Are Visual Effects Improving or Damaging Film?

Are Visual Effects Improving or Damaging Film? Introduction From the very inception of film visual effects have been employed by numerous photographers and film makers to enhance, to realise and create new meaning. The very early days of film took great advantage of ‘visual magic to create illusions and trickery which have impressed countless audiences. Over a century ago when photography was emerging as an art form some unscrupulous commercial photographers would capture portrait shots using an ordinary exposure but then as soon as the subject was removed from the studio a collaborator would be positioned within the same setting, a quick exposure would be taken so as to leave a faint image trace on the film. The unsuspecting customer would then be handed a positive copy of their image with what appeared to be a ghostly figure in shot. A more subtle variation involved the customer being placed with numerous props around him or her, the props would be removed for the second exposure of the ghost character, so as they wouldnt appear too d eliberately double exposed. The ghost character would usually be wearing black clothing as film does not ‘see black due to the chemical process in the emulsion of film which identifies light only, therefore only the ghost would appear in the second image. And herein began the industry of special effects. This ghost trick was the starting point for what is now known as the matte process where unrequired objects are removed from the exposure by masking them so they do not register on the film. One of the first uses of this process in a moving image sequence was witnessed in Alexander Kordas Things To Come (1936) in which the upper levels of a futuristic underground city have been double exposed above footage of live actors, matte masks prevented one image showing on the other image. This film provides one of the earliest examples of special effects being adopted to positively improve the aesthetics of a film. Of course since films early experiments with visual effects the industry has today developed into a very sophisticated, digitally driven and technically ultra-advanced visual medium. Computers have taken special effects to an entirely new level and as computers continue to update and improve their spec so too will the film industry develop around these advances; quite simply computers and digital technology have enabled films to be produced which otherwise would not have been. However despite the often profound visual success of special effects in certain cases some people argue that film is now placing an over reliance on special effects, they argue that visual effects in some films are counter productive as they come across as ineffective and some times unnecessary. Some also question the performance of the actors if all they are doing in a film is running in front of a green screen shouting at an imagined ‘alien clutching an imagined prop. Others raise concerns regarding the films quality and the processes of putting a film together where much of it is CGI constituted. So is it really the case that films being produced now would be better received by audiences if they did not make so much use of visual effects? Or is it that some studios and directors simply cant adjust effectively to modern day film making? And who is to blame for this? Man or machine? As visual effects artist Piers Bizony points out: One of the greatest misconceptions about modern movies is that visual effects are generated by computers. Nothing could be further from the truth. Human inventiveness is the most important ingredient and it always will be. Computers offer amazing new possibilities, but the underlying challenges of movie illusions are the same today as they were nearly a century ago when the industry was young . Chapter 1: The Profound Benefits of Using Visual Effects in Film Digital effects have significantly impacted on mainstream films, indeed digital technology is now synonymous with exceptional visual effects. Michael Baileys sci-fi film Armageddon (1999) provides a good example of a director engaging with digital visual effects which achieves an impressive and hugely successful end product. The disaster film depicts the efforts to prevent Earth being destroyed by a huge meteorite on a collision course with it. Teams of ‘heroes are sent into orbit in an attempt to blow the meteorite up and save the world. The film is saturated with digital effects some of which are the result of a very complex process. These computer generated sequences include the entire orbit scenes, the meteorite shots and the films climax. The evolutionary process by which the visual effects product is accomplished can be an awe inspiring process in itself; take for example the asteroid in Armageddon which began life as a small sketch on a napkin, the image was then refined and digitized, then colour was added to it in Photoshop. After this a physical model of the asteroid was constructed out of foam. Numerous shots were then taken and fed back into a computer so that other effects could be added such as gasses and rocks. A second and larger model was then built and using an intricate technological process wired the model so that a computer could read every single three-dimensional detail of it. The final product we see in the film is an image which is the result of multiple digital imagery layers with many of the films scenes comprising of between fifty and a hundred layers. It is an astounding feat of modern visual trickery. If the film had been made several years before hand it would have had to employ the more conventional optical printing cinematographic process. However this would have left green lines visible on the subjects and depreciated the overall aesthetic qualities of the film, today computers can remove these lines thereby rendering the composite process invisible to the viewer. Contemporary modern visual effects engender a film culture based on a production process that in actual fact is less ‘physical. As academics and authors Peter Lehman and William Luhr observe: As a movie like Armageddon makes clear, much of what we now see in Hollywood films never existed in front of the camera and this has had a profound effect upon how we think about movies. The quality of the visual effects necessarily impacts on the believability of the film for the viewer and most Hollywood films strive to hide any signs of the film making methods used with the aim of providing the spectator with a ‘real experience. Some label this style of Hollywood film making a ‘the invisible style and digital visual effects in many instances now makes this film making approach even more attainable, and more easier to produce as costs are cut. Films like Cecil B. De Milles The Ten Commandments (1956) used to be a rare event in Hollywood because of the costs involved in creating the special visual effects, but now thanks to modern visual effects financial barriers have been removed and we now see Hollywood increasing their output of more visually daring films. Michael Baileys follow-up to Armageddon was the hugely successful blockbuster Pearl Harbour (2002) which again repeated the success of his previous film as regards the use of visual effects and wen t on to generate worldwide box office sales of just