Audio-Visual Techniques for Communication and Expression

Audio-Visual Techniques for Communication and Expression Use of Audio-Visual Techniques in expression of ideas – an insight into the use of effective techniques Word Count: 2554 Table of Contents (Jump to) 1. Introduction – Audi visual techniques and communication 1.1 Background of Study 2. Marry Me 2.1 Narrative 2.2 Characterisation 2.3 Genre convention and variation 2.4 Specific technical features 3. Photo Booth 3.1 Narrative 3.2 Characterisation 3.3 Genre convention and variation 3.4 Specific technical features 4. Conclusion References 1. Introduction – Audi visual techniques and communication The use of the different audio visual techniques in communication and expression of ideas has been widely regarded as an important and significant evolution of the different techniques used for communication that emerged from the use of print medium and incorporation of multimedia. Communication has always been an important part of human existence and throughout the history of mankind; the same has seen a transformation from mere papyrus sheets to the incorporation of the elements of sight and sound (Branston and Stafford, 2010). The opinion of experts on the transformation on the use of visual communication is diverse, but all of them are believed to be in affirmation with the fact that the use of different audio visual techniques in communication is considered to be the most effective and efficient by senders and receivers alike (Cunningham and Turner, 2010). The reason behind the same being the fact that the incorporation of the different audio visual formats helps in the presentation of the communication in a most concise manner, yet again enabling the sender to create a long lasting impression on the mind of the receivers (Chandler, 2004). 1.1 Background of Study The aim of this academic work is to highlight the importance of the different audio visual techniques and formats and its application to the creation of two astounding creations – short films, that have made it to the finals of Tropfest, considered being the most prestigious recognitions of Australian short film categories. What makes the feature more important and relevant is the fact that annually only 16 short films are considered by the jury as finalists from a pool of more than 700 entries annually. The two important finalists to the same event that have been selected for analysis in the study are director Michelle Lehmann’s Marry Me that had been adjudged the winner of 2008’s Tropfest. The other short film is that of Photo Booth, which had been directed by Michael Noonan (http://tropfest.com, 2014). The following sections of the academic work will be individually considering taking into consideration the narrative, characterisation, genre convention and specific technical features that have helped these short films receive the accolades (Cunningham and Turner, 2010) that have led to the popularity of the films in the Australian and International film circuit as well. 2. Marry Me Michelle Lehmann’s short film Marry Me that is of 7 minutes duration. The plot revolves around a little boy and girl with their individual attention and objects of interest. The following sections provide an insight into the narrative, characterisation, genre convention and highlight the technical features that have set the film apart from the rest of the entrants to the contest (O’Donnell, 1999). 2.1 Narrative The film is seen to revolve around the interest among two young individuals and the communication or the idea that has been expressed in the film has been carefully crafted, reflecting the different individual pursuits of two young people, which have been seen to have a strange co-incidence to real life drawing significant parallel to people’s needs and wants. The film depicts the girl is particularly interested in the boy who is overwhelmed by materialistic pursuits signified by the love for his little BMX bike. The message and expression of the idea of the film is clear through the emotions that have been captured through the girl’s expressions and gleam in eyes every time he sees the boy. The girl is depicted to have fallen in love with the bike riding boy and the same has been clearly expressed through the attempts by the girl to draw the boy’s attention through a number of different ways (http://tropfest.com, 2014). Many are of opinion that the film is about the complexities of emotions of the young, but it also subtly underpins the interest and love of two different people – love for the boy for the girl, and the boy’s (Jason) interest in nothing but the bike that he has. 2.2 Characterisation Michelle Lehmann had drawn crucial similarities to the character of the girl as she had stated that even as a 5 or 6 year old girl, she had experienced the same emotional tension as being attracted to a boy who had been her neighbour and like Jason, had been found to have a particular knack to materialistic pursuits that are considered to be natural (O’Donnell, 1999). The girl who is seen to endlessly pursuit her love interest in the film has been named Chloe and the boy Jason. In order to express her idea clearly to the audience, Michelle has carefully selected the two most astounding young actors in the roles of Chloe and Jason who have been able to win the hearts of the viewers through their childish charms and natural acting. For Jason, the need was to portray a character that was very much in skin of the role portrayed by him – a young BMX enthusiast and the ease with which Jason has been seen to express his disinterest for Chloe busy fixing the wheels of his little bike makes on feel as if it is almost real and not a short film. On the other hand, the role that had been portrayed by the young girl Chloe has been nothing less than au naturel. The determined look and the expression on her face towards the end of the short film as she approaches the high plank constructed by Jason leaves one spell bound and many would wonder whether the expression can be attributed to the next to impossible task in real life (http://tropfest.com, 2014). 