Introduction Article Example | Topics and Well Written Essays - 250 words

Introduction - Article Example Being a federation that is made up of seven principalities, each emirate is governed by a hereditary emir from whom the Federal Supreme Council is ranked highest legislative and executive entity in the county. This means a constitutional monarchy, acting in the position of head of state, since its establishments in 1971. The judicial system of the United Arab Emirates is comprised of seven varied emirates; Ajman, Sharjah, Ras al-Khaimah, Fujairah, Abu Dhabi and Umm al Quwain, in addition to the Roman, French, Islamic and Egyptian laws. As is in the Constitution of the UAE, there is freedom of liberty, rule of law, equality, movement and speech. In the concept of the legal environment, Sharia is fundamental. Economic freedom index, rapid economic growth, penetration towards the economic diversification, and WTO and OPEC memberships are the key drivers of the economic trends of the UAE. Further still, the economic freedom index has resulted into substantial enhancements in business freedom, government spending management, monetary freedom, and freedom from

Why did the majority of Germans conform to Nazi rule Essay Example for Free

Why did the majority of Germans conform to Nazi rule Essay The majority of German citizens conformed to Nazi rule because of the dual positive and negative pressures exerted by the regime. The Nazis designed and aggressively propagated a programme likely to be attractive to most of the community and backed this up with an apparatus of terror to silence those not convinced. The successes of the party within the country assured widespread support. Hitlers foreign policy, that overturned the Treaty of Versailles and secured Germany a great deal of territory even before the war, garnered him unparalleled popularity. The few opposition groups, and those groups targeted by Nazi ideology, were sent to concentration camps and a vigorous secret police assured that no opposition, especially not vocal, remained in Germany for long. Even when the atrocities of the Nazis became somewhat known Germans continued to conform to Nazi rule, primarily as a result of the anti-Semitism and bigotry prevalent in German society, effectively fostered by the Nazis. Finally, the Hitler myth is vital in understanding why the majority of Germans conformed to the rule of the regime. The contrast between Nazi rule and that of the Weimar Government that preceded it is vital in understanding why the majority of Germans conformed to Nazi rule. Gellately describes how many Germans believed that the liberal Weimar Republic was a degenerate society, and that their country was on the road to ruin. Newspapers were filled with stories regarding crime, drugs, murder and the activities of organized gangs. Crime had risen steadily between 1927 and 1932, the rate of some crimes in large cities almost doubling. The death penalty, a popular punishment, was bestowed 1141 times from 1919 to 1932, of which only 184 were executed, a figure which infuriated many German citizens. Hitler and his party, on the other hand, promised to restore some semblance of the normality for which they [the majority of Germans] longed (Gellately). Hitler gave the police far greater powers than they had had previously, which they immediately began exercising even petty criminals such as swindlers an d con-artists were sent to concentration camps without trial. Death sentences under Hitler increased in number and 80% were actually carried out, a huge increase from Weimars 16%. Exaggerated stories of crime and punishment were sent to the press so often that they became constituent parts of Nazi mythology (Gellately). The Nazi  partys emphasis on the rebuilding of the German state, an idea spread primarily through propaganda, was exceedingly popular. The Nazis also linked crime to Jews, homosexuals and gypsies, which heightened the homophobia and anti-Semitism already prevalent in German society, which meant that the more radical aspects of Nazi ideology were more accepted in society. The image of Hitler as a radical proponent of cleaning up the streets, banishing offenders, and purifying the race and the stories about swift justice all fuelled [the] populist myths about the regime as a crime fighter, and thus earned it considerable support (Gellately), which helps explain why the majority of Germans conformed to the Nazi regime. The domestic policy of the Nazi party was closely related to its foreign policy, which provided successes that are even more important in understanding why the majority of Germans conformed to Nazi rule. The majority of Germany believed that the Treaty of Versailles was a great injustice, and many, including Hitler, believed Germany had only lost because the army had been stabbed in the back by the Jews and politicians of Germany. After Hitler assumed complete power over Germany the clauses of the Treaty of Versailles were overturned one by one, and each was greeted with overwhelming public support of Hitlers actions. In 1934 Hitler publicly announced that the German army, limited to 100 000 by the treaty, had already expanded to 240 000 and would grow to 550 000 in less than three years. At the same time he made public the existence of a German air force, forbidden under the terms of Versailles. In 1936, while France had no government in control, Hitler ordered German troops to march into the demilitarized Rhineland. Next, in October 1939, German reoccupied first the Sudetenland and then, in a surprise tank invasion, the rest of Czechoslovakia in March 1939. These bloodless successes overjoyed the German populace, as shown by the wild, enthusiastic crowd scenes seen around Germany after each foreign policy success. The outbreak of war brought even greater success. Quickly defeating both Poland and France, and beating Britain back to her Island, then pushing far into Russian territory, the Nazi Government appeared to be well on the way to completely dominating the continent. Now at the peak of its power, the vast majority of Germans not only conformed to Nazi rule but actively supported it. Almost all youth,  male and female, were enrolled in Hitler Youth, as the competing youth associations (even the illegal gangs) had been removed, their leaders sent to concentration camps. Unemployment was essentially nil, with the German army and Germans arm production assuring employment