under  £300,000,000. When Ridley Scotts historical action drama Gladiator (2000) was released there was wide media coverage focusing on many of the visual effects the film had employed . In the film many of the scenes occur in the Roman coliseum and we are treated to plenty of shots of an entire coliseum where hoards of spectators occupy it observing the macabre event taking place below. However the spectacle was in actual fact constructed from multiple digital layers and is another example of visual effects making an invaluable contribution to the film industry. It is only through digital technology that we can enjoy with such visual fluidity the epic structure of the coliseum, the gladiators engaging in their fierce battle and the jeering spectators all in one shot. James Cameron is a Canadian director with numerous titles to his name and is well known for his use of cutting edge visual effects technology. His first blockbuster foray into the visual effects arena was with his groundbreaking sci-fi The Terminator (1984) in which we witness a director pushing the boundaries of special effects capabilities. The film epitomises a trend of the time in which Hollywood was experimenting with new means of visual effects through the production of films which fused the genres of science fiction and horror including Alien (1979), Blade Runner (1982), Robocop (1987) and Predator (1987), a breed of films which author Mark Jancovich describes as films which: Contain strong female leads; an interest in the family; concerns about scientific-technical rationality and the military; killing machines which lack conscious motivation; and forms of body/horror . Within Camerons Terminator film we can glean an overpowering sense of directorial creativity which, for all of the films impressive and successful visual effects, is still somehow constrained not by the mind of the director but by the technology available to him. The film was low budget costing around  £4m to make but due to its huge popularity generated  £30m in box office sales in America alone. The Terminator bred a franchise and to date four films have been made although only the first two were under Camerons direction. In Terminator 2: Judgement Day (1991) Cameron teams up with George Lucass Industrial Light and Magic visual effects house and three other special effects houses. Cameron builds on his rendered water tentacle he created for The Abyss (1989); he was encouraged by some of the concepts used for The Abyss and in Terminator 2 created a Terminator constructed of liquid metal – the T–1000. On screen we witness T-1000, a polymorphic assassin, shape-shifti ng into anyone it touches. To achieve many of the films visual effects Cameron fused two elements of computer generated graphics with a film composite to create blue prints which were heavily used with astounding success. Between Cameron and the four visual effects houses the film boasts three hundred optical and mechanical shots incorporating state of the art computer produced imagery as well as more conventional optical trickeries and process photography. Each of the four effects companies provided the film with their own unique contributions. For example visual effects company ‘Video Image produced the twelve TerrorVision shots from the Arnold Schwarzenegger T-800 characters infra-red point of view. This was achieved by scanning into a computer live footage and manipulating the colour scheme then overlaying it with flashing graphics. ‘Fantasy Film II effects company had the task of producing the opening ‘future war sequence by improving it with intricate optical enhancements, they also created optical lighting and lasers for the shots of the arrival of the Terminator. It was ‘4Ward Production which created the nuclear blast scenes in which Los Angeles is devastated by a nucl ear bomb. The sequence was partly electronically created by using a big layered painting of the city which included a blast dome and by using the Apple Mac programme Electric Image very effectively simulated the destruction of buildings to capture the blasts destructive effects. However it was Industrial Light and Magic and Stan Winston Studios working in collaboration who were presented with the challenge of making the T-1000 which would turn out to be a combination of mechanical prosthetics, moving puppets and complex processes of computer generated digital imagery. Camerons Titanic (1997) was until very recently the worlds most successful box office film. The film made great use of visual effects as well as employing some more traditional special effects processes. Cameron constructed an entire Titanic replica which was able to be flooded and broken apart for the sinking sequences. Most of the visual effects were supplied by Camerons own company Digital Domain which made use of both CG and miniature models to recreate the journey and eventual fate of the ship. Digital Domain also generated hundreds of digital passengers, digital water and numerous digital matte paintings and also created particle effects which simulated smoke. Other visual effects work on the film was carried out by VIFX who composited icy breaths onto some of the characters to ensure maximum authenticity for outside scenes. A number of other collaborators include POP Film who created some very clever digital face replacements and complex matte paintings. And CIS Hollywood made blue sky substitutes and bluescreen composites. The whole collaboration ensured the final product did what it was supposed to do. The films visual effects are an overwhelming credit to a Hollywood narrative film which, in true Hollywood style, hopes to ensure its audiences beliefs are suspended so the journey is as real as it can get, there can be no doubt that the visual effects in this film was a key ingredient in helping the audience achieve that belief suspension. On the 29th August 2009 the Daily Mail ran an article with the title ‘How James Camerons 3D Film Could Change Cinema Forever. The story previewed James Camerons latest sci-fi adventure film Avatar (2009) and the articles author claimed: A movie revolution will take place at the end of the year potentially offering as big a leap in our viewing experience as the change from black-and-white television to colour. The remark was perhaps a little over zealous but nonetheless captured the sentiment of the huge visual success celebrated by the release of Avatar. The film had been a concept in Camerons mind since the mid 1990s but due to the deficit in technological capabilities the film remained unmade. In actual fact Cameron didnt completely wait for the technology to catch up he made technology catch up by creating specialist cameras and equipment required to make the 3D film a reality. The imagery in Avatar constitutes 60% CGI and most of the CG character animation sequences are filmed using live actors with groundbreaking new motion-capture processes. The other 40% of the film comprises of live action imagery and relies on more conventional special effects. In bringing Camerons CG characters to life he has essentially created a whole new method for filming motion capture; he makes his actors wear special body suits with a standard definition camera attached to a head ring which will repeatedl y take photographs of their faces. Then the data is sent to