Effects Of Censorship Of Nudity Film Studies Essay

Effects Of Censorship Of Nudity Film Studies Essay An Idealistic view of film is nature without check with original energy (Walt Whitman, 1860); it is a free wheeling machine expressing thoughts, ideas and personal identity. A form of art that can be easily viewed and be approachable to the masses. It can also be viewed as a way to waken souls and bring others to a reality that could be theirs. Yet if we look at history we see that this form of art has been cornered into a pen, bitten on its heels by rules and regulations and commented on by boards of censors. Throughout this essay I intend to see the affects of censorship upon nudity through the pre-code era, Hays office and ending over the pond in England with a film that caused controversy for the images not shown and the perspective of the camera, Peeping tom (1959). Film has always been seen as a way of communication between people and as a way of expressing an issue to crowds without too much difficulty. This has obviously caused issues in the past as to the impact film has upon people and to those who are more vulnerable to exposed ideals or ways of life. Censorship covers many different aspects of film, from what is seen to the underlying subtext. Brought in to monitor the film industry in 1934 the Hays office was set on creating the Golden Age of film. This golden Age was set around ideas of a moral code, set on re-conditioning society from the flappers and Jazz, which during the Pre-code years was censored by the MPPDA (Motion Picture producers and Distributors of America), although their censorship was considered lax. It was a strict code that every picture was expected to regulate itself to. Although The Hays office is the most known regulating office, unions were created by the people such as the WCTU (Womens Christian Temperance union) and the DPPLA (Department for the promotion of purity in literature) to regulate what they saw. It is alongside these regulations that a coding system for age was created to allow a larger range of versatility in work although this was brought in 1968. As a society we have always singled out people, whether due to their race, sexual orientation or political views. This is no different in film. Within the golden age, Mae West (1893-1980) was seen as a victim of censorship. Her sexual past made her a target and a risk to the Hays Office; making her golden age turbulent. (Mae West, 1893-1980) A free wheeling sexual libertine victimized by a punitive censorship body staffed by a group of Victorian prudes (Mae West, 1893 1980) Wests history on Broadway caused her issues. She was known for Broadway Acts such as; Sex a tale of a prostitute (1927) and The Drag (1927). Due to both of these plays she was sent to jail on the grounds of obscenity. She was also later arrested under the same charges for the production of Diamond Lil. Yet images on stage were uncensored which gave West a chance Whereas in the film industry they were monitored with a close eye. The new problem they encountered with West was the way she still managed to make anything sexy. Clothe her up or down it didnt, make a difference. Due to this they started to try and distil her sexual presence through the disguise of stupidity or comedy, disallowing the viewer from becoming succumbing to her charms. This method was often used through out the Golden Age allowing producers to keep such actresses as West and Monroe in the later years without having the original reel cut too heavily. Thus Hollywood started to make the documentary of the world unrealistic. Film wasnt about the artistry of film making, but rather the way in which a head office could manipulate those watching to become and believe what they saw. Sexual liaisons were made undefined and ambiguous. Politics were close to unmentionable and god forgive you if you wanted to portray a relationship with someone from another race. King Kong (1933) and Tarzan and His Mate (1934) both bring up issues of racism and nudity within film. In king Kong we encounter tribal people. These tribes are witnessed to be wearing very little other than flowers around their necks and straw skirts. Although this sounds very Hawaiian it is a much more substandard way of dressing. The men are depicted with nothing upon their chests and the woman with bare legs, arms, shoulders etc. This in comparison to Ann who is fully clothed with the hint of an ankle and show of an arm is quite obvious. The idea being, that a woman depending on her race could be allowed to have more skin showing than another. This was obvious in the golden era where films disguised as documentaries, such as The love life of a Gorilla and Legong; Dance of the Virgins (1935) in order to be able to show images of nudity. Although this images were more shocking to the public for