for anyone that wanted it. The SPD (Social Democrats) in exile sent agents to gauge popular opinion and found that the Nazis were almost uniformly supported throughout the country. Apart from the domestic and foreign policy success of the regime, the use of terror in Nazi society is also important in understanding why the majority of Germans conformed to Nazi rule. The orthodox view of the role of the Gestapo, represented by such historians as Jackel and Hillgrà ¼ber, is that the German secret policy pervaded every aspect of society, and that most Germans were so afraid of being arrested and interrogated that they were terrorized into submission. Recent research, however, has proven this judgment false. The terror was not the blanket, indiscriminate terror of popular myth (Johnson). In the Cologne region, for example, the Gestapo had only one officer for every 10 000 to 15 000 inhabitants (according to Johnson). Nazi terror was instead targeted only at opposition groups and those condemned by Nazi ideology. When an average, non-Jewish, heterosexual German was under Gestapo scrutiny, they were generally treated leniently and almost never punished. When a Jew o r opposition of the state was interrogated, however, they were treated brutally and almost always sent to a concentration camp. The majority of Germans did not conform to Nazi rule because of the terror instilled by the Gestapo; they conformed because of the attractions of the regime as shown by its domestic and foreign policy success. On the other hand, the minority groups that were either targeted by Nazi ideology and those that were not won over by success were actually forced to conform to Nazi rule. The minority groups were primarily uncovered, according to both Johnson and Gellately, through denunciations. Many ordinary Germans were so won over by Nazi ideology that they would report to the Gestapo any suspicious behaviour, such as homosexuality or sympathy for the plight of the Jews. In fact, almost anyone who did not openly support the regime was denounced by at least one neighbour. This made the Gestapo a highly effective unit, despite its small numbers, when  tracking down ideological enemies of the state. The Gestapo also proved highly effective in tracking down more serious opponents of the state. Through forced confessions, reports from informers and paid spies, house searchers, police raids, information supplied by Nazi Party officials, SS and SA storm troopers, and police auxiliaries, long-existing police registers of political opponents and known criminals, and other official sources (Gellately) the Gestapo tracked down and removed all serious opposition to the Nazi regime. In this way the Gestapo is vital to an understanding of why the majority of Germans conformed to Nazi rule because those few who might harbor doubts about the regime could never voice them for fear of persecution. The most dubious elements of Nazi policy the systematic murder of huge numbers of people based on race or sexual preference were grounded in deep-seated prejudices that proliferated German society. The prejudice against homosexuality was extremely, so it is not a stretch of credibility to surmise that many Germans supported the imprisonment of confirmed homosexuals. Hitlers advertisement of Rà ¶hms sexuality as justification for his murder is indicative of the strength of homophobia in Germany. Anti-Semitism in Germany (indeed, Europe) stretches back well over a thousand years. Again, it seems certain that most of the German population would have personally approved, to varying levels, of the persecution of the Jews. This is not to say that the majority of Germans supported the Nazi atrocities, but that the majority of Germans supported the principle of discrimination (if not the extremes to which it was carried). While virtually all balked when presented with Nazi war crimes (although Kershaw argues that the systematic gassing programme was largely unknown, not all can have been sincere given the direct participation of Germans in many parts of the process), the principle behind the killings was appreciated by many Germans. By building on existing prejudices that Nazis ensured that most Germans could find something to support in Nazi ideology. Finally, one of the most important factors in explaining German conformity is in the foundation of the Nazis unity the most stunning propaganda success the regime enjoyed, the establishment of the Hitler myth. This propaganda  helped create a population that did not just conform, but willingly conformed. Kershaw argues that while ultimately most of Nazi propaganda failed in their objectives, Goebbels succeeded in depicting Hitler as a dynamic, active, visionary leader who would lead Germany to greatness. Kershaw states that Hitler was seen as the representative of popular justice, the voice of the healthy sentiment of the people, the upholder of public morality, the embodiment of strong, if necessarily ruthless, action against the enemies of the people to enforce law and order'. Before the war Hitler was portrayed as both a statesmen and as the future military leader, taking muster of his armed forces (Kershaw). When the war began this image was broadened and the image of Hitler as supreme war leader and military strategist came to dominate all other components of the Fà ¼hrer myth'. The decline of the Hitler myth followed the military reversals of the war, when the population realised Hitlers personal responsibility for the catastrophe of Stalingrad. But until then the myth formed a significant part of the reasons why Germans conformed to Nazi rule. Accompanied by the early successes of the Nazi regime, this created a very persuasive regime regardless of the attractiveness of its ideology. Without an attractive ideology, a majority of Germans would have willingly conformed to Nazi rule at least as long as they didnt have to make sacrifices to do so. Combined with the Nazi ideology, which was attractive to a broad cross-section of Germany, the high level of conformity exhibited in Nazi Germany does not seem remarkable. Germans conformed to Nazi rule primarily because of the regimes initial domestic and foreign policy success, and the success of the establishment of the Hitler myth. Those groups who either opposed the regime or were targeted by Nazi ideology had little impact on the overall support of the party because they were silenced by the highly-effective Gestapo.