another camera which creates a real-time image of the ‘live actor in costume. Of the processes used to create his visual effects in Avatar Cameron stated: Its this amazing ability to quickly conjure scenes and images and great fantasy scapes that is very visual†¦When you are doing performance capture, creatively its very daunting. Its very hard to imagine what it will look like. But if you can see it, if you can have a virtual image of what is it going to be like, then you are there . Avatar adopts further new motion capture processes with its Facial Performance Replacement (FPR) technique which allowed Cameron to reshape the facial movements of the actors. So where dialogue is altered after principal photography on a scene it is still capable of being perfectly integrated into the final scene thereby avoiding actors having to re-shoot another take with their body suits and head rigs on again. Its as though Cameron is constantly merging the boundaries of CGI and live action imagery but appears to have created the desired result although at cost. Whilst the film was in production James Cameron said in an interview on Canadian television that:Were in CG hell. Were trying to create a world from scratch. Its like trench warfare. Were working with computer-generated characters that are photo-realistic. Thats tough. We set the bar high. Were just now getting confidence that its going to work .Its the type of remark that embodies the drive behind an artists creative inte lligence and reveals his determination as well as frustration of a project which ultimately will be successful, James Cameron must be sitting comfortably with the knowledge that he broke his own previous record. Avatar is now the biggest box office success in cinema history. Chapter 2: When Do Visual Effects Damage Film? It is incontrovertible that visual effects have augmented many film experiences and that todays modern technological advances have created a film industry capable of exceeding audiences expectations. However despite the immense success of these visual effects there is a growing feeling among many people and film makers alike that digital effects are eroding the quality of some films. CGI used to be a hugely expensive process so much so that George Lucass Star Wars (1977) only contained a ninety second CGI sequence which took three months to complete. However almost twenty years later and the cost of CGI has significantly reduced which enables Pixar Animated Studios to profitably produce an entirely computer generated film – Toy Story (1995). Just another six years later and Sony manages to remove the difference between cartoon and ‘real life with its production of Final Fantasy: The Spirits Within (2001). Today CGI is an integral ingredient for many filmmakers who employ its use for most of Hollywoods big action sequences. Despite the affordability of CGI it still remains an expensive process and is very time consuming and this is precisely why it is often contracted out of Hollywood to specialist visual effects companies. As we have seen above Avatar had at least four different visual effects companies work on it, and Terminator 3: Rise of the Machines (2003) had eleven outside companies produce the visual effects. Herein lies one of the key areas of concern regarding the use of visual effects in contemporary film making. So that this type of digital outsourcing can be facilitated the film is essentially divided into two separate productions: firstly the studio or location based live action scenes and secondly the CGI element which is made on computers. During the live action filming the actor will quite often be working on whats called a ‘limbo set in which there will be few physicalities to the scene, instead the actor will be required to simulate particular actions and even mouth certain words of dialogue, all the omissions will then be filled in at a later stage on computer when engaging the CGI stage of the production. It will paint bold background imagery, place elaborate costumes on characters, implant certain objects into the actors hands and create sounds and dialogue befitting of the scenario. When the live footage has to be completed and even the editing of the live film the divide between the live and the CGI work becomes more distinct and problematic as quite often directors havent seen any of the CGI imagery at that stage. One classic example of this situation was during the filming of Jonathan Mostows Terminator 3. The film began shooting in July 2002 and Warner Brothers required the film to be submitted within twelve months for its release. However the sub-contracted CGI element of the production would take eight months for the subcontractors to complete, and so due to the time restriction this meant that Mostow had no choice other than to provide storyboards to the CGI teams so they could begin work and so were not working from the live footage which Mostow had yet to film. The split nature of this method of film making is epitomised, almost bizarrely, in the film itself in the face of Arnold Schwarzenegger. The right side of his face has ordinary make-up on it, the left side is green this is because the digital animation supervisor San Rafael directed the CGI which would become Schwarzeneggers right side of his face, whereas Mostow directed the left side of his face in Los Angeles. Once the CGI had been completed there was simply no time to facilitate a re-do. Mostow stated at the time: For a filmmaker that is the worst thing you can imagine. In the regular rhythm of making movies you shoot, you edit, you hone the editing, and then you add the finishing touches. Computer graphics turns the normal procedures of filmmaking upside down . This method of filmmaking was also witnessed in the production processes of Avatar which outsourced the digital effects work to a number of different companies. One of those companies was London based Framestore and some of the work they had to carry out vividly illustrates the production issues of films which employ heavy use of CGI, Jonathan Fawkner of Framestore said: So what we got from the production was literally an actor in a green background, and we were required to put everything else, including set material props and people . Hollywood studios often believe that digital effects are worth their price, even if it is just to enjoy the profit margin from the spin off sales of merchandise of toys and computer games. However if CGI can not sustain audience interest because it lacks other fundamental film elements such as narrative then no groundbreaking computer generated graphics will compensate for an audience dissatisfied with the story of a film. This was illuminated when Sony had to learn a bitter lesson after it released the sci-fi digital effects imbued Stealth (2005) which performed abysmally at the box office. DreamWorks also had a bloody nose in the same year with the release of The Island (2005) which again generated disappointing box office sales. As journalist and author Edward Epstein states: If this new economy of illusion allows the CGI side of a production to overwhelm the directors ability to tell a coherent story in his live-action side, digital effects may prove to be the ruination of movies . Another aspect of film erosion some argue is occurring when film requires the use of stunts