their obvious nakedness and did cause some uproar from the Hays office little was actually done to the editing to stop such ceremony of skin. Tarzan and his Mate (1934) escaped the Hays Office just in time, as it was brought round into the industry the following year. Unlike King Kong it wasnt nudity in the aboriginal race but rather that of the character brought into the wild environment. This was the step forward the industry had been trying to make. Allowing White woman the same expression through nudity as others. Occasionally a naked woman might be spied in part or whole. Inspired by expeditionary films that exposed native girls in a state nature, the studios sought to extend the custom to white women in exotic environments (Thomas Doherty 1999) This is exactly what Tarzan accomplished. It had brought the naked white female form to the viewing audiences. Although a body double was used for the nude underwater scene, the scene was real and it was there. Nudity was coming onto the screen, or thats what they thought. Within a few months of the picture being released it was brought back to be censored by the newly brought in hays office. The underwater scene and other certain shots were taken away and only brought back years later for the public view. (Tarzan and His Mate, 1934) Although the progression of nudity was relevant in the pre-code era such laws were brought in after, to stop these kind of steps forward from happening. The Idea of being naked and out of the house but in a natural environment is a step away from reality and probably a reason why such a transgression could have be made before the Hays Office and then evolved from then onwards in baby steps. Duel in The sun (1946) poses us with the question of the morality of the main girl, pearl. From the beginning we see that her mother is a dancer who also gives in to other mens needs other than her husbands. We see from the beginning that Pearl is dancing outside the club, mimicking her mother, it is even expressed by a man passing that she is becoming like her mother and smiles in approval. We are led to believe that Pearl is a mixture of pure and evil as her parents are mixed. From this we gather a sense of a double identity that both excites others and causes them to also be protective these responses are split between the two brothers both possessing one. Duel in The Sun (1946) Within the film we are presented with a temptation of a nude figure in an interrupted swim scene, where pearl is being watched by one of the brothers. She hides in the reeds and asks him to go away, but to no avail, we do not see the ending but they end up coming home together. This is likely to be regulated by the Hays office, as making sexual liaisons and situations ambiguous was one of their ways at keeping some more fruity pieces of work within films. Within this seen we are not able to imagine what they do when we leave but what is under the water, as before she is interrupted we get a glimpse of a figure with bare arms and legs. This natural display of the body is compared nicely to its surroundings creating an enticing view for the spectators as it has a youthful naive feel to it. Duel in The Sun (1946) Within this scene we are presented with a pearl covered in little other than a woven blanket. Although she exposes legs and is obviously naked underneath the overall out come is that of a scared and intimidated woman. It is also meant to be a comedy shot in which she is being taught about the sins of the flesh and not giving into temptation; a comical contrast to the way in which she is presented. This is the most likely reason for her being presented in such a way upon the screen. Although at a stretch it can be said that such unveiling of a Woman on screen could be down to her mixed race it was also a progression forward as it was seen in Hollywood that a different skin would entice less of a moral outburst in comparison to whether the Woman was Caucasian. Although this could be seen as a stretch the idea of confronting racism was still a way off with American society and racism was a part of everyday life. It was in fact noted that Hollywood in the pre-code era was trying to bring nudity to the Caucasian form. Some like it hot, starring Marilyn Monroe was as much a comedy as a sexual spectacle. Her Costume was tight and flaunted her curvaceous figure with such precision that she was just contained within it. This is a leap forward in the contrast to duel in the sun as Pearl is dressed, although appealingly, in flowing garments that give a hint to curvature and progress in flaunting her asserts throughout the film getting more and more tight around her upper body. (Some like it hot 1959) As we can see above Monroe has been dressed in a very flaunting dress. Although covered over the breast the material is a lightweight and partially