2.3 Genre convention and variation The genre of the film is based on the complexities of human emotion and it needs to be highlighted that the message that has been attempted to be conveyed through the short film is largely based on the different emotional pulls and pushes one might experience at a young age. Much of the film is aimed at the general audience who would leave the screen enthralled and spellbound by the enigma of analysing the meaning and idea behind the short film. The convention of the genre is based on the fact that the theme of the film holds true for human beings in reality as well. Most individuals are often engaged in the tireless pursuit of something or the other in life that is perceived to have been difficult to attain for them. The same has been carefully highlighted in the feature film through Jason’s character as he is seen to remove the ancillary supporting wheels from his bike at first, failing to successfully ride his bike without the use of the same. In the background, the girl is shown being able to learn what Jason fails. A little later, Jason attempts a small jump off the plank created by him, which also leads to a fall. Chloe tries her best to impress Jason and draw Jason’s attention; successfully achieving the feats which Jason attempts to achieve a number of times (http://tropfest.com, 2014). The variation that needs to be highlighted in the same is that human beings sometimes become so engrossed in being able to achieve a particular job or accomplishment, that they end up undermining the abilities and success of other human beings that are near to him, failing to even to pay attention to any important or critical messages that the other might convey. The same has been specifically observed while Chloe tries to give her opinion to Jason about the bike and riding. 2.4 Specific technical features Though the film does not showcase any impressive graphic or video filming in conveying the message across, one cannot help but wonder about the smallest details that have been used in the film for spreading the intended message (Cunningham and Turner, 2010). For example, when Jason removes the red coloured attachments to the spokes of his bike wheel and expresses his disinterest in them, the emotional attachment of Chloe is also expressed through the same behaviour. In the same scene, if it is considered that Jason had been rotating the wheel simultaneously whereas Chloe is seen to focus more on Jason instead of her bike, the emotional quotient is carefully reflected. More camera focus has been devoted to capture emotions on Chloe’s face as it must have been found that the girl would be more expressive in terms of emoting by the director. These are small and important specifications that need to be captured and presented by any short film director to successfully convey the intended message and at the same time be able to keep the audience entertained. 3. Photo Booth Michael Noonan’s short film the Photo Booth is an interesting and contemporary take on the aspect of hope and despair that has been portrayed in the short film of around seven minutes’ duration. The film captures the important themes of human life and the message it tries to portray is an important aspect for critiques and short film enthusiasts around the world (O’Donnell, 1999). The short film revolves around three solders on a war torn landscape who suddenly find an abandoned photo booth in the middle of nowhere, whereby the pictures coming out as print carry messages for each of them. 3.1 Narrative The narrative of the short film revolves around three soldiers and their fate outside an abandoned photo booth in the middle of a war torn landscape that keeps the audience glued to the screen to wonder about the outcome and message of the film unlike that in the case of ‘Marry Me’. The narrative is unpredictable and has successfully incorporated one of the most critical elements of movie making – uncertainty and suspense. These are considered to have an everlasting impact on the viewer and many regard the same to have a lasting impact on the mind of the viewers as the key element of surprise and awe is always a key ingredient to the success of a film or small movie (http://tropfest.com, 2014). The narrative brings to light the plight of three soldiers who are trying their best to survive and do not know for themselves the future of their predicament in war. Suddenly, they are met with an unpredictable situation, that of a lonesome photo booth in top of a small hill. Curiosity is one of the most dignified and yet sometimes cursed traits of human behaviour and the same has been highlighted in the film as the soldiers wonder what awaits them at the photo booth and goes on to investigate, under estimating the threats of being exposed to enemy observation and gun point. 