to increase the action to higher levels of intensity. When American actor, writer, producer and director Douglas Fairbanks in the 1924 film version of the fantasy Thief of Baghdad impressively jumps from one huge pot to another with all the anticipation captured beautifully in the film he does so himself, with two unseen trampolines used to support the actor as he performs the stunt. The action sequence is thoroughly effective because it is real. Martial arts actor and director Jackie Chan brings to us films which are highly charged with plenty of karate sequences, this is for many part of the appeal of his films. The fighting scenes always use trained martial arts experts to bring the audience closer to the fighting action so they dont just see and hear it they feel it. However CGI threatens this authenticity by injecting scenes of action which are physically impossible for the human being. T he reality is that sadly with the continuing development of CGI there will be less impressive live stunts in film to enjoy. Another argument which criticises digital visual effects concerns the relationship with the aesthetics and the deeper meaning of what the aesthetics are depicting. If we look at a much older film such as the The Thief of Baghdad (1940) we observe a film which makes very effective use of visual effects for its time. It is obvious watching the film that the visual effects are easily identified as visual augmentations but in those aesthetics they actually capture a large degree of reality. Clearly the audience knows that horses and carpets are not capable of flying by themselves yet in the film that is precisely what we see and a visual treat it is despite its lack of visual sophistication. If those scenes were filmed today they would be produced through CGI processes which would load the scenes with fast paced shots of the horses imagined responses if it could fly which would be generated with intricate detail and seamless visual flow, we would see overview shots of the landscapes bene ath and we might even see an eagle or two because the whole sequence would be so busy that the audience just doesnt have time to appreciate the whole point of the scene that someone is flying through the air on a horse or carpet! And this is the problem when visual effects take over the scene it reduces the significance of what it portrays. Digital visual effects also seem to engender a type of laziness amongst some film makers. However in the film X-Files: I Want to Believe (2008) attention was focused away from digital support in favour of more traditional effects, the audience is aware that theyre not always seeing real bodies or real severed body parts but the effects were impressive and no CGI was used, the film makers instead employed model making efforts to realise the visual characteristics of the film. US scriptwriter and film critic Roger Ebert says: I have nothing against digital technology. It tricks the eye just as matte paintings and miniatures did. What Im concerned about is that filmmakers take it for granted. When youre not dealing with something physical, like a matte, youre tempted to go for broke, and then your ‘real life movie feels like a cartoon. The best effects are those that are entirely story-driven and character-driven. In many peoples view CGI is simply becoming overused. Steve Becks horror Ghost Ship (2002) received strong censure from critics and spectators for its digitally constructed scenes and lack of attention to narrative. The unreal look which comes with CGI can often destroy credibility for the audience. Special effects co-ordinator Randy Cabral believes that CGI has a damaging effect on some films, he says: I go to the movies often and Im taken out of the moment completely when you see something and its so unreal, so unbelievable and it just screams CGI that it completely ruins the film for me. Conclusion Looking at the top ten most successful films of all time, commercially speaking, every single one of them has employed CGI to a significant extent . From Harry Potter and the Philosophers Stone (2001) to The Lord of the Rings: Return of the King (2003) through to Toy Story 3 (2010) and of course Avatar (2009) between them these films have thrilled worldwide audiences and rewarded them with a visual feast. There can be no denying the merits of digital effects and the overwhelming contribution it has made to cinema. The success in sales figures both at the box office and in DVD and Blu-ray profits matches the success of what CGI has achieved on screen. The advantages to the film industry are plenty as is evident from above, but what some directors and film makers some times overlook are the negative aspects of this technology. CGI can not replace a good story or substitute an intelligent script with meaningful dialogue and whilst it can indeed create stunning three dimensional characte rs it can not produce the depth of character which audiences can relate to if the character has no characteristics or depth of expression. It seems that some directors and the Hollywood system have not learnt these lessons fully yet. The recent sci-fi film Skyline (2010) relied heavily on digital effects, some which were quite clearly weak in parts, and lacked depth of narrative. The film attempted to ride on the back of recent successes in the genre like War of the Worlds (2005), Cloverfield (2007) and District 9 (2009) but failed to match their achievements. Skyline unfortunately is a modern example which demonstrates that Hollywood continues to ignore fundamental film constituents in favour of computer generated sequences to realise a film, perhaps after the box office failure of Skyline Hollywood may begin to effectively address this issue. Even directors like Tim Burton who have strong views on digital effects and resisted using them extensively for his remake of Charlie and th e Chocolate Factory (2005) still dont appreciate the damage CGI can do, as the film still featured many scenes that were not enhanced by the visual effects but were in fact weakened by them. Having considered many of the advantages and disadvantages of the use of visual effects within the film industry there are clearly two opposing perspectives. Some advocate the continuing and indeed increasing use of CGI as a key method for the production of major film projects and to realise the creativity of the human mind whilst others prefer a more moderate approach to the use of digital effects. James Cameron when being interviewed by Charlie Rose said: I threw everything I had at making it a great piece of entertainment and that was the 3-D, the CGI and creating the world and every trick I knew to get people to come to a theatre, and then every trick I knew as a filmmaker to engage them in terms of the story and the actors and so on . It is probably fair to suggest the most efficacious means of producing films should incorporate a balance, and ensure the right calculation between using digital technologies to realise the film and the other essential ingredients which makes the film successful. If the film industry chooses to ignore the genuine complaints of digital effects use then it may well find itself producing more films which do not connect with audiences, and thus runs the risk of damage not only their profits but their credibility also.