transparent mesh. Giving more whilst covering the important areas. We are also privileged to see from her knee downwards. Overall a lot of skin is revealed in contrast to Duel in The Sun, where pearl in everyday attire is covered. We also have to take in to consideration the job of Monroes for the role, which is that of a lead singer for a girls band group. In this group she is notorious for getting into trouble and falling for wayward men. This is easy to see in the way in which she dresses provocatively. (Some like it hot 1959) Her role is likely to be a driving factor in how she has been allowed to dress in this this film. It can also be seen that it has passed the Hays Office due to the comical side of the film, erasing all sexual presence as each sexual moment is in fact comically dressed, even Monroe has been created as a figure to make fun of. Her character is dreamy and not all there, she drinks consistently throughout the film giving her the look of a lost cause hanging on waiting for her fairy tale dream to come true. In fact the dream also registers some homosexuality at the end where as they run off one of the cross dressing men reveals to the old man hes led on (as a scape goat) that he is in fact a man. The man Winks and carries on driving the boat. This in itself would of caused some form of an uproar though the way this has been juxtaposed at the end and the comical twist allows it to be taken lightly and it becomes non-threating to the audience. Peeping Tom(1959) when first shown caused outrage. It wasnt necessarily because you saw anything particularly gruesome; in fact you saw nothing of the sort. It was the way in which you became to murderer, through his line of sight. You saw what he wanted you to see. The idea of being so close to the mentality of a man who isnt mentally stable as he tries to capture what he calls the soul of a person through the use of filming them and seeing their fear. The film shows the uncomfortable reality of the addictiveness of catching a moment, questioning what is right to capture on film and what is not. The film not only creates a voyeuristic atmosphere but documents his movements his life and his strange behaviourisms. It is this closeness to the character, his thoughts laid out bare on film, that creates and uncomfortable viewing sensation to the viewer. Nudity in the film is shown little, other then near the beginning when he goes to his second job as a pornography photographer. Here the girls are dressed in flimsy underwear and are shot in poses although not vulgarly. There is a quick shot in a restored version of the film allowing for a quick flash of one of the girls breasts, rumoured to be the first nude female scene in British feature film. The society that first watched a viewing of this film was outraged and the film was banned. Yet it is the interest in the voyeurism of the piece that made the nudity (and other parts of the film) unacceptable. The feel of the sexual tension and the ability to feel like you were there was to high a risk for the censorship boards. Nudity in comedy or a way in which a character could be disconnected from the viewers could be worked upon but this came to close to reality and endangered the audience. It was only in 1968 that the MPPA also known as the Hays Office was by a movie classification. This system allowed Hollywood more range within their films as they could regulate who would be allowed to view the reels. The rating system went as: G, PG, Pg-13, R or NC-17. It would also cause less distress with parents, as they would know that their children would be unable to see films inappropriate for their age. The reception of nudity in Hollywood has taken years to understand. To understand that its not something to be afraid of but to embrace and monitor as if you would a child. The naked body is a piece of art and should be accepted as such, yet with nudity in a motion picture the sexuality of the body is noticed. Yet other films industries, for example those in main land Europe have always managed to keep nudity harmless and natural Maybe it is the fantasy that is Hollywood that makes nudity so much more than what it is. It is the presentation of nudity that needs to be addressed not the harsh censorship of it.

The Vampire Diaries: The Awakening Chapter Eight

