hello can you Thoroughly read case study (attachment below)) and fully answer questions 1, 2, and 5 at the end of the case study. Use any research material found in your textbook and or other sources to prove your points. Please cite any additional sources you use outside of the case study itself. No more than (2) pages double spaced. 12pt Times New Roman. Proper APA citations. Include a title page and a reference page. Please do not list the question in your paper. You can list the question number at the beginning of your answer.Case Study 2 Module 4: Intel’s Rebates and Other Ways It Helped Customers On November 12, 2009, Intel Corp. gave Advanced Micro Devices (AMD) $1.25 billion to settle a lawsuit AMD filed against it in 2005. Intel’s CEO Paul Otellini said he agreed to pay $1.25 billion to settle AMD’s lawsuit because he no longer felt the time and money [spent fighting it] makes sense.1 AMD’s lawsuit accused Intel of being a monopoly and of using its monopoly power to unfairly keep computer companies from buying AMD’s microprocessors. With about 70 percent of the market, Intel Corp. is the world’s largest manufacturer of PC microprocessorsalso called computer chips, microchips, or processorstiny electronic devices that serve as the brain of a PC and carries out its basic operations. As the world’s second-largest maker of PC microprocessors, AMD is Intel’s only real competitor, although it holds only about 20 percent of the PC processor market. It is difficult for other companies to get into the business of making PC microprocessors because of several barriers to entry, which are as follows: Intel and AMD hold the patents for making the kind of microprocessors almost all PCs use. It costs several billion dollars to build facilities for making microprocessors. Intel and AMD are so big and experienced that they can now make microprocessors for a lot less than a new company could, so if a new company tried to enter the market, its prices would likely not be competitive with Intel’s or AMD’s. AMD was not the only one that had accused Intel of using monopoly power to stifle competition. On May 5, 2009, the European Commission fined Intel a record $1.5 billion and said the company had used its monopoly power to unfairly block AMD from the market.2 On November 4, 2009, New York Attorney General Andrew Cuomo sued Intel for harming New York’s consumers by using its monopoly power to keep computer makers from buying better AMD microprocessors. In June 2008, South Korea’s Fair Trade Commission ruled that Intel had used its monopoly power in violation of its antitrust laws. In 2005, Japan’s Fair Trade Commission ruled that Intel had violated Japanese antitrust laws by paying companies to buy all or almost all of their processors exclusively from Intel. A Strategic Mistake and a New Product Many of the activities Intel was being blamed for originated in a strategic mistake the company made in the late 1990s, when it invested hundreds of millions of dollars developing a new type of microprocessor that would not use x86 technology. x86 technology consists of certain instructions that are built into x86 microprocessors. All microprocessors must contain instructions that allow them to read and run software programs like games, word processors, or web browsers. Because all x86 microprocessors contain the same instructions, the newest x86 microprocessors can generally read and use the same data and programs that ran on older x86 microprocessors. This means that when a customer who has been using a computer with an x86 processor buys a new computer with a more advanced x86 microprocessor, he or she does not have to throw away all his or her old programs and data because they will still work on the new computer. This ability of each new generation of x86 microprocessors to run most of the programs that previous generations of x86 microprocessors could run is a major advantage for both consumers and businesses alike. However, from Intel’s perspective, x86 microprocessors have a major disadvantage: AMD can legally make x86 microprocessors, so Intel is forced to compete with AMD. Intel’s biggest nightmare was that AMD someday might come up with an x86 microprocessor that was faster and more powerful than any of Intel’s and then take over the market. So when it invested in a new generation of microprocessors in the 1990s, Intel decided to develop and patent a microprocessor that did not use x86 technology. Since Intel alone would hold the patent for this new non-x86 processor, AMD would be legally barred from making it. With luck, Intel might eventually have the entire PC processor market to itself. Intel called its new PC processor Itanium, and it was faster and more powerful than all previous generations of PC processors. However, there was a problem. Since the Itanium processor did not use x86 technology, all software designed to run on current and older x86 processors would not work on the new Itanium unless the user first ran an emulation program that, in effect, forced Itanium to imitate an x86 processor. However, the emulation program slowed down the programs designed for x86 processors, sometimes to a frustrating crawl. Thus, when a consumer or business bought a new computer with the Itanium processor inside, its current software and data would not work well on the new computer. This issue was a major deterrent for buyers. AMD had also developed a more advanced generation of PC processors during the 1990s. However, AMD decided to stick with the x86 technology so that its new processor could run software designed for x86 processors without using an emulation program. AMD called its new processor Athlon. Since Athlon was not slowed down by an emulation program when it ran x86 programs, all x86 programs ran extremely fast and smoothly on computers equipped with AMD’s new processor. AMD’s Athlon could run x86 programs much faster and better than Intel’s Itanium, and