Dependency School of Development: Summary and Critique

Dependency School of Development summary and CritiqueIn this essay I oral communication the claim that the dependence coach sees development from a Third hu opusity perspective.1 I boil down on deuce colony theorists, Andr G to a lower place candid and Fernando Henrique Cardoso, as a articulateion to examine such a statement. bent grassoff, I describe enthr 1 upiction possibleness in a historic context as well as in general terms, in order to wrap uply situate the initiate indoors Third domain discourse. Second, I examine the specific a priori characteristics of detents theories, and whatsoever of the reprimand of it and how they relate to Third orbit issues. Third, I plow Cardosos scholarship in relation close to(prenominal) to the habituation crop and to opens research by accent his hypothetical divergence from orthodox addiction guess. Next, I comparatively talk over Frank and Cardosos theories in relation to an oer any discussion on settlemen t and development. In conclusion, I re stead the reasons why the dependency school incorporates a Third solid background perspective, representativeicular pro perplexly a Latin the Statesn perspective.Through practice on this essay I refer to dependency conjecture, thus far I would like to ca raise out, as Roxborough (1979) has stressed, that rather than pecking the persuasion of dependency as a specific supposition or a hypothesis of dependency it be seen as a paradigm (p.43).2 This is because thither ar some(prenominal) competing theories and definitions of dependency as well as some(prenominal) historical intellectual shifts and revisions among dependency scholars (Hout, 1993). The dependency school of development is besides variably referred to as the structuralist, gentleman economy and underdevelopment schools (Bosch, 1997). It has its roots in theoretical debates discussing capitalism and Marxism (Gardner and Lewis 1996 Chilcote 1981 Roxborough, 1979 Frank, 196 7). The earliest discussions emerging from the dependency school can be traced to the ECLA (Economic Commission of Latin the States), established by the United Nations in 1948 whereby a radical group of scholars examined the inequities of North-South relations and trade. This enclave of scholars specific completelyy tapered on Latin American issues and the paradox of why these countries so rich in inwrought re root systems atomic number 18 so economic eachy poor.The need for the ECLA forum arose from an academic and policy-making reaction to contendd the inability of Latin American countries to halt the imperialist siphoning-off of the intemperance value produced by their makeing forkes, hence, the association of dependency theory with a Third earth perspective (Johnson 1981, p. 58). The ECLA theorists argued that Latin American countries ar subjected to an outside(a) scheme that manipulates and controls them from beyond their own borders (Stani cut down, 1985). These ide as, more than over, offered a reappraisal of modernisation theories that view little es displaceial countries in terms of an evolutionary process whereby industrialization and economic development are seen as stages that they essential undergo in order to achieve higher in develops and living standards. In contrast, dependency theory views less developed countries as resulting from intends generated by a broader global system of exploitation set deep down wider kind and historical processes (Bilton et al., 1996).The theoretical debates skirt dependency theory hinge upon the central idea that it is pointless to film the development of Third World societies in isolation from more developed countries. Debates further the impulse that western capitalism in the industrialized world is built upon its ability to dominate and control the re reference points of non-industrial less developed countries and must thus sustain its predominate position to advance its own interests. Th e historical basis for such domination is the significant accumulation of capital that occurred during resolution and the industrial revolution. The continuation of such domination transpires by dint of neo-colonialism. As such, dependency theorists primarily focus on the political structures that shape the relationships surrounded by the outgrowth and Third World (Staniland, 1985).This main tenet of dependency theory is nigh tied to what is widely refereed to as world systems theory, established by Immanual Wallerstein. In fact, world systems theory, is comm and viewed as an adaptation or extension of the dependency school (Chirot and Hall, 1982). Wallerstein (1974) views the world as an interrelated system, a world-economy, whereby each country is perceived in terms of its relationship to the whole. It is scarcely through a world systems analysis that nonions of inaugural and Third worlds imbibe materialized as a focus to portray the simultaneous unlikeiation and interd ependence of distinct parts. Dependency theory suggests that the Third World is non natural, further bring ind through economic and political processes(Gardner and Lewis 1996, p.17). Like dependency theory, world systems theory is often criticized for beness overly deterministic (Staniland, 1985).Two of the most swelled dependency theorists are Andr Gunder Frank and Fernando Henrique Cardoso. Frank and Cardoso are both ECLA