Elena had gone into the bathroom dazed and numbly grateful. She came out angry. She wasn't quite sure how the transformation had taken place. But sometime while she was washing the scratches on her face and arms, annoyed at the lack of a mirror and at the fact she'd left her purse in Tyler's convertible, she startedfeeling again. And what she felt was anger. Damn Stefan Salvatore. So cold and controlled even while saving her life. Damn him for his politeness, and for his gallantry, and for the walls around him that seemed thicker and higher than ever. She pulled the remaining bobby pins out of her hair and used them to fasten the front of her dress together. Then she ran through her loosened hair quickly with an engraved bone comb she found by the sink. She came out of the bathroom with her chin held high and her eyes narrowed. He hadn't put his coat back on. He was standing by the window in his white sweater with bowed head, tense, waiting. Without lifting his head, he gestured to a length of dark velvet laid over the back of a chair. â€Å"You might want to put that on over your dress.† It was a full-length cloak, very rich and soft, with a hood. Elena pulled the heavy material around her shoulders. But she was not mollified by the gift; she noticed that Stefan hadn't come any closer to her, or even looked at her while speaking. Deliberately, she invaded his territorial space, pulling the cloak more tightly about her and feeling, even at that moment, a sensual appreciation of the way the folds fell about her, trailing behind her on the floor. She walked up to him and made an examination of the heavy mahogany dresser by the window. On it lay a wicked-looking dagger with an ivory hilt and a beautiful agate cup mounted in silver. There were also a golden sphere with some sort of dial set into it and several loose gold coins. She picked up one of the coins, partly because it was interesting and partly because she knew it would upset him to see her handling his things. â€Å"What's this?† It was a moment before he answered. Then he said: â€Å"A gold florin. A Florentine coin.† â€Å"And what's this?† â€Å"A German pendant watch. Late fifteenth century,† he said distractedly. He added, â€Å"Elena-† She reached for a small iron coffer with a hinged lid. â€Å"What about this? Does it open?† â€Å"No.† He had the reflexes of a cat; his hand slapped over the coffer, holding the lid down. â€Å"That's private,† he said, the strain obvious in his voice. She noticed that his hand made contact only with the curving iron lid and not with her flesh. She lifted her fingers, and he drew back at once. Suddenly, her anger was too great to hold in any longer. â€Å"Careful,† she said savagely. â€Å"Don't touch me, or you might get a disease.† He turned away toward the window. And yet even as she moved away herself, walking back to the center of the room, she could sense his watching her reflection. And she knew, suddenly, what she must look like to him, pale hair spilling over the blackness of the cape, one white hand holding the velvet closed at her throat. A ravaged princess pacing in her tower. She tilted her head far back to look at the trapdoor in the ceiling, and heard a soft, distinct intake of breath. When she turned, his gaze was fixed on her exposed throat; the look in his eyes confused her. But the next moment his face hardened, closing her out. â€Å"I think,† he said, â€Å"that I had better get you home.† In that instant, she wanted to hurt him, to make him feel as bad as he'd made her feel. But she also wanted the truth. She was tired of this game, tired of scheming and plotting and trying to read Stefan Salvatore's mind. It was terrifying and yet a wonderful relief to hear her own voice saying the words she'd been thinking so long. â€Å"Why do you hate me?† He stared at her. For a moment he couldn't seem to find words. Then he said, â€Å"I don't hate you.† â€Å"You do,† said Elena. â€Å"I know it's not†¦ not good manners to say it, but I don't care. I know I should be grateful to you for saving me tonight, but I don't care about that, either. I didn't ask you to save me. I don't know why you were even in the graveyard in the first place. And I certainly don't understand why you did it, considering the way you feel about me.† He was shaking his head, but his voice was soft. â€Å"I don't hate you.† â€Å"From the very beginning, you've avoided me as if I were†¦ were some kind of leper. I tried to be friendly to you, and you threw it back in my face. Is that what agentleman does when someone tries to welcome him?† He was trying to say something now, but she swept on, heedless. â€Å"You've snubbed me in public time after time; you've humiliated me at school. You wouldn't be speaking to me now if it hadn't been a matter of life or death. Is that what it takes to get a word out of you? Does someone have to nearly be murdered? â€Å"And even now,† she continued bitterly, â€Å"you don't want me to get anywhere near you. What's the matter with you, Stefan Salvatore, that you have to live this way? That you have to build walls against other people to keep them out? That you can't trust anyone?What's wrong with you ?