Marbury vs Madison Case Summary

Marbury vs Madison Case Summary Brandon Huff This case took place on February twenty fourth, 1803. It was the first case in which an act of Congress was declared unconstitutional. That being said it was the first time, and the means by which judicial review was used. As the case name suggests the disagreement was between James Madison and William Marbury. It took place a couple of weeks before president Thomas Jefferson took office in 1801. Because of the Judiciary Act of 1801, and the Organic Act there was a multitude of courtship places open. President John Adams tried to fill as many as he could with Federalist party members as to oppose Jeffersons Democratic-Republican party. He wanted to make it hard for him to pass anything while he was in office. But since William Marbury was one of the last ones to have an appointment, the so called midnight appointments, he did not receive their commission. This happened because Jefferson took office and instructed his secretary of state James Madison to withhold the remaining commissions. When Marbury found out he wrote a writ of mandamus to the Supreme Court. He did this in the hope Madison would act and hand out the rest of the commissions. Marbury and his lawyer, former attorney general Charles Lee, went before the courts and stated that the signing and sealing of the commission completed the transaction and that delivering them was only formal. Even though Jefferson was very upset stating that he could not serve without the document. Despite this plea, however, the court agreed to hear their case Marbury vs Madison in February of 1803. This case was underway, but was quickly resolved. After hearing the case most people from both the Republicans and the Federalists agreed that it was a very insignificant case. By the time the case took place the people were agreeing the Jeffersons decision to reduce the amount of justices of the peace, and the Judiciary Act of 1801 was repealed. Also, Marburys term was already half over with by the time the case made it to the courts. In other words it seemed that there was no way Marbury would win this case. However, Marshall, the chief justice saw the problem facing him and came up with a brilliant solution. The solution he found the named a tour de force, and is still used today. He managed to establish all power to the court s the final arbiter of the Constitution. By doing this, he could effectively chastise the Jefferson administration for not following the law, while also protecting the courts authority on the matter. He reduced the case to three basic problems and questions. First, did Marbury have the right to the commission? Second, if he did, and his right had been violated, did the law provide him with a remedy? Third, if it did, would the proper remedy be a writ of mandamus to the Supreme Court? With these three questions Marshall effectively broke down the case to its simplest form. The result of the first two had the desired effect. He explained that by failing to deliver the commission the Marbury, the secretary failed in his duties and violated the law. Having established that Marbury was entitled to receive the commission he turned to the next question. Marbury had a right to the commission, and therefore by not receiving it was denied right. Because of this violation he could have argued that a writ of mandamus would be the right course of action, since the Judiciary Act of 1789 was still in effect, therefore he declared the the court had no jurisdiction to issue such a thing. He continued that it was inconsistent with Article 3 of the Constitution. With this statement, he surrendered the power derived from the 1798 statute which would have given Jefferson a technical victory in the case. By pointing this out he gained a very important power, judicial review. Through his masterful ideas and use the the Constitution through the law Marshall won the case. Even though Marbury only served half his term it had a much greater impact throughout history. We use judicial review to this day and it has been the cornerstone for a lot of cases since this one. Even though this decision has been very controversial it is a part of our system and we are used to it by now. It also fits well with our system of checks and balances run by the government. Through this very small incident in history it impacted the whole country. This case revolutionized our way of thinking in the courts. The courts have more power in this process and have been able to hear and change the outcome of many cases. This has helped shape our country into hat it is today and although it was been surrounded in controversy it is an undeniable fact of our life.