scholars and associated with Latin American issues and the dependency school to the extent that they are often referred to as dependistas. Frank (1967) introduced the popular term the development of underdevelopment and wrote specifically roughly how the domestic, political and accessible structure of Chile was and palliate remains determined counterbalance and foremost by the fact and specific nature of its participation in the world capitalistic system (p.29). His work also attempted to address a major gap in the ECLA discussions the role of class in terests within Third World countries in creating cycles of dependency. To do this, Frank developed the nonion of chief city- orbiter colligate whereby capitalism produces a developed center and its underdeveloped peripheries. He purported that the ties between metropolis and satellite can also re give way links between advanced capital cities and their hinterlands. This metaphorical binary aims to examine the relationships between industrialised and non-industrialised countries. Although revisionist dependency theorists now refer to these as core-periphery relationships, this metaphor still forms the basis for galore(postnominal) contemporary critiques of global capitalism. According to this view, the peripheries supply two-a-penny raw materials and tire to the core. In return, the core supplies them with obsolescent technologies, manufactured goods and debt. This results in peripheral economies being oriented toward the outside whereby resources flow toward the core and, in t urn, continue to flow toward the more predominate economic interests of other cores. capitalism is seen to necessitate the core-periphery division for the efficient allocation of resources in favour of dominant countries. .Despite, Franks intentional focus on class interests, he ignores questions of class formation and behaviour. In his analysis, the flow of resources between the divergent metropolis and satellite regions mobs accessible classes as a given without specifically analysing their structures and roles in contributing to a system of domination. Hence, in Franks analysis, spacial relations are conflated with social class relations, a contentious point in criticisms of his work (Chilcote, 1981 Cardoso, 1972 Laclau, 1971). In other words, the shift of value from satellite to metropolis can non always be viewed as an selfsame(a) phenomenon to that of the exploitation of labour (Roxborough, 1979). some other point that provoked overmuch commentary in Franks analysis of Latin American underdevelopment was his claim that Latin America has been a capitalist beau monde ever since the sixteenth century. For Ernesto Laclau (1971), an Argentinian scholar, Frank had misread Marxs definition of capitalism and was thus mistakenly simplification capitalism to a mere equation of ex flip-flop and enterprise omitting the as grave emphasis on modes of production. This was particularly important in regards to labour since, at that while, much labour in Latin America consisted of slavery and debt peonage as well as other pre-capitalist forms. Laclau does non question the precede that at the time of colonization, market economies became tied in with those of First World countries his main point is that the participation of a country in a world economic system does not necessarily render it as being capitalistic. As such, he indicates that Frank con gear ups the production of commodities with the commoditization of labour, a criticism which led Frank to revis e his work.3Fernando Henrique Cardoso, a Latin American sociologist who ulterior actd as the President of Brazil, move outs ties between dependency theory and imperialism.4 victimisation the work of Leninist theories, Cardoso (1972) makes parallels with the dependency school over their mutual use of the term dependency and their shared observations most how imperialism furthers the capitalist agenda and necessitates economic domination over less developed countries.Cardosos analysis attempted to address those issues of social class that the dependency school had allegedly ignored. He looked at the social and economic as being inextricably tied together, stating, for instance, that an economic class or group tries to establish through the social process a system of social relations that permits it to impose on the entire society a social form of production akin to its own interests (ibid, p. 15). Cardoso went beyond the metropolis/satellite metaphor and the perceived asymmetry b etween First and Third Worlds by examining the political, economic and social links between the dominant local social classes within and between Third and First World countries (Cardoso and Faletto, 1979). For Cardoso, political institutions at a given moment can only be fully understood in terms of the structures of domination because these express the class interests behind political organization (ibid, p. 14). He thus visualize the capitalist economy as growing toward an internationalization in which societies bend divided into antagonistic classes.Cardosos delineation of class interests between and within countries departed from the more deterministic model offered by Frank, seeing dependency as varying by degree and thus allowing for a more unconstrained view of international relations. Furthermore, by placing dependency into situation-specific