† He was silent now, his face averted. She took a deep breath and then straightened her shoulders, holding her head up even though her eyes were sore and burning. â€Å"And what's wrong withme ,† she added, more quietly, â€Å"that you can't even look at me, but you can let Caroline Forbes fall all over you? I have a right to know that, at least. I won't ever bother you again, I won't even talk to you at school, but I want to know the truth before I go. Why do you hate me so much, Stefan?† Slowly, he turned and raised his head. His eyes were bleak, sightless, and something twisted in Elena at the pain she saw on his face. His voice was still controlled-but barely. She could hear the effort it cost him to keep it steady. â€Å"Yes,† he said, â€Å"I think you do have a right to know. Elena.† He looked at her then, meeting her eyes directly, and she thought, That bad? What could be as bad as that? â€Å"I don't hate you,† he continued, pronouncing each word carefully, distinctly. â€Å"I've never hated you. But you†¦ remind me of someone.† Elena was taken aback. Whatever she'd expected, it wasn't this. â€Å"I remind you of someone else you know?† â€Å"Of someone I knew,† he said quietly. â€Å"But,† he added slowly, as if puzzling something out for himself, â€Å"you're not like her, really. She looked like you, but she was fragile, delicate. Vulnerable. Inside as well as out.† â€Å"And I'm not.† He made a sound that would have been a laugh if there had been any humor in it. â€Å"No. You're a fighter. You are†¦ yourself.† Elena was silent for a moment. She could not keep hold of her anger, seeing the pain on his face. â€Å"You were very close to her?† â€Å"Yes.† â€Å"What happened?† There was a long pause, so long that Elena thought he wasn't going to answer her. But at last he said, â€Å"She died.† Elena let out a tremulous breath. The last of her anger folded up and disappeared from under her. â€Å"That must have hurt terribly,† she said softly, thinking of the white Gilbert headstone among the rye grass. â€Å"I'm so sorry.† He said nothing. His face had closed again, and he seemed to be looking far away at something, something terrible and heartbreaking that only he could see. But there was not just grief in his expression. Through the walls, through all his trembling control, she could see the tortured look of unbearable guilt and loneliness. A look so lost and haunted that she had moved to his side before she knew what she was doing. â€Å"Stefan,† she whispered. He didn't seem to hear her; he seemed to be adrift in his own world of misery. She could not stop herself from laying a hand on his arm. â€Å"Stefan, I know how it can hurt-† â€Å"You can't know,† he exploded, all his quietness erupting into white rage. He looked down at her hand as if just realizing it was there, as if infuriated at her effrontery in touching him. His green eyes were dilated and dark as he shook her hand off, flinging a hand up to bar her from touching him again- -and somehow, instead, he was holding her hand, his fingers tightly interlocked with hers, hanging on for dear life. He looked down at their locked hands in bewilderment. Then, slowly, his gaze moved from their clasping fingers to her face. â€Å"Elena†¦Ã¢â‚¬  he whispered. And then she saw it, the anguish shattering his gaze, as if he simply couldn't fight any longer. The defeat as the walls finally crumbled and she saw what was underneath. And then, helplessly, he bent his head down to her lips. â€Å"Wait-stop here,† said Bonnie. â€Å"I thought I saw something.† Matt's battered Ford slowed, edging toward the side of the road, where brambles and bushes grew thickly. Something white glimmered there, coming toward them. â€Å"Oh, my God,† said Meredith. â€Å"It's Vickie Bennett.† The girl stumbled into the path of the headlights and stood there, wavering, as Matt hit the brakes. Her light-brown hair was tangled and in disarray, and her eyes stared glassily out of a face that was smudged and grimy with dirt. She was wearing only a thin white slip. â€Å"Get her in the car,† said Matt. Meredith was already opening the car door. She jumped out and ran up to the dazed girl. â€Å"Vickie, are you all right? What happened to you?† Vickie moaned, still looking straight ahead. Then she suddenly seemed to see Meredith, and she clutched at her, digging her nails into Meredith's arms. â€Å"Get out of here,† she said, her eyes filled with desperate intensity, her voice strange and thick, as if she had something in her mouth. â€Å"All of you-get out of here! It's coming.† â€Å"What's coming? Vickie, where is Elena?† â€Å"Get outnow . †¦Ã¢â‚¬  Meredith looked down the road, then led the shaking girl back to the car. â€Å"We'll take you away,† she said, â€Å"but you have to tell us what's happened. Bonnie, give me your wrap. She's freezing.† â€Å"She's been hurt,† said Matt grimly. â€Å"And she's in shock or something. The question is, where are the others? Vickie, was Elena with you?