3.2 Characterisation The characterisation of the short film is an important attribute as it becomes the responsibility of the actors in the film to bring to life the relevance of each of the characters that are planned and incorporated in the film. The film revolves around the three soldiers and each of them is found to display three different emotions among human beings – adventure, curiosity and suspicion (http://tropfest.com, 2014). The first soldier who enters inside the photo booth is unsuspecting and is taken by surprise once the flashes of the camera start to go off. The second soldier is portrayed to have a trait of curiosity and wariness as he is seen to be cautious when he enters inside the photo booth after seeing what the first soldier had been presented with. The third soldier had to be portrayed to be suspicious of turn of events and this is the same reason why there have been extra alertness displayed by the first and the second soldier while guarding the booth as the third entered inside. The three of them have been shown to have different outcomes based on the character portrayed by them. The first one, unsuspecting and taking life as it is, is presented a picture which shows him part of a beautiful family comprising of a beautiful wife and twin daughters. The second soldiers displays mixed traits and is shown to receive a picture with only his companion who gradually disappears from the frames while the third is shot dead by enemy gunfire as he was the most suspicious one and enters the booth at the last. Through the characters, the director tries to portray the message that it is perception and thought process of individuals which leads to the outcomes. 3.3 Genre convention and variation There have been two specific genres displayed in the short film – that of human nature and the relation between the thoughts and outcomes faced by human beings in reality. It needs to be highlighted here the fact that initially the genre of the short film was thought to be related to war and the outcome of the film being rendered predictable. However, the message and surprise element of the film clearly unfolds when the pictures are presented to the soldiers (http://tropfest.com, 2014). In the end, what makes the film so interesting is that the film portrays a multitude of different factors that are related to human life and fate, and it is highlighted how the thought process of human beings influence the outcomes and fate that is met by individuals in the real world. Genre convention and variation is an important aspect of any communication to large section of viewers as the same enables the makers of the short films to captivate the interests of the audience and keep them glued to the outcome of the message to be portrayed in the film. 3.4 Specific technical features The film is considered to be richer in terms of the technical features that have been included in the film. The aim of the director was to include the elements of surprise more on the lines of shock and the same has been effectively incorporated in the sound designing of the film which makes the film more relatable to reality and one can identify the suspense and uncertainty that is faced by soldiers in the war field. Fear and anxiety has been portrayed well in the movie as the soldiers are successful in expressing the same feelings on their anguished faces (http://tropfest.com, 2014). Moreover, the loud snapping of the shutter of the camera has been effectively used to shock the audience which is considered to be an important component of film making. Especially in the last scene when the third soldier gets shot and there is an element of confusion clearly depicting the mental state and trauma of the soldier when he gets to see his picture in the photo is considered to be outstanding in highlighting the theme of despair as the soldier is shown to lose composure and his guard at the most critical time – in the face of enemy gunfire, when in the previous scenes, he is portrayed to be most suspicious of the circumstances. 4. Conclusion There are different factors and aspects that are considered to have an impact on the success of film making and the effectiveness of the director to incorporate these elements determine the ability of the production to captivate audiences and determine the outcomes of film making. This academic work was aimed at highlighting these specific factors in film making and the effective incorporation of the same in the two short films that have been highlighted in the study. References Branston, G. and Stafford, R. (2010). The media student’s book. London: Routledge. NB Chandler, G. (2004) Cut by Cut: Editing Your Film or Video. Studio City, CA: Michael Wiese Cunningham, S. and Turner, G. (2010). The media and communications in Australia. Sydney: Allen Unwin. Marry Me, Michelle Lehman (director), Australia, 2008  http://tropfest.com/au/2011/12/08/marry-me/ Morley, D. (1996) Television, Audiences and Cultural Studies. London : Routledge. ODonnell, P. (1999). The other 66 per cent? Rethinking the labour market for journalism graduates. Australian Journalism Review, 21(1), 123-142. Photo Booth,  Michael Noonan (director), Australia, 2012http://tropfest.com/au/2012/02/04/photo-booth/ Ruthven, K. (1998). The Future of Disciplines: A Report on Ignorance. In Knowing Ourselves and Others: The Humanities in Australia into the 21st Century. Australian Research Council Vol. 3, pp. 95-113.