contexts, his position is a more relativist departure from that of Franks. Most importantly, Cardosos perspective is optimistic rou gh the possibility that dependent relations can transform over time. In fact, Cardoso (1973) argues that in some contexts development and dependency can real be compatible. This is a clear departure from Frank and other dependency theorists who are often labeled as having a stagnationist view toward development. some(prenominal) Frank and Cardoso agree that exploitation from dominant states is a key direct factor in how regional economies develop but whereas Cardoso might focus on class interests, Frank go forth more broadly sustain the forces of capitalism accountable (Bosch, 1997). In fact, Cardosos critics accuse him of not expound the more general conditions and mechanisms by which global capitalism operates (Staniland, 1985). Whereas Frank is demoralised nearly liberal and neo-liberal trade theorys claims to create par and more fairly distribute resources and the access to them, Cardoso is optimistic.Although Cardoso expects the basic premise of dependency theory as de scribing third world countries as being knowledgeable by global agendas and constraints, he does not call for a collectivised revolution, as does Frank, as a means to remedy these problems.5 Yet Frank is also scathing of his own former position that assumed that in order for Third World countries to achieve economic independence from the First World they could voluntary de-link themselves from broader economic systems thus controlling their own knowledgeable resources, such as raw materials and labour, to develop their own economies. Frank claims that association has shown it to be extremely difficult, if not impossible for voluntarist political action to de-link particular countries from the world economy (Frank, 2002).Undoubtedly, as I discussed antecedently, the intellectual roots, vitality and action of dependency theorists bring in fostered around Third World issues and debates that, in turn, buzz off greatly influenced development studies at large. I would make the cas e that plain more specifically, dependency theory is also distinctively Latin American.6 First, its origins go away from a think tank foc utilize on Latin America as a region. Second, its main prop wiznts are Latin Americanists of which many are also Latin American nationals. Third, the application and analysis of the dependency school of thought has been on Latin American development. Fourth, its popularity among Latin American scholars and policymakers has do it an important intellectual school of social thought within Latin American academia and politics. Through Latin American intelligentsia, such as Cardoso, dependency theory has plane entered mainstream Latin American politics. Overall, Latin Americanists have utilise the main arguments of dependency theory to stress how the structural modality of the world economy shapes Latin American economies. As such, through dependency theory, they have powerfully influenced the international scholarship on development. In conclusi on, the dependency school, unlike other development perspectives, distinctively represents a Third World view.The debates inspired by the dependency school have given office to a Third World perspective, in terms of focus, point of view and representation. As I have shown, on that point are equally as many excellent expositions as there are criticisms of Frank and Cardosos studies and the dependency school at large (Smith 1981). What is significant is how these provocative and critical debates ultimately touch upon broader themes that, like the dependency school itself, address desperate global, economic, political and social issues.ReferencesBilton, Tony et al. (1996) Introductory Sociology, 3rd edition. London, Macmillan.Ahiakpor, James C.W. (1985) The success and affliction of dependency theory the pick up of Ghana. International Organization, 39(3), 535-552.Bosch, Gerald R. (1997) Eric Williams and the moral rhetoric of dependency theory. Callaloo, 20(4), Special Issue Eric Williams and containcolonial Caribbean, p 817-827.Cardoso, Fernando Henrique (1972) Dependency and development in Latin America. new Left Review, 74,83-95.Cardoso, Fernando Henrique (1973) Associated dependent development theoretical and practical implications.In Alfred Stephen (ed) prideful Brazil Origins, Policies and Future. New Haven, Yale University Press, p.142-76.Cardoso, F. H. and Faletto, Enzo (1979) Dependency and Development in Latin America. Berkeley Pergamon Press.Chilcote, Ronald H. (1981) Issues of surmise in Dependency and Marxism. Latin American Perspectives, 8 (3/4), dependency and Marxism. 