Athlon also used less electricity and sold for less than Itanium. Intel’s worse nightmare had come true. Actions and Reactions When AMD and Intel marketed their new microprocessors in 1999, reviewers and users raved about AMD’s fast and low-priced Athlon and heaped scorn on Intel’s clunky Itanium. PC manufacturers flocked to put AMD’s processor into their new computers, and AMD’s market share grew from about 9 percent to about 25 percent of the PC processor market, while Intel’s fell from 90 percent to 74 percent. However, in 2003 and 2004, AMD’s sales hit a wall. Computer manufacturers suddenly refused to buy AMD’s processors. In 2002, Sony had put AMD’s Athlon into 23 percent of its computers; by 2004, it had stopped using Athlon completely. NEC went from using Athlon in 84 percent of its desktop computers to using it in virtually none. Toshiba went from using it in 15 percent of its computers in 2000 to using it in none by 2001. Altogether, AMD’s share of the Japanese PC processor market fell from 25 percent in 2002 to 9 percent in 2004. What had happened? Tom McCoy, AMD’s executive vice president for legal affairs, claimed in an article that the drop in orders for Athlon chips was a matter of sheer exercise of monopoly power by Intel. McCoy claimed that Intel paid the Japanese companiesSony, NEC, and Toshibamillions of dollars in rebates provided that they stopped buying AMD’s microprocessors and used only Intel microprocessors inside their computers. However, McCoy claimed, these payments were not really rebates. A true rebate is a payment based on the number of products a customer purchases, and so it is in effect a discount that is paid after the customer buys the product (unlike a regular discount, which is subtracted from the price before the purchase). However, the payments Intel was giving computer makers, McCoy asserted, were not related to the number of processors they bought. Instead, Intel handed over these payments when a company agreed to stop buying from AMD, regardless of the number of processors the company subsequently purchased. Moreover, McCoy wrote, Intel threatened companies by warning them that if they did not stop using AMD’s microprocessors, Intel might stop supplying them with any microprocessors at all. The threat was a powerful one because even if they used AMD’s microprocessors on some of their top-quality computers, every computer manufacturer still depended on Intel for the microprocessors in all their other computers. Because of its small size, AMD could not provide the full range of microprocessors that the larger companies needed. Convinced that Intel was using unfair and illegal means to block it out of the market, AMD sued Intel on June 27, 2005. Intel’s general legal counsel, Bruce Sewell, responded to AMD’s claims by arguing that the reason computer makers stopped buying AMD’s microchips was because once they started using them in large numbers and running many different programs on them, they found AMD chips did not run the programs as fast as they had first appeared to. When AMD has good parts, they do fine, said Sewell, When AMD has lousy parts, they don’t do so well. That’s what a competitive market is all about. Sewell also defended Intel’s rebates. If it is not wrong, he said, for a small company to build loyal customers by giving them more rebates when they agree to use your products exclusively, why should it be wrong for a larger company to do the same? Moreover, rebates in effect lowered the price of its computer chips, and what was wrong with that? Ultimately, didn’t that benefit the consumer? Why was it so important to relate rebates to the number of units a customer buys? If Intel gave larger rebates to those companies that agreed to use its products exclusively, and smaller rebates to those companies that would not make the same commitment, what was wrong with that? Wasn’t a company’s agreement to use Intel as its exclusive supplier valuable to Intel, and so shouldn’t Intel be allowed to reward that company with larger rebates than the discounts it offered other companies? Because the AMD lawsuit was complicated and required gathering and reviewing a great deal of documentary evidence, it had still not gone to trial by the end of 2009. By then, however, AMD’s allegations had convinced several foreign governmentsincluding the European Union, South Korea, and Japanthat they should investigate Intel, and their investigations ended with substantial fines of Intel for violating antitrust laws. However, the United States did very little until, toward the end of 2009, the FTC sued Intel for illegal monopolization, unfair methods of competition, and deceptive acts and practices in commerce.7 The Federal Trade Commission Lawsuit The FTC said in its suit that its investigations had discovered what Intel’s legal counsel Bruce Sewell had suggested: some software programs ran slowly on AMD’s processors. The reason was not because AMD’s processors were inherently slow. They had found that Intel had changed the programs sold by software companies so that their programs would not work well on computers using AMD’s computer chips. All software companies use compilers to convert their programs into a form that will run on particular kinds of computer chips. The compilers are provided by the companies that make the chips, in this case Intel and AMD, that are each supposed to provide compilers that will allow programs to run on both their processors. The FTC said that Intel changed its compilers in 2003 so that programs compiled with Intel’s compilers would run fine on Intel processors, but would run slowly or poorly on AMD’s. Without their knowledge, when software companies used Intel’s compilers to process one of their programs, Intel’s compiler secretly inserted bugs into the program that slowed it down when it ran on an AMD processor, but not on an Intel processor. Customers and reviewers blamed AMD’s processor when