Principles of safeguarding and protection in health and social care Essay

1. Define the following types of abuse: a. Physical abuse Physical abuse can include: hitting, slapping, pushing, pinching, force feeding, kicking, burning, scalding, misuse of medication or restraint, catheterisation for the convenience of staff, inappropriate sanctions, a carer causing illness or injury to someone in order to gain attention for themselves ( this might be associated with a condition called fabricated and induced illness ). see more:explain how a clear complaints procedure reduces the likelihood of abuse b. Sexual abuse Sexual abuse includes: rape and sexual assault, masturbation, indecent exposure, penetration or attempted penetration of intimate areas, sexual harassment, involving a vulnerable adult in pornography, enforced witnessing of sexual acts or sexual media, participation in sexual acts to which the vulnerable adult has not consented or could not consent or was pressured into consenting. c. Emotional / psychological abuse The emotional and psychological abuse includes: bullying, threats of harm or abandonment, ignoring, shouting, swearing, deprivation of contact with others, humiliation, blaming, controlling, intimidation, coercion, harassment, verbal abuse, deprivation of privacy or dignity, lack of mental stimulation. d. Financial abuse Financial abuse can include: theft, fraud, exploitation, pressure in connection with wills, property, inheritance or financial transactions, the misuse or misappropriation of property, possessions or benefits. e. Institutional abuse The key factor in identifying institutional abuse is that the abuse is accepted or ignored by the organisation, or that it happens because an  organisation has systems and processes that are designed for its own benefit and not those of the people using the service. For example: People in residential settings are not given choice over day-to-day decisions such as mealtimes or bedtimes. Freedom to go out is limited by the institution Privacy and dignity are not respected Personal correspondence is opened by staff The setting is run for the convenience of the staff Excessive or inappropriate doses of sedation / medication are given Access to advice and advocacy is restricted or not allowed Complaints procedures are deliberately made unavailable f. Self neglect Self neglect is different from abuse by others, but it is still a situation that can place people at risk of harm and, potentially, place them in danger. People neglect their own care for a range of reasons of which the most common are: Increasing infirmity Physical illness or disability Memory and concentration problems Sensory loss or difficulty Mental illness and mental health problems Learning difficulties / disabilities Alcohol and drug misuse problems A different set of priorities and perspectives g. Neglect by others Neglect by others occurs when either a support worker or a family or friend carer fails to meet someone’s support needs. Neglecting someone you are supposed to be supporting can result from failing to undertake support services. Neglect and failure to care includes: Ignoring medical or physical care needs Failure to provide access to appropriate health, social care or educational services Withholding the necessities of life, such as medication, adequate  nutrition and heating. 2. Identify the signs and / or symptoms associated with each type of abuse Physical abuse: bruising or finger marks, fractures, scratches or cuts, pressure ulcers or sores from wet bedding or clothing, black eyes or bruised ears, withdrawal or mood changes, reluctance by the vulnerable adult to be alone with the alleged abuser Sexual abuse: scratches, abrasions or persistent infections in the anal / genital regions, pregnancy, blood or marks on underwear, abdominal pain with no diagnosable cause, provocative sexual behaviour, promiscuity, prostitution, sexual abuse of others, aggression, anxiety, tearfulness, refusal to undress for activities such as swimming / bathing. Emotional / psychological abuse: cared for person fearful of raised voices, distressed if they feel they may be â€Å"in trouble†, cared for person being treated like a child, referring to the cared for person in a derogatory way. Financial abuse: someone is not allowed to manage own financial affairs, person nort made aware of financial matters, very few or no personal possessions, unexplained shortage of money, unexplained disappearance of personal possessions or property, sudden change of a will. Institutional abuse: excessive conformity in daily routines by people using the service such as everybody waking up at around the same time, going to bed at around the same time, having too many similar activities and having meals at the same time. Neglect: medical condition deteriorating unexpectedly or not improving as expected, hypothermia or person cold or dressed inadequately, unexplained loss of weight, clothes or body dirty and smelly, delays in seeking medical attention 3. Describe factors that may contribute to an individual being more vulnerable to abuse Individuals can be more vulnerable to abuse because of an infirmity, mental health issues, memory problems, learning difficulties, advanced age, financial problems or lack of knowledge about their rights. Outcome 2Know how to respond to suspected or alleged abuse 1. Explain the actions to take if there are suspicions that an individual is being abused There are four key priorities in responding to concerns about  abuse: Priority 1: Protect The most important concern is to ensure that the abused person is safe and protected from any further possibility of abuse. Make sure that any necessary medical treatment is provided, and give reassurance and comfort so that the person knows that they are safe. Priority 2: Report Any abusive situation must be reported to the line manager, or the named person in the workplace procedures for the Protection of Vulnerable Adults. There may be formal reporting procedures in place in the organisation, or you may simply make an initial verbal referral. However, it is essential that you make a full, written report as soon as you can after the event. Priority 3:Ppreserve Preserve any evidence. If this is a potential crime scene, you must be very careful not to destroy any potential evidence. Priority 4: Record an refer Any information you have whether it is simply concerns, hard evidence or an allegation, must be carefully recorded. The evidence should be written down because verbal information can be altered and can have its meaning changed very easily when it is passed on. 2. Explain the actions to take if an individual alleges that they are being abused. The priorities in this case are the same as in the case of suspicion. However the first and most important response is that you must believe what you are told. One of the biggest fears of those being abused is that no one will believe them. Confidentiality cannot be always kept in these cases. You must always be clear, when someone alleges abuse, that you cannot promise to keep what they tell you confidential. 