3-16.Chirot, Daniel and Hall, doubting Thomas D. (1982) World-System Theory. Annual Review of Sociology, 8, 81-106.Frank, Andr Gunder (1967) Capitalism and underdevelopment in Latin America historical studies of Chile and Brazil. London, Monthly Review.Frank, Andr Gunder (1984) Critique and anti-critique essays on dependence and reformism. New York, Praeger Publishers.Frank , Andr Gunder (2002) Interview. In Practical Strategies For Social And Economic Development. Aurora online (Simmons, Tony). February 2002. Available from http//aurora.icaap.org/gifs/frank.gif Accessed July 7, 2005.Gardner, Katy and Lewis, David (1996) Anthropology, development and the post-modern challenge. London, infernal region Press.Hout, Wil (1993) Capitalism and the Third World development, dependence and world system. Alder virgule, Edward Elgar.Johnson, Carlos. (1981) Dependency theory and the processes of capitalism and socialism. Latin American Perspectives, 8 (3/4), Dependency and Marxism, 55-81.Kleemeier, Lizz Lyle. (1978) Review semiempirical tests of dependency theory a second critique of methodology by Vengroff, Ric leaden. The Journal of Modern African Studies, 16 (4), 701-704.Laclau, Ernesto (1971) Feudalism and capitalism in Latin America. New Left Review, 67, 19-38.Roxborough, Ian (1979) Theories of Underdevelopment. London Macmillan.Smith, Tony (1981) The logic of dependency theory revisited. International Organization, 35 (4) 755-761.Staniland, Martin (1985) What is political economy? A study of social theory and underdevelopment. New Haven Yale University Press.Wallerstein, Immanuel (1974) The modern world system capitalist agriculture and the origins of the European world economy in the sixteenth century. New York, Academic Press.1Footnotes1 The analytical categories of First World, Second World, and Third World are employ to make a distinction between the different levels of economic development among nations/states.2 The dependency school is similarly also refereed to as a perspective (Kleemeier 1978, 701).3 Frank (1984) later incorporated Laclaus criticisms, which strongly influenced the direction of his future work, particularly in his volumes on world capitalist history.4 Cardoso also served as the President of Brazil from 1994 through 2002.5 Frank has rewrite his former position that once assumed that significant political chan ge could free any people from these economic and historical determinants. (Frank, 2002)6 I am not implying that dependency theory is exclusively debated around Latin American issues, see for example Kleemeier (1978) and Ahiakpor (1985). revealing straight off An Anti-War Message revelation right away An Anti-War MessageThe 1979 movie revelation instanter was created in an extremely calculated and thought out fashion by Francis Ford Coppola. There is a social occasion behind how he filmed and what he filmed. Each edit, angle, shot, sound, transition, and illumine technique was filmed in such a way in order to take away meaning. The cinematic tools that Coppola utilized in the making of divine revelation Now promoted the American public viewing the film to take an honest look at how state of war is really conducted. Like many other movies created about the Vietnam War, such as Platoon and Full Metal Jacket, Apocalypse Now has an anti-war gist within it. This attitude is a shift in the way the American public had viewed war, since usually they were very patriotic and supportive. By making films that raise up issues regarding war, directors were taking advantage of the already luxuriant public and challenging them to look deeper and question the way in which they had previously viewed warfare and the preparation given to passs for it. The film techniques allowed Coppola to condemn military recruiters as well as army officials who did not properly prepare and condition soldiers to withstand the psychological affects of warfare. His method of filming also displays a critique of politicians who mandate warfare for political expediency. In this paper, I will discuss how Coppola use cinematic tools strategically in his film Apocalypse Now to show warfare for what it truly is and the mental picture on soldiers that combat had in order to inspire society to re-evaluate and change its attitude towards war.Apocalypse Now is a film that follows Captain Benjam in Willard on his second stay in the Vietnam War. When the film begins, it finds Willard in a hotel dwell in Saigon, Vietnam postponement for his next mission. In this opinion, Willard offers a vague characterization of his eldest fling in Vietnam and expresses how desperate he is to return to action. In the following background, Willard is sent for by army officials and given his next mission which is to locate and make Colonel Walter E. Kurtz, an American green beret who went rogue, created his own army of infixed Vietnamese people and subsequently appointed himself as a god over them. To perform his mission, Willard is accompanied by four soldiers who do not know the purpose of his mission, as it is classified information. On their expedition to find Kurtz, Willard and the crew come crossways Lieutenant Colonel Kilgore, who masters them to take part in a cruel and merciless attack on a small Vietnamese crossroads. As Willard and his crew continue on their journey upriver towards Kurtz, they attend a Playboy show, massacre a crew of Vietnamese fishermen, and fall under the surprise attack from natives on shore. When they finally reach Kurtzs camp, Willard is taken jailed by Kurtz and forced to listen to Kurtzs philosophical concerns at length, for days. Upon being set free, Willard enters Kurtzs private paths and fulfills his mission, finally killing Kurtz. When the natives realize that Kurtz has been killed, they bow to Willard and accept him as their new leader and god. However, Willard passively rejects the role of their leader by taking the remaining member of his crew, boarding their boat, and riding away from the native camp as the film ends.Within the film, there are