Community Cohesion Essay Example | Topics and Well Written Essays - 3000 words

Community Cohesion - Essay Example Some Major Housing Policies and Their Role in Community Cohesion: Choice based lettings or CBL is a social housing allotment system. Social housing allocations give individuals the right to practice their own discretion while choosing a social housing property. To apply for getting a house in a comfortable society is the main thing that strengthens the attachment between a person and the community to which he belongs. The policy is based on the idea of making the community more comprehensive, practicable and firm. Moreover, it aims at achieving a nationwide success by the year 2010. People belonging to every community have their certain choices and Choice Based Lettings is such a policy that enables them to choose property according to their tastes. For that reason the system automatically brings like-minded people together to a certain area establishing effective community cohesion among them. Currently, CBL makes the opportunity of choosing property not only available to the rich, but also to the lower middle class families. Houses are to be rent ed that have been brought under the coverage of CBL and this scrupulous step has been very constructive for people belonging to the above-mentioned group. For that reason, this policy has been able to bring people with equal affordability jointly resulting in the establishment of community cohesion from the perspective of economy. (Cantle, 2005) A number of the most underprivileged regions in UK have always made community cohesion a difficult task for the government. Therefore, it has always been the UK government's look out to solve their problems in an organized and intensive way. The main focus was to bring the complementary neighbourhoods as one. New Deal for Communities is an approach of UK government to tackle this...A call for community cohesion as a part of UK housing policy was felt soon after Bradford, Oldham and Burnley was beset by a series of ethnic disturbances in 2001. These localities have failed to establish Britain as a successful multicultural state in the eyes of the common man. The urban unrest in Bradford, Oldham and Burnley questioned the efficacy of housing departments and local councils in maintaining social and economic equality. The segregation of the traditional ethnic groups from the deprived communities indicated a ‘lack of community cohesion’. Soon after the London Bombings of July, 2005, the need for community cohesion to combat fundamentalism and terrorism became all the more indispensable. The Institute for Community Cohesion did not agree to the idea of fighting extremism as the only possible measure to promote community consciousness, as this overlooked the other divisive forces in society. (Wetherell, Laflà ¨che, Berkeley, 2007) The initial initiatives of the government to build community cohesion were looked upon as a measure to wipe out racial tensions and strife in the ethnically estranged communities, borne out of deprivation and lack of scope for spatial communication. While the authorities in favour of community cohesion to fight ethnic differences contend that expanding its scope would constrain its effectiveness in dealing with racial differences, there are others, who support the broader scope of community cohesion, argued that a variety of community differences required to be addressed, both within and beyond the community.

Art 330 Film Study Essay Example | Topics and Well Written Essays - 750 words

Art 330 Film Study - Essay Example Director Sergei Eisenstein thought beyond the typical box of intending to bring across mere entertainment and art that registers to mind with common fashion. It occurs as if a rare mutiny of a crew against their officers demonstrates a challenge to shift the normal course of a national timeline from an object of faint dark memory to one of haunting suspicion. In paying tribute, thus, to the party or side of event which he thought deserved justice, Eisenstein came up with a project of revolution rather than â€Å"The Battleship Potemkin† in the usual outfit of a remarkable silent film. More than focusing on the aspect of commemoration and chronology, Eisenstein may be recognized to have employed an editing technique that could generate a subject of moving power. Accordingly, the director renders â€Å"The Battleship Potemkin† to take on authority by engaging his audience into a stream of perception that could not seem to help impact feelings and ideology in the viewing p rocess. Despite the total absence of voice from each character involved, the film manages to convey its potential through the musical score or the choice of orchestrated sound effects which suitably fit individual acts from a wide range of tempo and intensity. Instrumental rhythms used vividly reflect the thematic message of socio-political struggle with acute notes where appropriate, scene after another. Besides music, Eisenstein made it a point to work with flashes of sharp images that readily stick to memory along with interval words or phrases that are rich with direct expressions of human nature. As such, lines like â€Å"We’ve had enough rotten meat† with a tone of utter indignation when men of the ship protest for decent food free of worms and â€Å"The men refused to eat the soup† being â€Å"seethed with rage† altogether forms a picture of the crew’s reasonable cause behind the insurrection. Moreover, â€Å"The Battleship Potemkin† becomes capable of establishing some degree of illusion to the actual events by adopting a technique whereby certain real-life details are either omitted or elaborately sensationalized so as to create illusory figures that possess high tendency to replace any formerly imagined cases of truth. This is particularly evident in the manner Eisenstein necessitates to incorporate the â€Å"Odessa Steps† sequence illustrating the massacre of civilians along the Potemkin stairs or Primorsky which did not in reality take place. At this stage, Eisenstein puts in application the ‘montage’ theory to reconstruct a perspective of the original occurrence to mind by showing an imagery that is juxtaposed or edited in rapid progression, magnifying visceral influence among the viewers. Image capture at abrupt pace seems to accumulate into compressed narrative information sufficiently compact and poignant to enkindle mixed sentiments of rebellious anguish and sympathy especially afte r the occasions of watching the baby carriage running away as well as the sight of the three cherubs at different angles presumably in punching mode. Eventually, such cinematic recreation bears the capacity of exaggerating the idea of oppression, in this case, to the extent that the viewing public can be stirred to yield to strong emotional and perhaps, philosophical change of insight. The apparent objective of the montage concept is conducive to biased moviemakers