3. Identify ways to ensure that evidence of abuse is preserved. In case of physical or sexual abuse there is likely to be forensic evidence. These must be preserved by the following actions: Do not clear up Do not wash or clean any part of the room or area in which the alleged abuse took place Do not remove bedding Do not remove any clothes the abused person is wearing Do not allow the person to wash, shower, bathe, brush hair or clean teeth Keep other people out of the room or area If financial abuse is alleged or suspected, ensure that you have not thrown away any papers or documents that could be useful as evidence. Neglect generally speaks for itself, but it is important to preserve living conditions as they were found until they can be recorded and photographed. This does not include the person concerned, any treatment and medical attention needed must be provided. Outcome 3Understand the national and local context of safeguarding and protection from abuse 1. Identify national policies and local systems that relate to safeguarding and protection from abuse There are a number of national policies designed to protect vulnerable adults from abuse: Criminal Justice Act 1998 Civil action by the victim Care Standards Act 2000 Sexual Offences Act 2003 Family Law Act 1996 Offences Against the Person Act 1861 No Secrets ( England ) , In Safe Hands ( Wales ) Safeguarding Vulnerable Groups Act 2006 ( England and Wales ) Protection of Vulnerable Groups Act 2007 ( Scotland ) ASPA 2007 ( Scotland ) Criminal Injuries Compensation scheme Mental Capacity Act 2005 Police and Criminal Evidence Act 1984 Mental Health Act 1983 Protection from Harassment Act 1997 Theft Act 1968 National Assistance Act 1984 Fraud Act 2006 Office of the Public Guardian 2. Explain the roles of different agencies in safeguarding and protecting individuals from abuse Both nationally and locally, the protection of vulnerable adults forms part of the Safeguarding Adults agenda. Local authorities now have Safeguarding Adults Boards. The local boards are responsible for delivering a multi-agency response to safeguarding adults and to ensure that all partner agencies are recognising and acting on safeguarding issues at a strategic and individual level. The Care Quality Commission regulates and inspects health and social care services including domiciliary and protect the rights of people detained under the Mental Health Act 1983. The Care Quality Commission has a role in identifying situations which give rise of concern that a person or person(s) using a regulated service is or has been at risk of harm, or may receive and allegation or a complaint about a service which could indicate risk of harm. The Independent Safeguarding Authority (ISA) was a non-departmental public body, that existed until 1 December 2012, when it merged with the Criminal Records Bureau (CRB) to form the Disclosure and Barring Service (DBS). The DBS enables organisations in the public, private and voluntary sectors to make safer recruitment decisions by identifying candidates who may be unsuitable for certain work, especially that involve children or vulnerable adults, and provides wider access to criminal record information through its disclosure service for England and Wales. 3. Identify reports into serious failures to protect individuals from abuse There are a number of ‘failures in care’, in the examples bellow in which it is highlited what can happen when a service, or organization fails to protect the persons under their care. The Bichard inquiry into the deaths of Jessica Chapman and Holly Wells. www.bichardinquiry.org.uk You can access information on this case from the above link, which will inform you of the outline of the case, the reason for the failure of care, and the enquiry details. This would be adequate to use as an example of ‘failures of care’. Other points of reference: Ofsted Baby P report Amy Howson Report Alfie Goddard Report 4. Identify sources of information and advice about own role in safeguarding and protecting individuals from abuse Your employer will have their own policies relating to abuse, whistle blowing, etc. These policies are you’re ‘working documents’, as they inform your practice on how to meet your responsibilities whilst performing your role. However there are local and national policies relating to abuse, which also have to be considered. Outcome 4Understand ways to reduce the likelihood of abuse 1. Explain how the likelihood of abuse may be reduced by: a. Working with person centred values Person-centred planning is a process of constant review, learning and listening. Person-centred planning focuses on the immediate and the future, taking into account the needs, thoughts, concerns and opinions of the individual, and consulting their family and friends and others within their ‘personal network’. This person-centred approach helps individuals identify their aspirations, and mobilises those concerned – including their personal network, service agents, non-specialist and non- service sources – to help people pursue their own personal ambitions. Services should, in theory, become more flexible and encouraging active participation. b. Encouraging active participation There are a few steps that can be taken to ensure active participation. These are: FACILITATE: Make contributing easier. Use tasks. Give preparation. INVESTIGATE: Find out why people are not contributing, what would make it easier for them to contribute. Encourage the use of visual aids. CLARIFY: Clarify expectations and objectives. DEMONSTRATE: Show how experience-based learning works. CHANGE: Change the dynamics. Create smaller groups. Silence louder group members. Use temporary rules and gimmicks. CONSULT: Consult the group. Give responsibility. Ask the group to come up with