their new programs did not run well on a computer that had an AMD chip inside. The FTC also claimed that Intel had provided software companies with libraries of software code that were also designed to trip up programs when they ran on AMD microchips. The software code the FTC was talking about were short bits of software that carry out certain frequently used, but routine operations on x-86 processors. Software engineers insert these short bits of code into their programs instead of writing them out each time they need them. Intel provided software engineers with libraries consisting of dozens of these bits of code. However, the FTC claimed, Intel changed the software codes in its library so they would not work well on AMD processors. Consumers and reviewers again blamed AMD’s chips when a program containing Intel’s codes did not run well on a computer that used an AMD microchips. The FTC also said that Intel had paid computer makers to boycott AMD’s processors by giving them what Intel called rebates. However, these payments required only that a company agree not to buy AMD processors and were unrelated to the amount of Intel processors the company bought. Computer manufacturer Dell, Inc., is a good example of how Intel paid computer makers to boycott AMD. Intel had begun making significant quarterly rebates to computer manufacturer Dell, Inc. in 2001, and Dell at that time stopped using AMD’s processors, even though many of its customers said they wanted computers with AMD’s processor. Dell and Intel Dell was founded in 1984 by its current CEO, Michael Dell. A student at the University of Texas at Austin at the time, Michael Dell began by selling computers out of his dorm room. By 2001, Dell had become the largest PC manufacturer in the world and held 13 percent of the worldwide PC market. The company finished 2001 with a net income of $2.24 billion. In 2002, according to a Dell memo, Dell’s chief operating officer (COO) met with several Intel officials. Before the meeting, Dell’s lead negotiator had explained what he expected Intel’s officials would say to Dell’s COO: without being blatant, [the Intel representative] will make it clear that Dell won’t get more [payments] if we do use AMD processors. We’ll get less, and someone else will get ours. During the meeting, Intel officials said they were willing to do whatever it takes to get Dell not to use any AMD processors in its computers. According to the memo, Intel agreed at the meeting that its quarterly payments to Dell should increase from the $70 million this quarter to $100 million. However, Dell had to continue to refuse to use AMD’s processors. It was not difficult for Intel to pay the hundreds of millions of dollars it was giving Dell. Intel had unusually high profit margins of 50 percent that allowed it to accumulate $10.3 billion of cash at the end of 2001, and by the end of 2005 it held $14.8 billion of cash. In a February 2004 e-mail, Michael Dell remarked on Intel’s profitability: Intel’s profits in the 2nd half of 2001 were $1.397 billion on revenues of $13.528 billion. In the 2nd half of 2003 they were $4.885 billion on revenues of $16.574 billion. In other words their sales went up 22.5% and their profits went up 350%! Or said another way, their revenues went up $3.046 billion and their profits went up $3,488 billion!! Not even Microsoft can do that. Although many smaller companies started using AMD’s chips, Dell feared retaliation from Intel if it tried to do the same. In an e-mail, a Dell executive noted that if Dell joins the AMD exodus, the consequences would be costly for Dell. He noted that Intel’s CEO and chairman are prepared for jihad if Dell joins the AMD exodus. We will get ZERO MCP payments for at least one quarter while Intel investigates the details’ there’s no legal/moral/threatening means for us to apply and avoid this. Although Dell complained that its refusal to use AMD processors was hurting its sales, Intel kept Dell loyal throughout 2004 by increasing its quarterly payments to $300 million per quarter, an amount equal to almost a third of Dell’s quarterly net income and apparently enough to compensate Dell for any sales declines. Dell continued to lose market share, and CEO Michael Dell became increasingly frustrated. On November 4, 2005, Intel’s CEO, Paul Otellini, wrote an e-mail saying that he had just received one of the most emotional calls I have ever, ever had with Michael Dell. Otellini noted: Michael Dell opened by saying I am tired of losing business . . . he repeated it 34 times. I said nothing and waited. [He said] he has been traveling around the USA. He feels they are losing all the high margin business to AMD-based sku’s computers … Dell is no longer seen as a thought leader. A week later, Michael Dell sent an e-mail to Otellini complaining that We have lost the performance leadership and it’s seriously impacting our business in several areas. Otellini responded to Dell’s complaints by pointing out how much Intel was paying Dell: W] are now transferring over $1 billion per year to Dell for meet comp efforts. This was judged by your team to be more than sufficient to compensate for the competitive issues. On November 25, Michael Dell wrote in an e-mail to Otellini: None of the current benchmarks and reviews say that Intel based systems are better than AMD. We are losing the hearts, minds and wallets of our best customers. In spite of realizing that boycotting AMD’s processors was hurting its revenues, Dell remained so loyal to Intel that in February 2006, Otellini joked that Dell’s CEO was the best friend money can buy. Intel continued to increase its payments to Dell through 2005 and 2006 until they reached a high of $805 million a quarter in early 2006, an amount equal to 104 percent of Dell’s net income per quarter that year. In 2006, Dell finally broke away from its agreement to not use AMD processors. That year,… [Content truncated to 3000 words]