Women, Sport and Film :: Argumentative Persuasive Essays

Women, Sport and Film Out of all the material we covered in this course, the ones that bear most directly on this question I think are the documentary about women in sports, and the movie "Girlfight". However, I felt that both of these films focussed on the issue from women's point of view. This is not to say that it isn't important or necessary to do so, but I started thinking about how men are also greatly affected by gender stereotyping. Being in a women's college, I feel like we focus a lot on the ways in which women are forced into certain roles, but we neglect to also look at how men are forced into certain roles. Last semester I watched the movie "Billy Elliot", about a young boy growing up in Newcastle, England, during the time of the miner's strike. I think the movie illustrates very well the costs and benefits of breaking gender stereotypes. Billy grows up in a mining family and his family consists of himself, his father, and his elder brother. He is surrounded only by male role models, and that too men who engage in manual labour. His father and his brother are both very "masculine" in the traditional sense of the word. The basic plot of the movie is that Billy wants to be a ballet dancer. His father wants him to learn boxing, but he sees a group of girls having ballet lessons at the same time and he starts taking ballet lessons on the sly. He turns out to be very talented, and his teacher wants him to apply to go to ballet school on a scholarship. The rest of the movie follows his progress and his struggle to be accepted by his family once he's been discovered. At first his father prohib its him from doing ballet, and calls him a "pouf", but Billy persists and is finally accepted by his family and community. I found it interesting that even though Billy is pre-pubescent, the mere fact that he wants to learn ballet induces people to question his sexuality even at such an early age. At an age when children aren't supposed to be sexual beings yet, Billy is under constant pressure to decide what his sexual orientation is, both by his family in that he has to defend himself, and by a friend of his in school who fits a certain stereotype of homosexuality and is romantically interested in him.

The Vampire Diaries: The Fury Chapter Fifteen

Elena watched Damon with mute dread. She knew that disturbing smile too well. But even as her heart sank, her mind threw a mocking question at her. What difference did it make? She and Stefan were going to die anyway. It only made sense for Damon to save himself. And it was wrong to expect him to go against his nature. She watched that beautiful, capricious smile with a feeling of sorrow for what Damon might have been. Katherine smiled back at him, enchanted. â€Å"We'll be so happy together. Once they're dead, I'll let you go. I didn't mean to hurt you, not really. I just got angry.† She put out a slender hand and stroked his cheek. â€Å"I'm sorry.† â€Å"Katherine,† he said. He was still smiling. â€Å"Yes.† She leaned closer. â€Å"Katherine†¦Ã¢â‚¬  â€Å"Yes, Damon?† â€Å"Go to hell.† Elena flinched from what happened next before it happened, feeling the violent upsurge of Power, of malevolent, unbridled Power. She screamed at the change in Katherine. That lovely face was twisting, mutating into something that was neither human nor animal. A red light blazed in Katherine's eyes as she fell on Damon, her fangs sinking into his throat. Talons sprang from her fingertips, and she raked Damon's already-bleeding chest with it, tearing into his skin while the blood flowed. Elena kept screaming, realizing dimly that the pain in her arms was from fighting the ropes that held her. She heard Stefan shouting, too, but above everything she heard the deafening shriek of Katherine's mental voice. Now you'll be sorry! Now I'm going to make you sorry! I'll kill you! I'll kill you! I'll kill you! I'll kill you! The words themselves hurt, like daggers stabbing into Elena's mind. The sheer Power of it stupefied her, rocking her back against the iron pickets. But there was no way to get away from it. It seemed to echo from all around her, hammering in her skull. Kill you! Kill you! Kill you! Elena fainted. Meredith, crouched beside Aunt Judith in the utility room, shifted her weight, straining to interpret the sounds outside the door. The dogs had gotten into the cellar; she wasn't sure how, but from the bloody muzzles of some of them, she thought they had broken through the ground-level windows. Now they were outside the utility room, but Meredith couldn't tell what they were doing. It was too quiet out there. â€Å"Hush,† Robert whispered quickly. â€Å"It's all right, sweetheart. Everything's going to be all right.