Analysis of The Prime of Miss Jean Brodice by Muriel Spark Essay

Analysis of The Prime of Miss Jean Brodice by Muriel Spark â€Å"The Prime of Miss Jean Brodie is a novel about a teacher’s dedication to her pupils. It is also about loyalty and betrayal.† The Prime of Miss Jean Brodie is a novel about a teacher’s dedication to her pupils. It is also about loyalty and betrayal. The novel emphasises the effects of dedication, loyalty and betrayal within a small group of people and the way in which they are all intertwined. It forces the reader to look at particular aspects of these themes. When has dedication gone too far? To what extent is loyalty due to another? Can betrayal be justified? These themes are joined when a teacher’s dedication becomes interference in her student’s life forcing that student to retract her loyalty and put a stop to the situation, an action branded by the teacher as â€Å"betrayal†. The most obvious theme in The Prime of Miss Jean Brodie is that dedication to the young has a definite limit, it should stop at guidance. It becomes evil when it is extended to domination of their and direction of their lives. Miss Brodie is very protective of her class of 1931, she feels the are the ‘crà ¨me de la crà ¨me† and they attract her special dedication. Miss Brodie took them to the theatre, to galleries and museums where they were encouraged to emulate the dedication of powerful female figures such as Pavlova and Sybil Thorndike. However, her dedication is deep: â€Å"These are the years of my prime. You are benefiting by my prime†¦one’s prime is the moment one was born for.† (P44) Miss Brodie believed that her great dedication was in the best interests of her girls. However, it is quite apparent that the girls do not receive a ‘prime’ education. Miss Brodie felt that the knowledge the girls were meant to have for exams was unimportant: â€Å"If there are any intruders, we are doing our history lesson†¦ our poetry†¦ English gramma†¦Ã¢â‚¬â„¢ The small girls held up their books with eyes not on them, but on Miss Brodie.† (P11) It is impossible to deny that Miss Brodie had great dedication towards her girls. However, her motives for her dedication and the lengths she goes to are in her own interests rather than in the interests of her girls. Miss Brodie’s dedication to her girls went too far, she went beyond the stage of merely bringing out the best in the girls and began too meddle in their lives: â€Å"It was plain... ... her decision was regrettable but inevitable. The themes of dedication, loyalty and betrayal in The Prime of Miss Jean Brodie are all quite closely connected. Miss Brodie is liked to a ‘God’ figure: â€Å"She thinks she is Providence, she thinks she is the God of Calvin, she sees the beginning and the end† (P120) Her dedication is largely focused on her set, who can be seen as her disciples, and Sandy who would therefore be Judus. The difference being that Sandy’s ‘betrayal’ is justified: â€Å"’It’s only possible to betray where loyalty is due,’ said Sandy. ‘Well, wasn’t it due to Miss Brodie?’ ‘Only up to a point,’ said Sandy† (P127) The three themes of dedication, loyalty and betrayal are all closely knit and so they complement each other in the way they are woven into the story. As Miss Brodie’s girls were being formed, Miss Brodie’s nature was also growing and the principals governing the end of her ‘prime’ started with her dedication, climaxed with a breach of loyalty and finished with a betrayal. The Prime of Miss Jean Brodie demonstrates clearly that dedication should stop at guidance, that loyalty is due only up to a point and that betrayal can be justifiable.

Organizational Theory & Research Essay

Organization is a â€Å"concept used in a variety of ways such as (1) a system or pattern of any set of relationships in any kind of undertaking; (2) an enterprise itself; (3) cooperation of two or more persons; (4) all behavior of all participants in a group; and (5) the intentional structure of roles in a formally organized enterprise† (Koontz, et. al. , 1980, p. G-11). Organization development is a â€Å"systematic, integrated, and planned approach to improve the effectiveness of people and groups in a enterprise through the use of techniques for problem discovery and various intervention techniques for solving these problems† (Koontz, et. l. , 1980, p. G-11). One of the key aspects of managing is â€Å"organizing† and it is a skill required of any manager if he or she is to be effective and successful in attaining organizational objectives and effecting change (see Koontz, et. al, 1980, p. 330). Management literature has acknowledged that people tend to cooperate with one another in the face of a crisis because man has learned that it is better to cooperate than to compete with one another. In cooperative activities, goals or objectives are achieved much easier than when individual persons act separately in attempting to achieve a group goal or objective. Organizing involves identifying the right people to involve in the design, development, and implementation of the process of problem identification and problem solving. One requirement of effective organizing is knowledge of the fundamental nature of group dynamics. When two or more people are formed to work on a particular task, they usually undergo certain stages of group development. These are forming, storming, norming, performing, and adjourning. During the â€Å"forming† stage, group members tend to be cautious and almost become aware of each word that each says to others; in the â€Å"storming† stage, members become impatient of formalities and tend to express themselves and demonstrate antagonism and sarcasm; in the â€Å"norming† stage, members learn to tolerate frustrations and become more acceptable of other members of the group; in the â€Å"performing† stage, team members has put aside their differences and concentrate on the objectives of the group, thereby performing to the fullest and achieving their preset goals and objectives; in the â€Å"adjourning† stage, group members have achieved their objectives and disbands themselves and return to their home organizations or department.