comparing Gonzlez-Torress minimalist approach to one specific example of contemporary protest art from the 20252026 “Fall of Freedom,” “Anti-ICE” movements, or

Look at the art work “Dana” by Artemisia Gentileschi and Spend as much time as possible looking at the work youve chosen and then begin making preliminary observations in writing (try to respond to at least 4 of the following questions):

• How is the work organized in terms of color, composition, and space?
• What is the works scale? How is light utilized?
• What, if any, story does this artwork tell?
• How are bodies and objects arranged in it? What about the poses and gestures? How do they relate a
• sense of narrative or emotion?
• What materials were used? Is the artist using the medium in a normal way or experimenting with it?
• For what purpose might this have been made? How does the way it looks reflect this purpose

Pretend that I am blind and will never be able to see the work of art youve chosen. Try to describe it

so carefully that I would really have a sense of what it looks like even without ever seeing it.

What you focus on will influence what your reader sees. If you interpret a certain facial expression a

certain way, you must convince your reader that your impression is correct. It is not enough to say

someone looks relaxed (or angry, or happy, etc.) you must describe why.

Many approaches are possible and NOT everything you see has to be included in this essay. You

should organize and draft the piece so that it flows logically and is centered around what you believe

are the works most important visual qualities. Write down details observed plus any associations or questions that come to mind. Do not use research for this.

Please write a response to the film Rudaali.

• Your response should be approximately 500 words (quality is MUCH more important than length; you can write more if you wish).
• Please construct a response that answers the following:
• 1. Offer a concise description of the film’s setting (for instance by describing the village’s economy, social structure, religious landscape, and the societal changes that are occurring in the story).
• Tip: Be careful not to conflate the era of the film’s settingand the date of the film’s production!
• 2. How the film is persuasive/effective in conveying its criticism of religion?
• 3. Why this film is still relevant today?
• 4. What was your favourite scene and why? (A “scene” means a specific situation or interaction in the film; it is not an idea or topic).

Grading Criteria

Your assignment will be graded according to the following criteria:

• Does your assignment contain concrete quotations from the film?
• You must include at least 4 direct quotations (a minimum of 1 direct quotation for each of the four questions asked above). “Direct quotations” means a quotation that is taken, word-for-word, from the subtitles. Each quotation must be followed by a timestamp. For example: (Part 1: 09:04-09:07). In other words, the timestamp tells the reader exactly where in the film the quotation comes from.
• Does your assignment contain concrete details from the film?
• You must also include 4 direct details (a minimum of 1 direct detail for each of the four questions asked above). “Direct detail” means a circumstance or situation that appears in the film. Each detail must be followed by a timestamp. For example: (Part 3: 09:04-09:07). In other words, the timestamp tells the reader exactly where in the film the detail appears.
• Does your assignment go beyond the obvious?
• Did you go use the most basic and obvious analysis? Did you sufficiently elaborate your points? Are your arguments sufficiently developed?

As you answer the assignment questions, are you providing evidence for your answers? Reference specific scenes, conversations, conflicts, imagery, and so on in the film. Beware that answers generated by AI (e.g., ChatGPT) often provide fake details about a film (e.g., a wedding that never happened in the film, an insult that nobody said in the film). ChatGPT also generates irrelevant content (e.g., a description/analysis of the musical score). If there are any fabricateddetails, this category will be given a grade of zero).

