narratives in magnificent colour. One of the things that make 90s neo-noir different from previous recreations of film noir is the reoccurring focal point on mental illness and the dilemmas caused by psychological struggles. Within this new neo-noir, a white male middle-class outlook was reflected, articulating the fear of becoming the solitary objective in an innovative bold politically correct society. neo-noir also emphasised the increasing statistics of mental illness of the 90s in America (Szyszka 2007:[sp]). Neo-noir films were made to retaliate against a variety of minorities occupied with complicated interior clashes that inhabits not only the minds of the characters, but also the mind of the filmmakers. Whereas this is a presumption as to why noir returned (resurfaced), it is evidently apparent that noir- exclusively composed of method (style) over matter (substance) was a new way of thinking in (post-) Marxist filmmaking. By entering the unknown territory of the inner workings of the mind (psyche), as supposed to the usual physical plane of existence that regularly surfaces in the narrative cinema, the matter (substance) was produced (formed) (Szyszka 2007:[sp]). In these types of films, making use of the psychological (mental) state whilst attacking unfit elements disrupting the social order, a new innovative way of filmmaking ensured an interesting and attention-grabbing combination (Szyszka 2007:[sp]). In 90s American cinema, audiences were extremely wrapped-up in paranoia. It was a time of confusion and society was faced with a civic (public) crisis when the need for truth, the status of information, and the determination of truth surfaced (Szyszka 2007:[sp]). It is ordinarily noticeable that postmodern, post-industrial, post- Marxist, and post- cold war social orders (society) shaped and produced an ongoing concern to what is real and how reality could be established and the authorization thereof. The continuing psychological (mental) focal point in/of 90s contemporary American cinema- mainly of neo-noir- revolves around the postmodern panic (fear) and uncertainty over truth and reality. The internet (made available to the public in the 1990s) not only brought an increasing stream of information, but made it more difficult for society to know what to trust and what not to trust. The 90s is known as the era where it was the fastest and easiest way of distribution of propaganda and misinformation, which added a spiralling effect of cynicism and disillusionment of a nation (Szyszka 2007:[sp] ). Strategy of the real The way in which text positions and/or fixes the viewer (consumer) is revealed first and foremost through a significant assessment surrounding the dominant (governing) structures of cinema, demonstrated by the Hollywood system (structure), and its utilization of narrative and realist forms (BaraÅ„ski and Short 1985:276). One could argue that the dominating shape of narrative used in mainstream cinema and Television creates a meticulous mode (way) of interpreting the world (dominant society): rather than focussing on the subject matter of the motion picture it is concerned with mysteries and anxiety that focuses on the attention of the audience to the method of narrative resolution, it demands and supplies endings which appear to present straightforward resolutions and conclusions to the struggles it has symbolized (represented), so that it gives a closed view of the world (modern society); attention (interest) is frequently concerned on a single protagonist rather than grou ps, and driving forces is understood in the psychosomatic rather than societal conditions (BaraÅ„ski and Short 1985:276). In the same way that it is impossible to rediscover a total (absolute) level of reality it is also impossible to stage a false impression (illusion) of what is real. The possibility of illusion is not possible anymore because the possibility of the real does no longer exist. for instance, should one fabricate (simulate) a break in at a local department store, it would be an interesting observation as to how one would be treated by the repressive state apparatus, as sopposed to what would happen to a person who organised a real brake in. A real brake in would ultimately disturb the natural order of things- individual property rights- whereas the simulation of a robbery ultimately obstructs the code of reality. Misbehaviour and aggression (committing a crime) are not as serious, because it simply challenges the natural (real) order and will be delt with. Simulation of the real is considerably more hazardous given that it constantly implies (suggests), in addition to its object, that re gulation (law) and instruct (order) in itself are merely simulations (Simulacra and Simulations 1988:[sp]). Nevertheless, after simulating a fake robbery, how would one convince the repressive state apparatus that it was merely a simulation of theft? One couldnt, for the reason that there is no objective distinction. Identical motions (gestures) and identical signs are apparent in a simulated robbery as it would in a real theft. As far as the dominant power (Ideological state apparatus and repressive state apparatus) is concerned, they (the gestures and signs) resemble those of a real robbery. After the fake robbery, one would- without knowing- find oneself instantly in the real (one of whose purpose is specifically and ideologically produced to consume all efforts of simulation) reducing everything to reality (Simulacra and Simulations 1988:[sp]). Socialist and radical practitioner have been using realism as a narrative structure, and although they have been criticised since they are significant to the realities they depict, have been presenting information of reality as trouble-free and doesnt properly give possible methods of altering (changing) the world. in addition, they present an uncomplicated truth regarding society. This is the innermost predicament of realism: that it presumes a representation which it considers as the truth, neither inquiring the course of representation nor inserting audiences into position from which they have to work to create an understanding of the text. The significance to the workings of Marxism and (post-) Marxism is that dominant cinema and TV are