† Meredith met his frightened, determined eyes over Margaret's tow head. We almost had you pegged for the Other Power, she thought. But there was no time to regret it now. â€Å"Where's Elena? Elena said she'd watch over me,† Margaret said, her eyes large and solemn. â€Å"She said she'd take care of me.† Aunt Judith put a hand to her mouth. â€Å"She is taking care of you,† Meredith whispered. â€Å"She just sent me to do it, that's all. It's the truth,† she added fiercely, and saw Robert's look of reproach melt into perplexity. Outside, the silence had given way to scratching and gnawing sounds. The dogs were at work on the door. Robert cradled Margaret's head closer to his chest. Bonnie didn't know how long they had been working. Hours, certainly. Forever, it seemed like. The dogs had gotten in through the kitchen and the old wooden side doors. So far, though, only about a dozen had gotten past the fires lit like barricades in front of these openings. And the men with guns had taken care of most of those. But Mr. Smallwood and his friends were now holding empty rifles. And they were running out of things to burn. Vickie had gotten hysterical a little while ago, screaming and holding her head as if something was hurting her. They'd been looking for ways to restrain her when she finally passed out. Bonnie went up to Matt, who was looking out over the fire through the demolished side door. He wasn't looking for dogs, she knew, but for something else much farther away. Something you couldn't see from here. â€Å"You had to go, Matt,† she said. â€Å"There was nothing else you could do.† He didn't answer or turn around. â€Å"It's almost dawn,† she said. â€Å"Maybe when that comes, the dogs will leave.† But even as she said it, she knew it wasn't true. Matt didn't answer. She touched his shoulder. â€Å"Stefan's with her. Stefan's there.† At last, Matt gave some response. He nodded. â€Å"Stefan's there,† he said. Brown and snarling, another shape charged out of the dark. It was much later when Elena came gradually to consciousness. She knew because she could see, not just by the handful of candles Katherine had lit but also by the cold gray dimness that filtered down from the crypt's opening. Damon? she thought. It was only after she had done it that she realized the word had not been spoken. Somehow, Katherine's shrieking had closed a circuit in her mind, or maybe it had awakened something sleeping. And Matt's blood had undoubtedly helped, giving her the strength to finally find her mental voice. She turned her head the other way. Stefan? His face was haggard with pain, but aware. Too aware. Elena almost wished that he were as insensible as Damon to what was happening to them. Elena, he returned. Where is she? Elena said, her eyes moving slowly around the room. Stefan looked toward the opening of the crypt. She went up there a while ago. Maybe to check on how the dogs are doing. Elena had thought she'd reached the limit of fear and dread, but it wasn't true. She hadn't remembered the others then. Elena, I'm sorry. Stefan's face was filled with what no words could express. It's not your fault, Stefan. You didn't do this to her. She did it to herself. Or-it just happened to her, because of what she is. What we are. Running beneath Elena's thoughts was the memory of how she had attacked Stefan in the woods, and how she had felt when she was racing toward Mr. Smallwood, planning her revenge. It could have been me, she said. No! You could never become like that. Elena didn't answer. If she had the Power now, what would she do to Katherine? What wouldn't she do to her? But she knew it would only upset Stefan more to talk about it. I thought Damon was going to betray us, she said. I did, too, said Stefan queerly. He was looking at his brother with an odd expression. Do you still hate him? Stefan's gaze darkened. No, he said quietly. No, I don't hate him anymore. Elena nodded. It was important, somehow. Then she started, her nerves hyper-alert, as something shadowed the entrance to the crypt. Stefan tensed, too. She's coming. Elena- I love you, Stefan, Elena said hopelessly, as the misty white shape hurtled down. Katherine took form in front of them. Of course, thought Elena. How could I have been so stupid? Damon rode with us in Alaric's car over the river. He crossed running water then, and probably lots of other times. He couldn't have been the Other Power. It was strange how she could think even though she was so frightened. It was as if one part of her mind stood watching from a distance. â€Å"I'm going to kill you now,† Katherine said conversationally. â€Å"Then I'm going under the river to kill your friends. I don't think the dogs have done it yet. But I'll take care of it myself.