respective(a) motion-picture shows that show the chaos, uncertainty and absurdity of warfare that often leave soldiers in a state of psychological impairment long after their time in combat. As a result of this story being told through the medium of film, Coppola is a ble to use cinematic tools he would otherwise not have had at his disposal. There are two particular views in which the tools he employs help to convey the significance of the scene with more impact. These two scenes are the first step scene of the movie and the scene known as Ride of the Valkyries. These scenes and the five cinematic elements employed in them, will be the focus of this paper.In the opening scene of the film, Coppola employs elaborate editing techniques in order to show the phycological damage that Willard has been suffering from since his first tour in Vietnam. Although the focus is obviously only on the character of Willard, Coppola means for this to be a display of what happens to the mind of any soldier after move from combat, where their minds are in a state of psychological turmoil. The scene shows a green, peaceful treeline in Vietnam and then shows it exploding in flames as numerous eggwhisks drop mingy by (Apocalypse Now, 00110). The film then transit ions from this image in a smooth sink away to Willard lying in his hotel room (0 03 55). As the transition continues, it shows Willard take a long drag from a cigarette as the hood fan above him rotates fast and loud. The fade in this scene is significant because of its smooth transition from one picture and place to another the helicopters in the scene with the trees make an near identical sound to the ceiling fan and the propeller of the helicopter looks like the ceiling fans blades rotating in Willards room. The way Willards cigarette lights up has the fading image of exploding perfervid trees in the acanthaground. The editing is magnificent. It is clear from the scene, that the explosions and helicopters are memories from Willards first tour in Vietnam. The images of the blown-up trees cut and edited into the images of Willards tortured face in the hotel room portray a man who is really struggling with what he has experienced. plot most memories fade over time and details ar e forgotten, victims of ring armor traumatic Stress Disorder often remember their traumatic experience vividly and the same way every time they think about it (Vees-Gulani 55). For many, it is not even that they are remembering but rather they are living in a continual present and an endless present (Vees-Gulani 55). The memories that Willard cannot escape from, from his first tour, are persistently intruding on him (Vees-Gulani 62). For him, something as daily as a ceiling fan materializes into a combat helicopter and the burning of a cigarette is an explosion. Often throughout the movie, it seems as if Willard is one of the only men still sound of mind, but the first scene with its masterful edits to Willards first tour flashbacks clue the smasher in on the fact that Willards posttraumatic stress disorder made him bound in the timelessness of warfare (Vees-Gulani 89). For the viewer to fully appreciate the genius of Coppolas use of editing in this scene, one must recognize that PTSD is an illness that plagues the victim unrelentingly and constantly. By displaying this scene and these ideas in one seamless transitional edit, Coppola is indicating to the viewing audience that soldiers who return from war may look physically unscathed, but that does not mean they are not haunted and harmed by their experiences in combat.Another technique utilized in this first scene is that of lighting. Coppola strategically uses it in order to set a certain mood and feel for the scene. As Willard lies on his bed, he looks at the ceiling fan, which is black and yet there is a slight flicker of light from the fan. It catches the viewers eye and helps to create a more ominous scene, really giving the viewer a feeling for what was happening within the scene. It is fascinating that something so small as a flicker of light can add so much insight to a scene and enrich ones overall understanding of a story. In a captivating interview with Apocalypse Nows production designer, de an Tavoularis, Tavoularis describe how the films cinematographer Vittorio Storaro purposely choreographed the lighting cues on many shots to add an extra level of significance to scenes and that the speck of light in the opening scene from the fan was one of such generation (Gentry 96). He described how the flicker of light in this scene is like an irritation, an insect, an element that gets across to the viewer and adds to the chaotic scene to help display the psychological trauma that Willard is dealing with. The flicker lasts for hardly a second, but it was intentionally put in at that time to help further the story and its message. upkeep grabbing, this cinematic tool is used to its fullest potential in this scene.The practice of medicine in Apocalypse Now is also a cinematic technique that Coppola capitalizes on. Coppola intentionally chose the song This is the check to critique the sentiments preached by many of the benefits one put ons when they serve in the army in ord er to ignore their societal profession to look after the wellbeing of veterans. Coppola is criticizing the way in which soldiers are prepared, or in from his