viewed as two of the positions through which dominant ideology is symbolized (represented) and accomplishes its effects. Narrative forms and realist forms are ideological, and their naturalness and obvious impartialities are conducts of disguising the fact that they create a meticulous vision of the world (BaraÅ„ski, Z.G Short, J.R 1985: 277). The revenge film By convincing the viewer that Leonards murderous ways are driven by vengeance (Leonard wants to avenge the rape and murder of his wife by hunting down the alleged murderer, John G) one could say that Nolan relies on the aspect of sympathy .i.e. to sympathise with a character to justify his/her actions (Szyszka 2007:[sp]). Common characteristics Although the film humorously simulates the authorative power of the case-hardened private detective (private- eye) by giving Leonard a voice-over narration, his weakening state-of-mind (short-term memory loss) undermines/and challenges any assertion that Leonard is creating a continuous, consistent narrative- either about himself or about other characters. One could say that one of the main purposes of the confusing voice-over narrative is to include comical relief throughout the picture. This is applicable in the scene where Leonard is apparently chasing a man: Okay, what am I doing? Im chasing this guy. Nope. Hes chasing me. (Szyszka 2007:[sp]). Memento (Nolan 2000), in addition to coming across as a series of fragmented scenes, is also edited so that the narrative plays out backwards. This becomes evidently clear as the protagonist (Leonard Shelby) vigorously lies to himself. One could make the assumption that Leonards condition not only makes the creation of self- trickery (dece ption) achievable but also possibly fatal (Szyszka 2007:[sp]). Analysis of the narrative structure of Christopher Nolans Memento Memento (2000)is a film written and directed by Christopher Nolan (and adapted from the short story of his brother, Jonathan Nolan), revolves around memory. In the film, Leonard Shelby (Guy Pierce), is the protagonist who has lost the ability to/of forming new memories when he was violently assaulted during the rape and murder of his wife in their own home. Now suffering from short-term-memory-loss, Leonard is not able to remember, nor recognise people even after just having interaction with them (people such as the clerk of the hotel where Leonard is staying). Leonard does, however, recall everything that happened in the past preceding his accident. The plot revolves around Leonards condition (as he calls it) and the determination of avenging his wifes death(He has a clear recollection of the actual murder of his wife) (Clarke 2002:167). The combination of his condition and the yearning to avenge the death of his wife requires him to constantly refresh his memory, which he does by making and keeping loads of mysterious/ puzzling (cryptic) notes, by taking Polaroid pictures of everyone he meets (to remember them) and even going so far as to tattoo the facts that leads his investigative search, on his body. Even though Leonard has all these clues, his memory is constantly fading and he has to function in perpetual confusion when he meets people for the first time or when he finds himself at a different location. Thus, one could say that Leonard is constantly exposed to submission (he is easily persuaded or convinced). Leonards condition is so severe that he can instantly forget what he was doing or talking/thinking about. One could argue the hilarity (comical aspect) of this situation of memory loss throughout the film (Clarke 2002:167-168). One such an example is when Leonard is running but doesnt recall why he is running. As he looks around, he quickly becomes aware that someone is running parallel/next to him, when suddenly, one can hear Leonards thoughts. He is thinking: Okay, now, what am I doing? Oh, I must be chasing that guy (Clarke 2002:168). The comical aspect arises when Leonard changes his course and starts to run after the unknown male, when suddenly, the unknown male points his gun at Leonard and starts chasing him (forcing Leonard to change his direction again when the gun is fired) after almost shooting Leonard (Clarke 2002:168). Leonard is also constantly manipulated throughout the film, not only by his own mind, but also by the characters. Various characters (will be made clear later on) misleads Leonard due to his condition and manipulates him into doing their dirty work (Clarke 2002:168). Spectacle has always been the major field of entertainment, but in todays society that is mainly concerned with infotainment, spectacle and entertainment have come into the area of society, economy, politics, and existence in significant original customs. Building on the convention of manifestation, modern figures of entertainment stretching from Television to stage include spectacle society into their schemes, changing film, television, music, Drama and other areas of society, as well as creating original structures of society, such as cyberspace, multimedia, virtual reality and psycho-crime Drama (Kelner, D 2003:4). A plot summery Leonard Shelby had been struck in the back of the head by the rapist/murderer when trying to save his wife, which resulted Leonard to sustain severe mental and physical trauma and nearly destroyed the function of memory making entirely. After recovery, Leonard is now faced with the difficult role of functioning in society without any short-term memory reconciliation. Leonard is, however, able to function in society after learning to retain information through impulse (instinct) and repetition (replication) .i.e. conditioning. He does so by taking Polaroid pictures and writing short notes (information) on them, thus, using the pictures to simulate short-term memory. This simulation evolves further, one could say, due to the fact that Leonard tattoos the fact of his investigation onto his person (like a bodily map of facts and clues). In a classical (post-)Marxist noir-ish style of filmmaking, Leonard is surrounded by characters who exploit his misfortune by helping (assisting) him, mi sleading him, and/or achieving a little of both (Szyszka 2007:[sp]). The narrative structure In the film Memento (Nolan 2000) which could be perceived as a (post-) Marxist