You will not be given any credit for content provided without any timestamps. Part 5: Caste

Welcome to Part 5: Caste

*all materials are required viewing/reading unless labelled optional

In this section, we are going to watch Rudaali (1993). I converted the DVD and uploaded it below (in 4 parts). Please read through the following information and watch the film when you are prompted. (You should all watch the version uploaded here). After you have watched the film and completed this page, please complete the following:

Quiz 5 (Deadline: Wednesday, February 11)

Assignment 1 (Deadline: Friday, February 13)

Please note that you should watch the film before attempting the quiz.

Please familiarize yourself with the questions and expectations for the assignment before beginning the film.

Information About Rudaali

Director: Kalpana Lajmi (1954 2018)

an independent filmmaker largely working in parallel cinema (see previous pages for description/definition)

her films typically explore the experience of women

The film is an adaptation of a short story, entitled Rudaali, written by the famous Bengali writer Mahasweta Devi (19262016).

The film is about rudaalis, professional mourning women, particularly associated with Rajasthan.

Setting of the film: Rajasthan, India, pre-Independence (i.e., late colonial period), undated (probably 1940s).

The economic system depicted is the zamindari economic system (a form of feudalism), which is a result of Mughal societal structures, which persisted into the colonial period, particularly within princely states (see previous course content about colonial governance).

Topic: status / caste; specifically a case of caste in a small village.

Main character: Shanichari (Saturnine [lit. of Saturn] in English) who was born on a Saturday (Shanichar), which is considered a bad omen because it is ruled over by the god Saturn (Shani). Shani is considered to be an inauspicious god who can bring misfortune.

Background Context: Caste

The Portuguese used their word casta meaning race, tribe, lineage to describe the thousands of social groups upon their arrival in India in 1498. *That is to say, the word “caste” is itself not originally Indian/South Asian.

Most generally, caste is a form of social stratification, involving:

hereditary transmission

marriage restrictions

spiritual purity

South Asian society is often seen as the most paradigmatic example of caste in the world, although caste is also pronounced in many other locations.

When applied to India, caste often refers to two concepts: varna and jati.

The four varnas, mentioned in ancient Sanskrit religious literature (like the Vedas and Dharmashastras) are:

Brahmins: priests, scholars

Kshatriyas: rulers, warriors

Vaishyas: agriculturalists, merchants

Shudras: laborers, servants

Communities (historically or in modern times) may or may not belong (entirely or partially) to one of these varnas.

Aside from the varnas, there are various groups of clans, tribes, communities, and sub-communities throughout South Asia. Each group, referred to as a jati or birth, is typically associated with a profession. Sometimes, jatis overlap with multiple varnas.

The Caste System

Many academics argue that caste today is the result of various factors, especially:

The collapse of the Mughal empire after which society was reshaped into new social groups, often out of casteless communities.

British Colonialism

British rulers used rigid caste groupings as a means of administration and privileged certain groups (Christians, Parsis, and others).

The British censuses in particular greatly reorganized and solidified groups.

The British sought in many cases to (artificially) organize groups within the four varnas.

All of these efforts were influenced by Britains own rigid class system.

Academics argue about whether the origin of caste in India is ultimately religious or economic.

From 1948 (post Independence), caste discrimination is banned by law in India, although caste continues to persist in society.

While negative discrimination is banned by law, the government officially recognizes certain categories of castes/groups. Historically disadvantaged groups benefit from affirmative action benefits, such as job opportunities.

*Caste groups may or may not be religiously recognized / enshrined in religious doctrine. The ancient Hindu texts, beginning with the Vedas, but also especially the Dharmashastras, asserted that the varna categories of humans have existed since the beginning of time. Only Hindu tradition (traditionally) holds that performing one’s varna duties (or “dharma”) would result in benefits to one’s future lives (through the doctrine of karma). Buddhism, Jainism, and Sikhism reject that the notion that performing (or not performing) one’s varna duties bears any effects. However, caste groups may persist as social realities within and beyond religious groups. For example, Islamic, Buddhist, and Sikh religious doctrines do not recognize the importance of caste, but different hierarchical or profession-oriented social groups may still exist within these traditions.

*Our Goal for this Film*

It is really difficult to study caste in general, so we are examining a case study. We are examining caste in a late colonial rural community. How does caste feature in social, economic, and religious experiences?