Loyalty and Betrayal in a Political Context

Two recent Chinese films, Chen Kaige’s Farewell My Concubine (1993) and Zhang Yimon’s   Hero (2002), have gained worldwide attention, garnering numerous awards in the process. Although set in very different periods of Chinese history, both films deal with the themes of loyalty and betrayal played out against a vigorously political backdrop. This political philosophy even weaves through out the stories, marking a radical change from previous socialist-realistic Chinese films which mainly had an operatic focus. In the past, Chinese films were heavily censored and did not appeal to a wide audience. What occurred within the Chinese culture to allow for films which gained international acclaim and dealt freely with controversial concepts, such as   the political atmosphere of China? Both Chen Kaige and Zhang Yimon are Chinese fifth generation directors. This genre evolved after Mao’s death in 1976, causing film to have   the widest international impact of all the Chinese arts reborn since then. Distinguished by a quantum leap from the political and cultural heritage of Mao, and achieving an â€Å"aesthetic breakthrough† with radically politicized ideological implications, this movement nevertheless was formed in a crucible (Zhang, 203). The 1984 release of Kaige’s film Yellow Earth revealed the emergence of a major new movement in world cinema, the fifth generation, which gained its name from critics and scholars based upon a retrospective examination of Chinese film history. It   is one of the cinema’s most important â€Å"new waves,† along with German expressionism, the French new wave, and Italian neo realism. The canon is comprised of the works of a group of young film artists with similar aesthetic and ideological motivations. The fifth generation emerged from the first graduating class of the Beijing Film Academy; students who had encountered tumultuous changes within their own lives, not being allowed to finish their high school educations, ( which didn’t resume until 1977), but being sent instead to the countryside as â€Å"intellectual youth,† becoming soldiers or laborers.   Although Kaige’s father was a well known Beijing film director, Yimou’s father had been an officer in Chiang Kai-Shek’s nationalist KMT army and Yimou was shut out of most educational, financial and social opportunities available to many of his future classmates at the Film Academy. However, the arrival of the Cultural Revolution functioned as a great equalizer, as   most members of the fifth generation forfeited education, saw their parents publicly criticized, and their lives swept up in turmoil. Yimou took up photography during this time, while Kaige tried to join the communist party.(Ij, 1). According to Paul Clark in his book Reinventing China: A Generation and its Film, the cultural revolution forever changed the members of the fifth generation. They emerged from it challenged by their experiences, endowing their films with a more critical attitude toward the cultural revolution and a more humane and realistic take on the lives of their fellow Chinese. While at the Beijing Film Academy the students had a shortage of textbooks from which to work. The professors instead exposed them to foreign films. Thus the students became filmmakers by watching and analyzing these foreign works. After graduation the students were assigned to various urban and rural studios across China, creating works that tried to reconstruct a national cinema after ten years of neglect and oppression. Rejecting rigid formalism, the filmmakers   created more realistic lighting, and used better actors and editors. They also created more ambiguous, less didactic stories. With the catastrophe at Tianamen Square in 1989,   and the ensuing crackdown on the fifth generation in the 1990s by authorities who weren’t comfortable with   many of the politics contained within the films, the restricted filmmakers began looking for international financing. The resulting films brought more international attention to Chinese cinema than ever before (Clark, 205). The filmmakers’ goals were to present themselves as artists with an aesthetic sensibility and to comment on the totality of their culture and history at a metaphorical or allegorical level. By assuming the margins vis a vis the mainstream, the Chinese new wave cinema offers itself as a substitute for and a supplement to, the emerging nationalist cinema. With spectacular visual effects, idiosyncratic and forceful storytelling, the films are a cultural reconstitution of Chinese modernity (Zhang, 276). Although originally banned in China, which allowed only one public showing because the film showed communism in a bad light, Farewell My Concubine is considered to be one of the fifth generation’s seminal works in focusing attention   from international audiences toward Chinese films.   Farewell My Concubine resembles several other fifth generation films in that it is a tale of human lives set against the context of China’s turbulent political upheaval during the mid twentieth century. Because it recalls the collective trauma of the cultural revolution, Farewell My Concubine and its engagement in the national memory has frequently been interpreted as an epic national narrative. Yet it also functions as a cataclysmic tale of loyalty and betrayal, an intimate story surrounding two Peking Opera performers, Xiaolou and Dieyi,   who bond as the young boys then named Shitou and Douzi. They   are severely abused by their training master and experience many hardships. But their friendship gets them through their difficulties.   