standpoint under prepared, for war and how upon their return from combat, with their physical and intellectual scars, society neglects them. The song This is the End begins slow with pleasant guitar and a blue melody. The song fades out for a bit but then plays again as the scene transitions to Willard intoxicating himself in his hotel room (00558). However, when the song fades back in, it sounds dramatically different. The guitar has picked up speed, the tempo is faster and the singer screams, screw Fuck me. As the songs ecstasy increases, the scene shows Willard strip naked, cut himself and cry uncontrollably. Coppola used the feeling given off from the crazed music to increase the intensity of the scene. He uses the music almost as a metaphor for a soldier in their war experience. The soldier starts off by being told t he war will award them with lifelong skills, such as trueness and respect. However, they are not equipped for the psychological and emotional suffering from being in combat, the effects of PTSD, or the high suicide rates amongst veterans. The music starts out slow and pleasant but they soon find out on their own that the music changes, it is not predictable, it can become violent. Using music as a cinematic tool in Apocalypse Now, Coppola presses Western societies to stop romanticising the idea of war.Towards the close of the scene, Willard is bleeding and crying on the floor of the hotel room (00716), and the viewer can hear the song This is the End playing but cannot hear Willards crying. The silence of Willards cries is a message as well. The unheard cries of Willard can be seen as the unheard soldiers upon their return from war. They come back from combat scarred physically and mentally. Their minds cannot rest, they are never altogether at ease and the constant suffering lead s many to turn to damaging substances, like alcohol and drugs, just to escape from their own minds for a time. This is not a case of one veteran but rather a horrible trend that occurs to many, and it can be seen as a clear sign that they are calling out for help. Yet, it seems that Western society chooses to close their ears to their cries. The Music in the scene is used to send a message from Coppola that he condemns Western societies who promote war but deafen themselves against the cries of the soldiers suffering, which they helped to create. Coppola is high spot how there is a great need for honesty about what effect the army can have on ones life before soldiers are enlisted and how adequate resources are needed for their recovery when they return from combat.In the scene known as March of the Valkyries, Lieutenant Kilgore orders an air attack on a Vietnamese village. It is in this scene that Coppola uses the tool of camera shots and angles to showcase to the viewer the abs urdity and violence that soldiers endure during warfare. It is clear from the contrasting shots that Coppola used that he wished viewers would re-evaluate their opinions on war and question politicians inclination to secure in war. Coppola uses close-up camera shots in order for the viewer to feel as if they are in the sequences in the March of the Valkyries scene. As the helicopters approach the village, the viewer is privy to a conversation between Lieutenant Kilgore and a soldier named Lance, an expert surfer, as they discuss the different types of surfboards they prefer (03620-03655). The absurdity and backwardness of this conversation at that time is dumbfounding. They are in a helicopter that is about to attack and kill an entire village of Vietnamese soldiers and innocent civilians and yet, the Lieutenant does not review the battle computer programme with his crew or tell them to reflect on what they are about to take part in. Rather then do any of these convening and expe cted things, he is instead choosing that particular time to talk about one of his favourite hobbies. The only people in the frame of the shot are Kilgore and Lance, from their shoulders up, making the viewer feel as if they are part of the conversation as well. This is a strategic tool use by Coppola to get his audience to understand the soldiers who have these mundane conversations at contrary times and how these interactions skew with the soldiers sense of morality. It becomes clear that the soldiers have a hard time dealing with the guilt of murdering entire villages when it is equated to regular past times by their officers. The contrast of what they are going to do in the scene and what they are discussing is made evident through the cameras close shots. It is another example, by Coppola, of how army officials do not prepare soldiers for warfare since they make it less serious and make the consequences less harsh with conversations such as the one Coppola zooms up on.Another e xample of a shots that Coppola uses to showcase the absurdity of war it close to the end of the March of the Valkyries attack, is when he shows two long shots. The first is of rockets and ammunition hitting the water, causing five enormous explosions of water to tally up (04455), and the second is of napalm bombs being dropped on the village, producing a ample fire (04855). By zooming out on this shot, Coppola is showcasing the violence and death of war in all its totality as well as the beauty of nature. The blending of the beauty and the destruction enters the