film- it is evidently clear that the film relies on gimmick ( a devise used to grab attention). The fact that one has been hailed (interpolated) into a chain of lies can be terrifying upon watching this film, however, what is more terrifying is that the lies were created by ones own need to fabricate a real narrative (Szyszka 2007:[sp]). Just before the ending of Memento (Nolan 2000), Nolan actively places the viewer into Leonard shoes in the scene where Teddy tells Leonard the truth about the death of his wife, creating final confusion to ensure that the viewer partakes in the movie. Nolan does so by actively ensuring that the viewer takes on the role of detective (just like the role of Leonard Shelby) by trying to make sense of (decipher) the narrative truth. This however posts the question: Does one believe the character of Leonard Shelby who constantly confesses to his unreliability? Or does one believe the character of Teddy who discloses that he had been lying to Leonard and that he, himself, is also named John G Gammell? (Szyszka 2007:[sp]). In order to answer this question one has to closely evaluate various scenes from the film. One of the scenes that stands out meticulously (by using flashbacks) is the scene just before the climax of the movie where Teddy informs Leonard that Sammy Jenkins (a man described by Leonard when he talks about his job where he had to investigate an insurance claim made by the wife of Sammy Jenkins) did in actuality, not exist. The viewer is presented with a sequence of flashbacks that changes momentarily which furthermore contributes to the constant confusion of who and what to believe. One thing is certain though, given that the viewer is restricted to Leonards point of view (perspective), that when Leonard makes the subtle realisation (the flashback where he injects his wife with insulin) and squats down to the floor while convincing himself that his wife didnt have diabetes that Sammy Jenkins is in fact just a fabrication in Leonards mind, thus, showing that Teddy tells a version of the t ruth (Szyszka 2007:[sp]). Another scene that convinces one that Leonard is the one lying to himself, is the scene where Leonard tells the story of Sammys wife not believing that Sammys condition is real. She then goes on testing Sammy- according to Leonard- by telling him (Sammy) that it was time for her to be injected with insulin. After Sammy had injected his wife with the medicine she is still convinced that her husband is lying, so she turn back her wristwatch by 15 minutes and tells him that it was time for her to be injected with insulin (she was diabetic and relied on him to inject her even though he suffered from short-term memory loss). After repeating this process yet again Sammys wife overdoses on insulin and dies. Sammy was then placed into a mental asylum and in the final seconds of the black-and-white scene, just before it ends as the camera is closing up on Sammy a nurse walks past the camera-obstructing the view of Sammy- and for a brief second the shot is edited so that one sees Leonard sitti ng in the same chair as where Sammy sat, thus, emphasising that Leonard was in fact the one who was lying to himself through conditioning his mind and ultimately fabricated the story of Sammy Jenkins (Szyszka 2007:[sp]). One could say that in this particular scene, that Leonards memory of Sammy Jenkins is a simulation of himself in order to detach from the traumatic loss of his wife whom was raped and murdered before his very eyes. Here, the (post-) Marxist notion of neo-realism hits the most confusing plane of paranoia by making use of a protagonist who will never be able to believe himself and must constantly remind himself of where he is by leaving himself a postmodern network of clues to function in society (Szyszka 2007:[sp]). unified social reality In cinema, spectacle is presented as all of society, forming a part of the social order and as an instrument of unifying the general public, all at the same time (simultaneously). The spectacle is not a compilation of imagery, but rather a way for people to relate to one another socially, by mediation of imagery. An immense variety of obvious phenomena is explained and unified by the notion of spectacle. Measured in its own conditions, the spectacle confirms how everything should look (appearance) and confirms the nature of humanity (how humans should live), i.e. social life, as mere appearance. However, further analysis of the truth of the spectacle depicts it as noticeable contradictions of life, since spectacle is no longer about visual aesthetic and enriched text, but rather about mainstream cinematic ideology and revenue (Debord 1967:[sp]). Conclusion The master/slave dialectic is the story of the actualisation of a unified social reality. It is also an extension of the story of how the identity of the self is constituted in and through another. It is the story of desire (Diprose 1994:46). Even though the above mentioned excerpt speaks of the female form in modern day society, one could argue that just like the master/slave dialectic, that Leonard represents the slave and everyone else that is using and deceiving him- even his mental condition- are the masters. One could make this conclusion since Leonard is the one being used and mislead (just like the typical female character is usually exploited) without his knowledge. He thus creates, within himself, the longing (desire) to avenge his wifes death. One could thus conclude, that due to the fact that one is presented with a male protagonist, driven by loss and vengeance, in order to find closure and move on with his life, that Memento (Nolan 2000) does represent some form of unified social reality .i.e. the need to move forward. The fact that he never does move on with his life, almost contradicts the previous statement, except, the fact that Leonard is unable to realise this tragedy due to his mental trauma-paired wi th the fact that he is in actuality a serial killer- ensures the unified social reality (in accordance to the dominant power) that he gets what he deserves, an ongoing struggle of redemption. Sources consulted BaraÅ„ski, Z.G Short, J.R. 1985. Developing Contemporary Marxism. 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