This bond produces intense and lifelong loyalty between the two boys. They continue to be inseparable, until a prostitute named Juxian comes between them   when she marries Xiaolou. Later, the Japanese invasion and cultural revolution intervene in their relationship, provoking various declarations of betrayal. The story begins in 1934 and spans 53 years until 1977. The two men’s lives are viewed against a backdrop of a country in upheaval as the movies journeys through various times in China’s history. Each section, which is integral to the plot,   shows a different era in the lives of the characters and the historical background from the Warlords through the cultural revolution, including the Japanese invasion of 1937 and the communist takeover (â€Å"Farewell My Concubine,† 1). As the movie begins, a young Dieyi is abandoned at the opera troupe by his own mother after she cruelly cuts off his extra finger. Even though his mother, a whore, deserts him because he is a burden, he quickly gains a loving replacement in the form of Xiaolou. During the early lives of Dieyi and the other young actor, Xiaolou, the fierce friendship forms as they train and   are punished, always looking out for each other. From the first Xiaolou watches out for his little friend. He finds him a place to sleep and rebukes all the teasers. Later, Dieyi runs away, promising his three coins to Xiaolou.   Dieyi tells the master after he returns that Xiaolou was not responsible, just to punish him, even though Xiaolou is punished anyway. At another point, when Dieyi can’t remember his lines to say that â€Å" I am a girl,† and shuts down,   Xiaolou punishes him by forcing a stick in his mouth so that Dieyi will stay around and remain in the troupe. Yet this act of pain is also an act of love and Xiaolou cries throughout as he administers this rebuke. Thirteen years go by and their hardships pay off as the boys grow up to become major stage stars; their loyalty continues even as they are famous performers in Peking. Their bond becomes even stronger as they become more acclaimed. Although they are as close as two men can be, Dieyi yearns for even more. Even though the subject of homosexuality is only once overtly referred to in Farewell My Concubine, its presence is never far from the surface.   Xiaolou rejects that sort of connection from Dieyi, yet   nothing still comes between them; or so it seems. After Xiaolou saves a prostitute with a fake declaration of engagement, she comes to him and forces him to make good on the public acknowledgement. They marry, and while Xiaolou makes his stage brother Dieyi, his best man, Dieyi feels betrayed and acts pettishly, refusing even to come to the party until the last minute, then leaving abruptly. With Juxian in the picture, Dietyi has a moral dilemma which becomes confusing to him. From the beginning his sense of identity has been muddled, with the master’s continual insistence that he say â€Å" I am a girl,† in his role as a female within the opera. Yet role acting and reality have become blurred for him. As a child his mother was a prostitute, he was raped by an old man, his friend was stolen from him by a woman, then he goes to Master Yeun in a sexual   relationship (â€Å" Farewell My Concubine,†1). Later, in Dieyi’s trial for fraternizing with the Japanese (said fraternizing occurring only because he is trying to save Xiaolou and is promised by Juxian that she will leave her husband and return to the brothel if he helps, but she reneges), all Dieyi’s friends try to cover for him, even lying that he had been taking away in handcuffs. Dieyi rebukes them publicly, saying that he sang of his own free will,   causing the others to lose face by his betrayal to their loyalty. As mentioned previously, Farewell My Concubine has been considered to be an epic national epic, but contrary to this popular perception, Kaige focuses on the intimate architectural spaces of his native city Beijing and recalls its past; the pain of betrayal is vividly depicted in the film as the two stage brothers are publicly forced to renounce each other with irreversible consequences. Those unfamiliar with the history of Chinese communism are in for a shocking crash course as the devastating scenes unfold (â€Å"Chinese Film, 1). During the cultural revolution, both men, betrayed by a boy Dieyi saved from death, are forced to parade as spectacles in full operatic regalia. Yet they resemble pathetic clowns with mismatched makeup and signs around their necks.   Xiaolou and Dieyi are made to kneel with countless others to confess their sins against the people. Touchingly, but to no avail, Dieyi attempts his usual trick of swooping Xiaolou’s makeup up in order to make it look better. However,   garish makeup seems to be the least of their worries. Forced to talk against each other, Xiaolou starts out in euphemistic terms, declaring Dieyi to be one who sang for all, both small and great; a man who is a consummate artist of the people and for the people. Yet this is turned against him and he must betray Dieyi with more vehement declarations.  Ã‚   Even though Dieyi sang for the Japanese in order to free him, Xiaolou declares him a traitor and also tells the masses of his illicit homosexual relationship with Master Yeun. After Dieyi calls Juxian a prostitute in retaliation, Xiaolou also renounces his wife, saying he never loved her. Her pain knows no bounds and as a result of his betrayal, she hangs herself. So much sorrow and damage occurs during these public denunciations which happen to also mirror the filmmaker’s own life.   Kaige remains haunted that he was forced to publicly denounce   his father during his   youth in the cultural revolution (â€Å"Chinese Film,† 1). The film ends as years later, when the revolution has ended,   the stage brothers are once again together in an opera.   