solutions. Be open. Use transparent training. c. Promoting choice and rights This gives the service user the choice to speak out and talk about abuse etc. 2. Explain the importance of an accessible complaints procedure for reducing the likelihood of abuse. By having an accessible complaints procedure, you are encouraging the individuals in your care to ‘speak up’, about any issues they may have. They will not feel threatened, inadequate, or guilty, about making a complaint, with no fear of repercussions if they do complain. If the complaints procedure is easily accessible, the individual will be aware of what to do in the event of a complaint, who to complain to, and what will happen next. Outcome 5Know how to recognise and report unsafe practices 1. Describe unsafe practices that may affect the well-being of individuals Unsafe practices that may affect the well being and safety of your service users could include: Poor working practices: This could include not having proper policies to protect the service users, not have correct equipment to perform their role (hoists, ppe, etc). Not working to the current standards, therefore putting service users at risk. Resource difficulties: This could be that staffs are not trained correctly to perform the tasks their role involves. It could be that the ‘home’ is understaffed, as the budget is not there to employ more staff. The staff group may use agency staff, due to sickness, vacancies etc, and the agency staff are not aware of the needs of the individuals. Necessary facilities/equipment is not purchased due to lack of funds, (wheelchairs, disposable gloves, and correct diet for healthy living, utilities (heating and lighting restricted). Operational difficulties: This could be because of staff shortages, so recommended ratio of staff to service users, are not maintained. The staff group may not work as a team, therefore a continuous service is not maintained, and the service delivery suffers. Inexperienced staff ‘acting up’, in a senior role, that may not have the knowledge to perform the role. 2. Explain actions to take if unsafe practices have been identified It is your responsibility to report any unsafe practices, straight away, to your line manager. To â€Å"Blow the Whistle† on somebody or something means to report somebody for doing something wrong or illegal, especially within an organization. Your organization may have a â€Å"Whistle Blowing† policy, which will protect you and your employment if you report your concerns. Ask your manager or supervisor, if unsure, but follow your organizations policies regarding ‘reporting’ different concerns. You can seek advice from the Adult Protection Co- ordinator or lead person for Safeguarding Adults based at your local Authority/Council. All concerns should be reported accurately. If your concerns are not taken seriously, you must try another route. You must ask for help if you feel â€Å"out of your depth† with a particular individual or issue.

Quiet Hero

Adel Torres Professor: De Palo December 8, 2012 Quiet Hero’s Crisis Intervention & Trauma Treatment 3:30pm – 5:20pm Quiet Hero: Secrets from my Father’s Past, written by Rita Cosby, is a story of war, a story of courage, and a story of a daughter finally getting to know her father. In this book, Rita speaks about her father’s childhood as well as her own; the difficulties she faced growing up with a strict father whom she felt she barely knew. Rita grew up in Greenwich Connecticut, with her Danish mother and her Polish father; a father she had a distant and unemotional relationship with.Growing up Rita knew very little about her father. She only knew that he had left Poland after WWII. When Rita was about eight years old, she saw that her father had scars on his back. When she build up the courage to ask what happened, her mother expressed to her that those were not questions she should be asking. Rita learned never to ask questions of her father’s past. When Rita was a teenager her father left her and her mother to start a new life. She had not spoken to her father in years. Rita began to discover who her father was years after her mother’s passing.In 2008, when she finally got the courage to look through her mother belongings, she came across a tattered, old suitcase. In the suit case Rita found a worn Polish-resistance armband, a rusted tag with a prisoner number, and an identity card from ex-POW named Ruszard Kossobudzki. After doing research on what she had found, she contacted her father and was ready to hear the truth of the life he had lived. Having her father see the items in the suit case instantly brought back many memories for her father which were visible in his eyes.At the age of eighty- four he was finally giving Rita what she longed for, an opportunity to know who Richard Cosby or better yet who Ruszard Kossobudzki was. Little by little Rita’s father began to disclose his life story and all the ho rrors he witnessed and endured while growing up. Rita’s father spoke of the last time he saw his family and of the last words that his mother said to him. He also spoke of a chain that his mother gave him because she believed it would protect him. Ironically enough, that chain would end up saving his life from a bullet.He left his family to join the Resistance during the Warsaw uprising, to fight for his country. The first time he fought for Poland was on August 1, 1944. Before joining the Resistance, Rita’s father was involved in the Young Eagles. At this camp young boys were taught to fight and survive combat. Mr. Cosby was about 10 to 13 years old when he was a part of the Young Eagles. This is where Mr. Cosby met an important man and mentor in his life; Lieutenant Stan. At the age of thirteen he had seen his hometown destroyed by the Germans.After being nearly fatally wounded by shrapnel, he was taken into captivity by the Germans and sent to a German POW camp near Dresden. This happened after he spent some time in a hospital. Once the rest of Poland was occupied, he was placed on a train and sent on his way to the German Camp. He was so injured that there was nothing he could do. After spending months in the camp and weighing in at about 90 pounds, he and a few prisoners decided to escape after planes started to drop bombs around the camp. The Germans were being attacked. Rita’s father and some prisoners thought this was the best time to escape.They escaped from the camp through the sewers. After a difficult journey