† â€Å"Let Elena go,† said Stefan. His voice was quenched but compelling all the same. â€Å"I haven't decided how to do it,† said Katherine, ignoring him. â€Å"I might roast you. There's almost enough light for that now. And I've got these.† She reached down the front of her gown and brought her closed hand out. â€Å"One-two-three!† she said, dropping two silver rings and a gold one onto the ground. Their stones shone blue as Katherine's eyes, blue as the stone in the necklace at Katherine's throat. Elena's hands twisted frantically and she felt the smooth bareness of her ring finger. It was true. She wouldn't have believed how naked she felt without that circlet of metal. It was necessary to her life, to her survival. Without it- â€Å"Without these you'll die,† Katherine said, scuffing the rings carelessly with the toe of one foot. â€Å"But I don't know if that's slow enough.† She paced back almost to the far wall of the crypt, her silver dress shimmering in the dim light. It was then that the idea came to Elena. She could move her hands. Enough to feel one with the other, enough to know that they weren't numb anymore. The ropes were looser. But Katherine was strong. Unbelievably strong. And faster than Elena, too. Even if Elena got free she would have time for only one quick act. She rotated one wrist, feeling the ropes give. â€Å"There are other ways,† Katherine said. â€Å"I could cut you and watch you bleed. I like watching.† Gritting her teeth, Elena exerted pressure against the rope. Her hand was bent at an excruciating angle, but she continued to press. She felt the burn of the rope slipping aside. â€Å"Or rats,† Katherine was saying pensively. â€Å"Rats could be fun. I could tell them when to start and when to stop.† Working the other hand free was much easier. Elena tried to give no sign of what was going on behind her back. She would have liked to call to Stefan with her mind, but she didn't dare. Not if there was any chance Katherine might hear. but she didn't dare. Not if there was any chance Katherine might hear. There was a rectangle of gray light on the floor. Dawn light. It was coming in through the crypt's opening. Katherine had already been out in that light. But†¦ Katherine smiled suddenly, her blue eyes sparkling. â€Å"I know! I'll drink you almost up and make you watch while I kill her! I'll leave you just enough strength so you see her die before you do. Doesn't that sound like a good plan?† Blithely, she clapped her hands and pirouetted again, dancing away. Just one more step, thought Elena. She saw Katherine approach the rectangle of light. Just one more step†¦ Katherine took the step. â€Å"That's it, then!† She started to turn around. â€Å"What a good-† Now! Yanking her cramped arms out of the last loops of rope, Elena rushed her. It was like the rush of a hunting cat. One desperate sprint to reach the prey. One chance. One hope. She struck Katherine with her full weight. The impact knocked them both into the rectangle of light. She felt Katherine's head crack against the stone floor. And felt the searing pain, as if her own body had been plunged into poison. It was a feeling like the burning dryness of hunger, only stronger. A thousand times stronger. It was unbearable. â€Å"Elena!† Stefan screamed, with mind and voice. Stefan, she thought. Beneath her Power surged as Katherine's stunned eyes focused. Her mouth twisted with rage, fangs bursting forth. They were so long they cut into the lower lip. That distorted mouth opened in a howl. Elena's clumsy hand fumbled at Katherine's throat. Her fingers closed on the cool metal of Katherine's blue necklace. With all her strength, she wrenched and felt the chain give way. She tried to clasp it, but her fingers felt thick and uncoordinated and Katherine's clawing hand scrabbled at it wildly. It spun away into the shadows. â€Å"Elena!† Stefan called again in that dreadful voice. She felt as if her body were filled with light. As if she were transparent. Only, light was pain. Beneath her, Katherine's warped face was looking up directly into the winter sky. Instead of a howl, there was a shrieking that went up and up. Elena tried to lift herself off, but she didn't have the strength. Katherine's face was rifting, cracking open. Lines of fire opened in it. The screaming reached a crescendo. Katherine's hair was aflame, her skin was blackening. Elena felt fire from both above and below. She saw Stefan's arms, red where they had been exposed to the sun and bleeding where he had torn free of his ropes. She saw his face, saw the stricken horror and grief. Then her eyes blurred and she saw nothing. Meredith and Robert, striking at the blood-soaked muzzles that thrust through the hole in the door, paused