During the performance Xiaolou announces he is too old. Whether intentional or not, Dieyi forgets the lines that say he is a girl; and Xiaolou prompts him. Dieyi continues with the play, only to stab himself and die. The friends are still together: in life and in death. Although different in style from Farewell My Concubine, Hero is a film that   has caused   unprecedented fervor, judging from the response of much of the population   of China. So far, it is the most popular   Chinese film ever released in the country, making phenomenal money there, only slightly less than Titanic. Despite being regarded by some Chinese as pandering to western tastes, the film also made enough money in the United States alone to cover production costs, providing a portal for many western viewers to begin watching other Chinese films previously unknown in the west. Like other films of the fifth generation genre, this movie demonstrates a rejection of  the socialist- realist tradition worked by the earlier communist Chinese filmmakers. With   the ever popular Jet Li as the star, the film is loosely based during the time of the warring  states, a period before the unification of China. This story has also been told in other  versions, notably Kaige’s The Emperor and the Asssassin (1998) and Zhou Xiaowen’s The Emperor’s Shadow (1996). Yet Yimon chose to develop his own historical story  based on the turbulent days leading up to the founding of the Qin dynasty when seven  kingdoms struggled for supremacy. This setting contrasts with the mystical â€Å"martial worlds† of   similar films which exist somewhere away from reality. (Qin in Wade Gilles  parlance is the same as Ch’in from which the English word for China probably derived). (Chinese Film, 2). With Hero Yimon is working out of the tradition of the wuxia pian: a swordplay or martial arts film. Not   to be confused with a kung fu movie, this concepts involves a more idealized realm of legendary heroes living marginalized, carefree lives on the edges of everyday society. Their weapons of choice are swords, spears, and daggers. In the typical wuxian film, some incident draws the swordsman into the everyday world, in order to fight, albeit reluctantly. However, he retains a firm moral compass to defend the helpless against corrupt officials or leaders. The genre has been a regular part of Chinese cinema since the 20s (â€Å"Hero,† 1). Yet the genre has been reconfigured by Yimon, who addresses the present by looking backwards and sideways; backwards to the 90s postmodern wuxia   persona and sideways to Hong Kong commercial cinema. Absorbing the subversive innovations of Hong Kong film directors Tsui Hark and Wong Kar Wai, Yimon also digs back to his roots, and recreates as wuxia pian, the cinema of pure spectacle and philosophical meditation that he as a cinematographer and Chen Kaige created in 1984 with Yellow Earth. Using spectacle rather than storytelling is one way to open up the complex world of Hero to the violent opposing critical reactions (Chinese Cinema, 2). Also, he no longer uses revenge as the sole element comprising the story. With Hero Yimon attempts to move martial arts beyond the concept of revenge, even as he explores what it means to be a martial hero (Kung Fu Cinema, 1). As the tale progresses, this film also incorporates themes of loyalty and betrayal, using a series of Rashomon flashbacks. Like the layers of an onion unfolding, each unraveled   tale produces additional insights. These accounts shape the story of how one man defeats three assassins who sought to murder the most powerful warlord   in reunified China ( IMDB,1) As the story begins, Jet Li, who is called Nameless, starts to recount his martial victories to the emperor of Qin, telling how he defeated each of the three assassins, all members of a neighboring kingdom, who are sworn to kill the king to avenge their subjugation. Thus the main protagonist is seen defending the cause traditionally attributed to the villain by protecting the thing that causes others to seek revenge. Yet subsequent flashbacks revisit and reinterpret the same events, elaborating on and changing the story as it continues. However, it is only after the initial setup that the king responds with his own version of events. As a new story unfolds, it is literally painted in a different color. Even as this account unfolds, there appears a third which happens to be the final version of the truth (Kung Fu Cinema, 1). Through each successive narrative, the viewer sees friendship and loyalty among the assassins, who then appear pained when it seems that they are betrayed. Each story has the characters questioning themselves and others regarding motives, wondering who is their true friend and true love, then going to extreme lengths to prove that love and undying loyalty. With each version motives are questioned as to whom is the true person and whom is the betrayer. Things are never what they seem. Sky allows himself to be killed because he is loyal to a higher cause, while Nameless appears to be loyal to the king when actually he wants to kill him because he destroyed his family and kingdom. Sky, Broken Sword, Flying Snow and Nameless appear to have differing relationships in each of the three versions. In one version Snow is furious that Broken Sword had a chance to kill the king, then refused; that he appeared to have betrayed their group. He tells Nameless why. His calligraphy   showed â€Å"our land.† Nameless later gives this calligraphy to the king. It is a Chinese proverb which states,† to suffer yourself when all under heaven suffer, to enjoy only when all under heaven enjoy.