they ended up near a camp that was set up by American Troops and they were rescued. When he arrived in America he met Rita’s mother and began a new life. These events happened to him while he was still in his teenage years. After hearing her father’s story Rita felt closer to her father. She came to understand the man she grew up with and understood his characteristics. Rita was able to arrange for her father to visit Poland and the camp where he was held prisoner. Through her journey with her father, Rita discovered that her father was a true hero.This book touched me profoundly. I grew up without my father and met him when I was 20 years old. Meeting him was very challenging for me because I was consumed with so much anger and I blamed him for not being there for me. In reading this book I am able to realize that we do not always get to choose the path we walk down and sometimes life’s circumstances shape the people we become, for better or worse. This book has made me want to give my own father a chance to explain to me what his life has been like, so that I might have a better understanding of who he is.As I continue my journey through school, I am better able to assess individuals and situations and have a level of empathy without being judgmental. As children we often feel like we know who our parents are but there are so many unanswered questions and hidden lives that it m akes it difficult for children to relate to their parents. Each of our paths has impacted us in both negative or positive ways and being able to understand that this affects the decisions that we make can make unpleasant situations a bit easier to digest.Seeing how Rita felt closer to her father as an adult once she got to know him, makes me feel like there is still hope for my father and I. If Rita’s father would have received help for the trauma he had gone through I believe he could have been a better father to Rita while she was growing up. Untreated trauma can affect a family on so many levels and negatively affect relationships with children, caregivers, partners, etc. , which in turn continues the cycle of trauma. If there is anything I take away the most from this text, it would be not to judge a book by its cover; one can never know the life that a person has lived.

Character Comparison Titus Andronicus And Prince Hamlet

Essay One Character comparison: Titus Andronicus and Prince Hamlet The two major characters, Hamlet and Titus of Shakespearean plays, Hamlet and Titus Andronicus are characteristic in terms of considering revenge and aspiring to avenge the murders. However, the two are quite different in their approach toward revenge. This is due to the fact that two protagonist in their respective plays consider revenge differently since Titus is anxious to avenge the murder and Hamlet delays his decision of taking revenge while seeking other alternatives to revenge such as suicide. Therefore, the theme of procrastination in Hamlet is the cause of delay in taking the revenge of Hamlet’s father’s murder. However, the theme of long delays and seeking alternative to revenge such as in the form of suicide while c considering it less sinful as compare to revenge from the aspect of the Christian theology also discloses that Hamlet is sensible and even in the times of emotional instability, he does not fall beneath what is humanlike behavior. On the contrary, Titus does not show such emotional savvy while expression grave concern and shows eagerness to avenge the murder (Burwick 24). In fact, the two characters in Shakespeare’s plays are very significant since their stance against the damaged honor is similar. Titus and Hamlet have their own individual moral standpoints on taking revenge in which one display emotional outbursts that is Titus and another shows maturity of thought whileShow MoreRelated Comparing the Use of Language in Titus Andronicus and Hamlet2966 Words   |  12 PagesComparing the Use of Language in Titus Andronicus and Hamlet As characters of high birth and important political positions, Titus and Hamlet are necessarily observed closely by those around them for their reaction to the tragic events that have taken in place in their lives; and it is primarily the unique language with which they express their grief and anger that disconcerts both their enemies and their friends, and keeps them under an exacting scrutiny for the duration of their eponymousRead MoreWilliam Shakespeare : The Greatest Playwright Of All Times1845 Words   |  8 PagesNetwork). Following the lost years in 1592, Shakespeare left Stratford to London so he could pursue his career. He does have a few works including The Comedy of Errors, Henry IV Part 1, Part 2, and Part 3, Richard III, The Taming of the Shrew, and Titus Andronicus. 1592 was truly Shakespeare s time in the limelight. Shakespeare became well known by many people in London as an established playwright, in addition, Shakespeare was an actor, writer, director, and stockholder of a theatrical company in LondonRead More Shakespeare - Authorship Essays1781 Words   |  8 Pagesin many ways represented in the plays attributed to Shakespeare of Stratford. For example, in the play Hamlet, de Vere describes many of the details of his life. Like the main character Hamlet, de Vere is virtually a prince and also of Danish decent. De Vere’s cousins, Horance and Francis are strikingly similar in name and action to Hamlet’s two friends, Horatio and Francisco. The anguish Hamlet felt due to his mother’s hasty remarriage after the murder of her husband was also similar to the distressRead MoreEssay A Comparison of Macbeth and Hamlet2672 Words   |  11 PagesA Comparison of Macbeth and Hamlet MACBETH stands in contrast throughout with Hamlet; in the manner of opening more especially. In the latter, there is a gradual ascent from the simplest forms of conversation to the language of impassioned intellect,—yetRead MoreDuchess Of Malf Open Learn10864 Words   |  44 Pagesyears younger. He makes a brief appearance in the 1998 film Shakespeare in Love as a boy who tortures mice, spies on Shakespeare’s love-making, and feels inspired to take up the pen himself after seeing Shakespeare’s blood-soaked revenge tragedy, Titus Andronicus. ‘Plenty of blood. That’s the only writing’, he asserts. This affectionate but crude caricature testifies to Webster’s reputation for writing dark and violent plays. Yet it also testifies to the enduring popularity of those plays. Shakespeare