in confusion. The teeth had stopped snapping and tearing. One muzzle jerked and slid out of the way. Edging sideways to look at the other, Meredith saw that the dog's eyes were glazed and milky. They didn't move. She looked at Robert, who stood panting. There was no more noise from the cellar. Everything was silent. But they didn't dare to hope. Vickie's demented shrieking stopped as if it had been cut with a knife. The dog, which had sunk its teeth into Matt's thigh, stiffened and gave a convulsive shudder; then, its jaws released him. Gasping for breath, Bonnie swung to look beyond the dying fire. There was just enough light to see bodies of other dogs lying where they had fallen outside. She and Matt leaned on each other, looking around, bewildered. It had finally stopped snowing. Slowly, Elena opened her eyes. Everything was very clear and calm. She was glad the shrieking was over. That had been bad; it had hurt. Now, nothing hurt. She felt as if her body were filled with light again, but this time there was no pain. It was as if she were floating, very high and easy, on wafts of air. She almost felt she didn't have a body at all. She smiled. Turning her head didn't hurt, although it increased the loose, floating feeling. She saw, in the oblong of pale light on the floor, the smoldering remains of a silvery dress. Katherine's lie of five hundred years ago had become the truth. That was that, then. Elena looked away. She didn't wish anyone harm now, and she didn't want to waste time on Katherine. There were so many more important things. â€Å"Stefan,† she said and sighed, and smiled. Oh, this was nice. This must be how a bird felt. â€Å"I didn't mean for things to turn out this way,† she said, softly rueful. His green eyes were wet. They filled again, but he returned her smile. â€Å"I know,† he said. â€Å"I know, Elena.† It seemed to her that it had been a long while since she'd really looked at him. Since she'd taken time to appreciate how beautiful he was, with his dark hair and his eyes as green as oak leaves. But she saw it now, and she saw his soul shining through those eyes. It was worth it, she thought. I didn't want to die; I don't want to now. But I'd do it all over again if I had to. â€Å"I love you,† she whispered. â€Å"I love you,† he said, squeezing their joined hands. The strange, languorous lightness cradled her gently. She could scarcely feel Stefan holding her. She would have thought she'd be terrified. But she wasn't, not as long as Stefan was there. â€Å"The people at the dance-they'll be all right now, won't they?† she said. â€Å"They'll be all right now,† Stefan whispered. â€Å"You saved them.† â€Å"I didn't get to say good-bye to Bonnie and Meredith. Or Aunt Judith. You have to tell them I love them.† â€Å"I'll tell them,† Stefan said. â€Å"You can tell them yourself,† panted another voice, hoarse and unused sounding. Damon had pulled himself across the floor behind Stefan. His face was ravaged, streaked with blood, but his dark eyes burned at her. â€Å"Use your will, Elena. Hold on. You have the strength-â€Å" She smiled at him, waveringly. She knew the truth. What was happening was only finishing what had been started two weeks ago. She'd had thirteen days to get things straight, to make amends with Matt and say good-bye to Margaret. To tell Stefan she loved him. But now the grace period was up. Still, there was no point in hurting Damon. She loved Damon, too. â€Å"I'll try,† she promised. â€Å"We'll take you home,† he said. â€Å"But not yet,† she told him gently. â€Å"Let's wait just a little while.† Something happened in the fathomless black eyes, and the burning spark went out. Then she saw that Damon knew, too. â€Å"I'm not afraid,† she said. â€Å"Well-only a little.† A drowsiness had started, and she felt very comfortable, but as if she were falling asleep. Things were drifting away from her. An ache rose in her chest. She was not much afraid, but she was sorry. There were so many things she would miss, so many things she wished she had done. â€Å"Oh,† she said softly. â€Å"How funny.† underground room. Only this was a doorway into a different light. â€Å"How beautiful,† she murmured. â€Å"Stefan? I'm so tired.† â€Å"You can rest now,† he whispered. â€Å"You won't let go of me?† â€Å"No.† â€Å"Then I won't be afraid.† Something was shining on Damon's face. She reached toward it, touched it, and lifted her fingers away in wonder. â€Å"Don't be sad,† she told him, feeling the cool wetness on her fingertips. But a pang of worry disturbed her. Who was there to understand Damon now? Who would be there to push him, to try to see what was really inside him? â€Å"You have to take care of each other,† she said, realizing it. A little strength came back to her, like a candle flaring in the wind. â€Å"Stefan, will you promise? Promise to take care of each other?