† Vickie sobbed, putting her hands over her face as Meredith settled Bonnie's iridescent pink wrap around her shoulders. â€Å"No†¦ Dick,† she said indistinctly. It seemed to hurt her to speak. â€Å"We were in the church†¦ it was horrible. It came†¦ like mist all around. Dark mist. And eyes. I saw its eyes in the dark there, burning. They burnt me†¦Ã¢â‚¬  â€Å"She's delirious,† said Bonnie. â€Å"Or hysterical, or whatever you call it.† Matt spoke slowly and clearly. â€Å"Vickie, please, just tell us one thing. Where is Elena? What happened to her?† â€Å"I don't know .† Vickie lifted a tear-stained face to the sky. â€Å"Dick and I-we were alone. We were†¦ and then suddenly it was all around us. I couldn't run. Elena said the tomb had opened. Maybe that was where it came from. It was horrible†¦Ã¢â‚¬  â€Å"They were in the cemetery, in the ruined church,† Meredith interpreted. â€Å"And Elena was with them. And look at this.† In the overhead light, they could all see the deep fresh scratches running down Vickie's neck to the lace bodice of her slip. â€Å"They look like animal marks,† said Bonnie. â€Å"Like the marks of cat's claws, maybe.† â€Å"No cat got that old man under the bridge,† said Matt. His face was pale, and muscles stood out in his jaw. Meredith followed his gaze down the road and then shook her head. â€Å"Matt, we have to take her back first. We have to,† she said. â€Å"Listen to me, I'm as worried about Elena as you are. But Vickie needs a doctor, and we need to call the police. We don't have any choice. We have to go back.† Matt stared down the road for another long moment, then let out his breath in a hiss. Slamming the door shut, he put the car into gear and turned it around, each motion violent. All the way back to town, Vickie moaned about the eyes. Elena felt Stefan's lips meet hers. And†¦ it was as simple as that. All questions answered, all fears put to rest, all doubts removed. What she felt was not merely passion, but a bruising tenderness and a love so strong it made her shake inside. It would have been frightening in its intensity, except that while she was with him, she could not be afraid of anything. She had come home. This was where she belonged, and she had found it at last. With Stefan, she was home. He pulled back slightly, and she could feel that he was trembling. â€Å"Oh, Elena,† he whispered against her lips. We can't- â€Å"We already have,† she whispered, and drew him back down again. It was almost as if she could hear his thoughts, could feel his feelings. Pleasure and desire raced between them, connecting them, drawing them closer. And Elena sensed, too, a wellspring of deeper emotions within him. He wanted to hold her forever, to protect her from all harm. He wanted to defend her from any evil that threatened her. He wanted to join his life with hers. She felt the tender pressure of his lips on hers, and she could hardly bear the sweetness of it. Yes , she thought. Sensation rippled through her like waves on a still, clear pond. She was drowning in it, both the joy she sensed in Stefan and the delicious answering surge in herself. Stefan's love bathed her, shone through her, lighting every dark place in her soul like the sun. She trembled with pleasure, with love, and with longing. He drew back slowly, as if he could not bear to part from her, and they looked into each other's eyes with wondering joy. They did not speak. There was no need for words. He stroked her hair, with a touch so light that she could scarcely feel it, as if he was afraid she might break in his hands. She knew, then, that it had not been hatred that had made him avoid her for so long. No, it had not been hatred at all. Elena had no idea how much later it was that they quietly went down the stairs of the boarding house. At any other time, she would have been thrilled to get into Stefan's sleek black car, but tonight she scarcely noticed it. He held her hand as they drove through the deserted streets. The first thing Elena saw as they approached her house was the lights. â€Å"It's the police,† she said, finding her voice with some difficulty. It was odd to talk after being silent so long. â€Å"And that's Robert's car in the driveway, and there's Matt's,† she said. She looked at Stefan, and the peace that had filled her suddenly seemed fragile. â€Å"I wonder what happened. You don't suppose Tyler's already told them†¦ ?† â€Å"Even Tyler wouldn't be that stupid,† said Stefan. He pulled up behind one of the police cars, and reluctantly Elena unclasped her hand from his. She wished with all her heart that she and Stefan could just be alone together, that they would never need to face the world. But there was no help for it. They walked up the pathway to the door, which was open. Inside, the house was a blaze of lights. Entering, Elena saw what seemed like dozens of faces turned toward her. She had a sudden vision of what she must look like, standing there in the doorway in the sweeping black velvet cloak, with Stefan Salvatore at her side. And then Aunt Judith gave a cry and was holding her in her arms, shaking her and hugging her all at once. â€Å"Elena! Oh, thank God you're safe. But where have you been? And why didn't you call? Do you realize what you've put everyone through?