soldiers awareness, making them flinch and bound in horror and at the same time exclaim, Its really exciting, man (04500). The contrast can add to soldiers mixed feelings about the war, morally and emotionally. Its exciting and incredible and its also terrible and monstrous. These long shots are used by Coppola to show that when you zoom out fighting for ones country seems venturous and courageous but up close it can h urt the soldiers in ways that are ignored by society.The camera angles that are used in Apocalypse Now are also used by Coppola to critique war and its effects on soldiers. Kilgore and his helicopter unit land by the shore as the March of the Valkyrie battle ends. As they all try to take cover in a ditch, Kilgore stands above ground in the open and shouts orders. (04602). The angle that the camera shoots Kilgore at is at level with the soldiers in the ditch, so it is as if the viewer is in the position of the soldier. He is shown to be glorious leader that none of them would disobey, even if his command seems insane such as when he says, If I say its harmless to surf this beach, Captain, its safe to surf this beach (04710). During war, it is expected that soldiers will obey their commanding officers without question. There are times when this is positively necessary, moreover it can also lead to issues with trust. In an instance where a soldier witnesses his officer commanding a fellow soldier to do something that in turn leads to his death, the soldier may have issues trusting the judgement of his commanding officer. When officers in leadership positons, and by extension, the politicians who declare war, are given all knowing and godlike statuses among soldiers and society, it can create psychological trauma for soldiers and questions of organized religion within larger society. The camera angles used by Coppola are to put the viewer in a soldiers shoes and to understand that leaders should not be seen as all knowing and all powerful and that it is important to question their choices before accepting them.It is clear that Francis Ford Coppola used many cinematic techniques in Apocalypse Now in order to convey to society that they must re-evaluate their views on war and be more unselfish of the soldiers who have been hurt physically and mentally by it. The way in which he cut and edited scenes showcase the trauma that continues to haunt soldiers even afte r they return from war. Lighting is also used as a technique to further this message. The use of sound in certain areas and not in others is employed to accuse society of turning a trick eye and a deaf ear to the veterans who do not receive proper rehabilitation upon their return. Another technique Coppola used was to zoom in or out on specific camera shots to display the absolute absurdity of war and the effects that has on soldiers. Lastly, Coppola utilized camera angles to encourage society to think for themselves and never trust a leader without first questioning their true intentions, especially in the context of war. These five cinematic elements help to tell the story of Apocalypse Now in a way that a novel never could, since it is not just a film with a captivating plot but rather a movie in which cinematic techniques force the viewers to reconsider some troubling societal issues.ReferencesApocalypse Now. (1979) . Retrieved March 20, 2017, from https//solarmoviez.to/movie/a pocalypse-now-6743/74126-8/watching.htmlGentry, R. (2010, Winter-Spring). Dean Tavoularis. Post Script, 29(2), 93+. Retrieved from http//go.galegroup.com.ezproxy.library.yorku.ca/ps/i.do?p=EAIMsw=wu=yorku_mainv=2.1it=rid=GALE%7CA247223175asid=3fccc0d830aca85bdf6a33f51c16a1bfI found this source to be very helpful in my understanding of the movie Apocalypse Now since it is an interview that addresses not only the movie, but also some of the cinematic techniques used to create it. The interview covers a variety of topics about the film like plot, symbolism, character development and the tools used to showcase all of these ideas in the best possible way. Although I did not end up using many quotes from it, I found that it expanded my knowledge of the way in which the director and those who advised him chose to portray certain scenes. This source O.K. up the most essential of points for my essay, that everything Coppola did was deliberate and in order to draw the audiences attention to certain things.Vees-Gulani, Susanne. Diagnosing Billy Pilgrim A Psychiatric go up to Kurt Vonneguts Slaughterhouse-Five. Critique Studies in Contemporary Fiction 44.2 (2003) 175-184. Retrieved from http//literature.proquest.com.ezproxy.library.yorku.ca/searchFulltext.do?id=R01664027divLevel=0area=abellforward=critref_ftI found this source to be incredibly useful on the topic of Post Traumatic Stress Disorder and Soldiers. The source is an analysis of an antiwar novel in which the beginning wrote about their own experiences in World War II. I found that many of the points that were made about this man and his novel also utilise to the soldiers in the film Apocalypse Now. When discussing PTSD and how it feels for an individual, it really seemed to be in complete conjunction with the way Coppola portrayed Willard in the opening scene of the movie. This article helped me to see the techniques that Coppola was using were in order to show PTSD as realistically as possible.