†Ã‚   This is concept greater than individual loyalty. Transcending personal vendettas, it calls for the greater good of the masses. Nameless ought to consider what is right for the majority, and not just what is right for himself. As a chivalrous hero of great skill in the wuxia tradition, Nameless is duty bound to do whatever is most righteous, no matter the personal cost to himself (â€Å"Hero†, 4). When Nameless gets the chance to kill the king and comes within ten paces of him to do so, telling him of his personal grudge, he too recalls â€Å"our land.† and allows himself to be executed for a greater good, becoming loyal to a country rather than just his immediate surroundings. Dying a criminal he is buried as a hero. In the meantime, there is always a relationship between Broken Sword and Flying Snow, one so powerful that it defies betrayal by other relationships. By the end, although Snow is confused whether Broken Sword really loves her, whether he is truly loyal, he shows her by refusing to defend himself in a fight. She kills him, then distraught over the act, kills herself so they will go home together. As Nameless debates over what to do in his meeting with the king, Yimon actually shows both characters as heroes. Both have causes to which they are loyal. One is a defender with raging inner turmoil, and the other is a unifier with raging outer turmoil as he struggles to bring all the competing kingdoms together. Yet Nameless undergoes a spiritual and emotional transformation as he finds that being a true hero means rising above one’s petty loyalties; it also takes trust to find a higher cause. Both men share insights that aid them to overcome their mutual conflict as they share the ideal that both want what is best for the masses. As Nameless empties himself of his own desires, renouncing what he wants, he becomes invulnerable. Led by Broken Sword, Nameless has grown to accept that his loyalties were merely provisional, way stations on the path to something greater, though less tangible. By doing so, he echoes the philosophical tenets of Daoism with his self emptying. (Cinema Scope,p. 9). Yet Yimou has been criticized for rewriting history, portraying the King of Qin as rosier than past historical accounts have shown. These accounts demonstrate that the man was a brutal tyrant. Additionally, the film’s strong adherence to sacrificing one’s individuality for the good of the many as filtered through the state is a concept the pro communist Chinese government was pleased with. However, at a press conference Yimou insisted that choosing which dynasty to put in the story was an aesthetic choice not preconditioned by any one political slant (Kung Fu, 1). Many critics deride Yimou over the position in the film, forgetting that this was one of several narratives. Granted, the story can be seen as putting the good of the many over the good of the individual; that loyalty to the masses trumphs individual loyalty. However, Hero can also be seen as a multiple narrative since the tales by Nameless and the king are mutually contradictory. In this context, tyranny is not simply a means to an end. Although viewers who want to align themselves with the king of Qin will see a paean to Chinese unity and totalitarianism,; the reading is there for the taking. But such a position neglects to take into account the film’s clear message of underminding the limited authority of any single individual and the idea of narrative as closure itself. Cinema Scope Magazine notes that Hero celebrates absence as spectacle, glorifying absolute renunciation and perfect nonviolence as preconditions for peace. Like Nameless, it speaks to power, underminding authority’s grip on narrativity. Instead of a struggle within the narrative, Hero puts the control of the narrative into dispute. It is really about who has control of the story: Nameless or the king. As filmed philosophically, it is Yimou’s continual challenge to any   state or empire. Hero is allied to Daoism, a set of ideals which finds fullness in absence, transcendence in renunciation, fullness in letting go. The Lao Txu Dao’s primary text was written during the time of the Warring States, the period of turmoil that ended with the unification of China under Qin. In Hero he is still years away from this great accomplishment, simply the king of Qin. Yimou’s best recent films The Story of Qiu Ju (1992) and Not One Less contain the same concept of speaking stories to power. Yimou has struggled with authorities over who gets to tell the authentic story; how divergent it can be from the official version . He still has movies such as To Live that are officially banned in China today because of their recount of the unacceptably critical history of the People‘s Republic of china form 1945 to the 70s   (â€Å"Hero,† 3). Both Farewell My Concubine and Hero are marvelous spectacles, demonstrating in differing styles various allegiances, alliances, and betrayals; even renunciation of individual loyalty for the greater good. A glimpse of turbulent Chinese history can be gleaned through the films. The international audience is so much the   richer for having these works in their repetoire. References Clark, P. (2005).   Republic of China: A Generation and its Films. Hong Kong: Chinese University Press â€Å"Chinese Film,† (2006). Wikipedia. Retrieved 5 August 2006. www.en.wikipedia.org/wiki/farewell_my_concubine/ CinemaScope. (2003). Vol 5, issue I, no14. Retrieved 4 August 2006. â€Å"Farewell My Concubine.† (2006). Chinese Cinema.org.   Retrieved 5 August 2006. www.chinesecinema.org â€Å"Hero,† (2004). Men’s Health. September. Retrieved 4 August 2006. Ij, F. (2005). â€Å"Review of Reinventing China: A Generation and its Film† Film Criticism. Vol. 30. IMDB.(2006). www.internetmoviedatabase.net   Retrieved 4 August 2006. Kung Fu Cinema. (2006). www.kungfucinema.com Retrieved 6 August 2006. â€Å"Movie Reviews,† (2006). Colossus.net. Retrieved $ August 2006 www.colossus.net Zhang, X. (1997). Chinese Modernism in the Era of Reform. Durham, NC: Duke U Press.