† Elena stared around the room in bewilderment. She didn't understand a thing. â€Å"We're just glad to see you back,† said Robert. â€Å"I've been at the boarding house, with Stefan,† she said slowly. â€Å"Aunt Judith, this is Stefan Salvatore; he rents a room there. He brought me back.† â€Å"Thank you,† said Aunt Judith to Stefan over Elena's head. Then, pulling back to look at Elena, she said, â€Å"But your dress, your hair-what happened?† â€Å"You don't know? Then Tyler didn't tell you. But then why are the police here?† Elena edged toward Stefan instinctively, and she felt him move closer to her in protection. â€Å"They're here because Vickie Bennett was attacked in the cemetery tonight,† said Matt. He and Bonnie and Meredith were standing behind Aunt Judith and Robert, looking relieved and a little awkward and more than a little tired. â€Å"We found her maybe two, three hours ago, and we've been looking for you ever since.† â€Å"Attacked?† said Elena, stunned. â€Å"Attacked by what?† â€Å"Nobody knows,† said Meredith. â€Å"Well, now, it may be nothing to worry about,† said Robert comfortingly. â€Å"The doctor said she'd had a bad scare, and that she'd been drinking. The whole thing may have been in her imagination.† â€Å"Those scratches weren't imaginary,† said Matt, polite but stubborn. â€Å"What scratches? What are you talking about?† Elena demanded, looking from one face to another. â€Å"I'll tell you,† said Meredith, and she explained, succinctly, how she and the others had found Vickie. â€Å"She kept saying she didn't know where you were, that she was alone with Dick when it happened. And when we got her back here, the doctor said he couldn't find anything conclusive. She wasn't really hurt except for the scratches, and they could have been from a cat.† â€Å"There were no other marks on her?† said Stefan sharply. It was the first time he'd spoken since entering the house, and Elena looked at him, surprised by his tone. â€Å"No,† said Meredith. â€Å"Of course, a cat didn't tear her clothes off-but Dick might have. Oh, and her tongue was bitten.† â€Å"What?† said Elena. â€Å"Badly bitten, I mean. It must have bled a lot, and it hurts her to talk now.† Beside Elena, Stefan had gone very still. â€Å"Did she have any explanation for what happened?† â€Å"She was hysterical,† Matt said. â€Å"Really hysterical; she wasn't making any sense. She kept babbling about eyes and dark mist and not being able to run-which is why the doctor thinks maybe it was some sort of hallucination. But as far as anyone can make out, the facts are that she and Dick Carter were in the ruined church by the cemetery at about midnight, and that something came in and attacked her there.† Bonnie added, â€Å"It didn't attack Dick, which at least shows it had, some taste. The police found him passed out on the church floor, and he doesn't remember a thing.† But Elena scarcely heard the last words. Something had gone terribly wrong with Stefan. She couldn't tell how she knew it, but she knew. He had stiffened as Matt finished speaking, and now, though he hadn't moved, she felt as if a great distance was separating them, as if she and he were on opposite sides of a rifting, cracking floe of ice. He said, in the terribly controlled voice she had heard before in his room, â€Å"In the church, Matt?† â€Å"Yes, in the ruined church,† Matt said. â€Å"And you're sure she said it was midnight?† â€Å"She couldn't be positive, but it must have been sometime around then. We found her not long after. Why?† Stefan said nothing. Elena could feel the gulf between them widening. â€Å"Stefan,† she whispered. Then, aloud, she said desperately, â€Å"Stefan, what is it?† He shook his head. Don't shut me out, she thought, but he wouldn't even look at her. â€Å"Will she live?† he asked abruptly. â€Å"The doctor said there was nothing much wrong with her,† Matt said. â€Å"Nobody's even suggested she might die.† Stefan's nod was abrupt; then he turned to Elena. â€Å"I've got to go,† he said. â€Å"You're safe now.† She caught his hand as he turned away. â€Å"Of course I'm safe,† she said. â€Å"Because of you.† â€Å"Yes,† he said. But there was no response in his eyes. They were shielded, dull. â€Å"Call me tomorrow.† She squeezed his hand, trying to convey what she felt under the scrutiny of all those watching eyes. She willed him to understand. He looked down at their hands with no expression at all, then, slowly, back up at her. And then, at last, he returned the pressure of her fingers. â€Å"Yes, Elena,† he whispered, his eyes clinging to hers. The next minute he was gone. She took a deep breath and turned back to the crowded room. Aunt Judith was still hovering, her gaze fixed on what could be seen of Elena's torn dress underneath the cloak. â€Å"Elena,† she said, â€Å"whathappened ?† And her eyes went to the door through which Stefan had just left. A sort of hysterical laughter surged up in Elena's throat, and she choked it back. â€Å"Stefan didn't do it,† she said. â€Å"Stefan saved me.† She felt her face harden, and she looked at the police officer behind Aunt Judith. â€Å"It was Tyler, Tyler Smallwood†¦Ã¢â‚¬ 