† â€Å"I promise,† he said. â€Å"Oh, Elena†¦Ã¢â‚¬  Waves of sleepiness were overcoming her. â€Å"That's good,† she said. â€Å"That's good, Stefan.† The doorway was closer, so close she could touch it now. She wondered if her parents were somewhere behind it. â€Å"Time to go home,† she whispered. And then the darkness and the shadows faded and there was nothing but light. Stefan held her while her eyes closed. And then he just held her, the tears he'd been keeping back falling without restraint. It was a different pain than when he'd pulled her out of the river. There was no anger in this, and no hatred, but a love that seemed to go on and on forever. It hurt even more. He looked at the rectangle of sunlight, just a step or two away from him. Elena had gone into the light. She'd left him here alone. Not for long, he thought. His ring was on the floor. He didn't even glance at it as he rose, his eyes on the shaft of sunlight shining down. A hand grabbed his arm and pulled him back. Stefan looked into his brother's face. Damon's eyes were dark as midnight, and he was holding Stefan's ring. As Stefan watched, unable to move, he forced the ring onto Stefan's finger and released him. yours, too. Take it. Take it and go.† He turned his face away. Stefan gazed at the golden circlet in his palm for a long time. Then his fingers closed over it and he looked back at Damon. His brother's eyes were shut, his breathing labored. He looked exhausted and in pain. And Stefan had made a promise to Elena. â€Å"Come on,† he said quietly, putting the ring in his pocket. â€Å"Let's get you some place where you can rest.† He put an arm around his brother to help him up. And then, for a moment, he just held on.

White Collar Crime Ponzi Scheme with a Focus on Bernard...

White Collar Crime: Ponzi Scheme with a Focus on Bernard Madoff NAME College White Collar Crime: Ponzi Scheme with a Focus on Bernard Madoff Most people, when they hear the word â€Å"crime,† think about street crime or violent crime such as murder, rape, theft, or drugs. However, there is another type of crime that has cost people their life savings, investors’ billions of dollars, and has had significant impacts of multiple lives; it is called white collar crime. The Federal Bureau of Investigation defines white collar crime as illegal acts which are characterized by deceit, concealment, or violation of trust and which are not dependent upon the application or threat of physical force or violence. Individuals and organizations†¦show more content†¦One victim, Michael Bienes, after being asked if he ever suspected that Madoff was up to no good, he responded, â€Å"Up to no good? He was a god. He was my life† (Lewis, 2011). Another victim describes him as â€Å"an approachable man† that â€Å"everyone looked up to†¦and respected† (Lewis, 2011). Carmen Dell’Orefice, former companion of Madoff’s â€Å"best friend,† Norman Levy, stated that â€Å"I think of him as always smiling,† â€Å"quiet and caring,† â€Å"shy, but so sure of himself† (Lewis, 2011). â€Å"He was able to fool a great many people for a very long time† (Lewis, 2011). Many times in a Ponzi scheme the offender targets people they do not know personally but not Madoff. He had family, friends, employees and even charities and non-profit organizations as investors. â€Å"He tapped local money pulled in from country clubs and charity dinners, where investors sought him out to casually plead with him to manage their savings so they could start reaping the steady, solid returns their envied friends were getting† (Colesanti, 2012). â€Å"Levy invested $100,000† for Dell’Orefice, who felt honored to be a part of the â€Å"exclusive fund† (Lewis, 2010). Sheryl Weinstein, who wa s a friend of Madoffs for nearly 24 years, lost her entire savings to Madoff’s Ponzi scheme. â€Å"The charitable foundation of philanthropist Carl Shapiro had invested about 45 percent of its assets ($345 million) in Madoffs fund† (Auerbach, 2009). It is â€Å"estimated that Madoffs scam cost Jewish philanthropies at least $600 million, andShow MoreRelatedWhite Collar And Organized Crime Essay900 Words   |  4 PagesWhite Collar And Organized Crime In the twentieth century, White Collar and Organized Crimes have attracted the attention of the U.S. Criminal Justice System due to the greater cost to society than most normal street crime. Even with the new attention by the Criminal Justice System, both are still pretty unknown to the general public. Although we know it occurs, due to the lack of coverage and information, society does not realize the extent of these crimes or the impact. 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