As I Get Older, My Toys Cost More Essay

As I mature, pursue my education, expand my interests, and become more involved in the working world, I am introduced to more technology and different types of people.   As my education is increased, the need and desire for technology to accompany this education increases as well, i.e., computers, lap tops, DVD burners, etc.   With these expanding horizons and increased contacts come responsibilities for higher priced socializing. Technological advancements and improvements occur at incremental rates compared to just 5-10 years ago. Technological advances are centered in transportation, medicine, and entertainment categories.   Examples of entertainment technology that have been introduced in just the last 3 years include Apple’s IPOD and all the existing technological paraphernalia that accompany it.   With innovation and improvement come higher price tags.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   As a woman who values education, I desire to purchase books rather than rent from the library in many instances.   Purchasing titles by classics writers are relatively inexpensive, but the investment is more costly than buying the teen magazine or weekly magazine that I have now outgrown.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   As a part of the working world, I am continually introduced to new people, making new friends along the way   As I get older, my interests naturally are more involved and intricate and therefore cost more money.   Examples of this are the theater, ballet, symphonies, etc.   These are all more expensive than a weekend movie, or even buying a new movie DVD on the market. . New friends introduce me to their interests.   Therefore, socializing and participating in these events can cost more money than a quick lunch at Taco Bell when I was in high school.   In comparison, when I was younger, playing at the park or playground cost nothing.   Shopping with a pre-teen friend meant insignificant little purchases, i.e., gum, candy, inexpensive jewelry. Naturally, as I continue throughout my lifetime in the working world in the career of my choice, my success will naturally bring with it a higher income.   The higher income will allow me the freedom to buy â€Å"toys† I would not have been able to consider as a younger woman.   Economic freedom frequently comes with age, continued education, and experience.

Business vs. the Environment Essay - 1423 Words

Business vs. the Environment Business today has so many responsibilities. Aside from making a profit, they are forced to take on a different responsibility, one that involves the environment. Even though, they already have many regulations set by the government, they are still being asked to answer to the call of helping out the rest of society take of nature. This essay will discuss the pros and cons of corporate responsibility for the environment through the agent-of-society and agent-of-capital views. The agent-of-society view holds that corporate managers are prima facie obligated to consider the interests of everyone who is likely to be affected by what managers decide to do. With this view in mind, Michael Hoffman†¦show more content†¦Their strategy â€Å"is to get businesses to help solve environmental problems by finding profitable or virtually costless ways for them to participate.† They want to find win-win situations so that businesses will want to help. The agent-of-capital view holds that corporate managers are prima facie obligated to be an agent to the shareholders and focus on the pursuit of corporate profits within the â€Å"rules of the game† established by law and capitalist market morality. Milton Friedman’s main theory is â€Å"the social responsibility of business is to produce goods and services and to make a profit for its shareholders, while playing within the rules of the market game; to engage in open and free competition without deception or fraud.† Friedman also makes a very good point. He says that â€Å"corporation is an artificial person and in this sense may have artificial responsibilities, but ‘business’ as a whole cannot be said to have responsibilities.† Therefore, business cannot have a social conscience. Even if there are â€Å"social responsibilities,† they are the responsibilities of the individuals, not the business. 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