While you watch, please look for the following:

Names of main characters – you’ll need these for the quiz!

Titles (of castes, etc.) used

Any specialized vocabulary (technical terminology)

Interesting cultural behaviours and customs

Good Quotations!

If at time you don’t understand something about the film’s content, please ask a question in the discussion forums.

Please go ahead and watch the film now! Enjoy. Unlike last time, please watch the songs. Typically, the story keeps going while the songs occur.

Part 1 (subtitles available):

Part 2 (subtitles available):

Part 3 (subtitles available):

Part 4 (subtitles available):

Some More Background Information

Rudaali Chart

The zamindars held large amounts of land in India and controlled their peasants, from whom they collected taxes, often acting as intermediaries on behalf of the taluqdars, a group of aristocrats/ruling class.

This economic system existed during the Mughal Empire (15261540; 15551857) and colonial times (16121947).

Both the zamindars and taluqdars were mostly hereditary groups.

Their families used many different titles including Thakur (as in the film), Thevar, Babu, Rai, Rao, Khan, Sardar, Malik, Sri, etc.

The British supported the zamindars, considering them princes (although the British also reduced their land holdings). (See the introductory information on the Princely States in British India.)

The system was abolished during land reforms in 1950 (Bangladesh), India (1951), and Pakistan (1959).

The film is about rudaalis, professional mourning women, particularly associated with Rajasthan.

The title refers to a custom in some parts of Rajasthanwhere aristocratic women were long kept secluded and veiledof hiring professional women mourners on the death of a male relative, a rudaali (pronounced roo-dah-leeliterally, a female weeper) to publicly express the grief that family members, constrained by their high social status, were not permitted to displayor at times, perhaps did not feel. Dressed in black and with unbound hair, a rudaali beat her breast, danced spasmodically, rolled on the ground, and shed copious tears while loudly praising the deceased and lamenting his demise; the ability to hire such a performer was a mark of social status.

From the full reading (optional): https://indiancinema.sites.uiowa.edu/rudaali

Additional Videos

Professional mourning practices by women have also been popular (mostly historically) in other parts of the world:

https://www.youtube.com/watch?v=kJUQxelrZX4 (closed captioning available).

Rudaalis have been portrayed in this Indian television commercial:

https://www.youtube.com/watch?v=7DuAaoZAZVc (subtitles available)

More Notes

Besides caste, rudaalis, and the zamindari economic system, the film also includes a host of other topics, such as the experience/treatment of widows, prostitution, and criticism of brahmanical writings and brahmanical practices (all of which are portrayed in the film Water).

One of the main topics explored in the film is spiritual pollution (the idea that one’s spiritual purity / purity of the soul might be negatively impacted by certain [spiritually dangerous or polluted] people, places, or things).

The criticism of religion seen in Rudaali is closely aligned with the theory of religion put forward by Karl Marx (1818-1883), a German philosopher. According to Marx, religion (in his view, Christianity especially) was a tool used by those in power to oppress the working classes and the poor. How? Religion acts, according to Marx, like a drug (opium in particular), because it deceives poor and working people by comforting them (e.g., into waiting for the afterlife), but as such it distracts them from the root cases of their own exploitation and miserable circumstances.

Watch this very quick video about Marx’ theory of religion: https://www.britannica.com/video/186414/opposition-religion-Karl-Marx (closed captioning available).

Please do this short reading on Rudaali: Rudaali Reading (1)

The original short story (translated into English) is here (OPTIONAL): Rudaali_Short Story.

Other Films about Caste

There are of course plenty of Indian films about caste. Please consider watching another more recent film on the same topic. Here are two excellent examples:

Article 15 (2019) https://www.youtube.com/watch?v=Nme0it4iX94 (subtitles available)

Masaan (2015) https://www.youtube.com/watch?v=SKJfBo3xMW0 (subtitles available; make sure to click on CC for the subtitles).

After you finish the above, please complete the following:

Quiz 5 (Deadline: Wednesday, February 11)

Assignment 1 (Deadline: Friday, February 13)

Choose one of these two options. , write 1000 words minimum. List sources at the end of your paper. Do Not Copy and paste information from an outside source. You may quote with citations and paraphrase, but use you own words in the majority of your text.

Option One

Tracing the Transition of Italian Art from the High Renaissance to Baroque Naturalism

— A Comparative study of the Depiction of the Deposition of Christ from the Cross by Raphael, Barocci, and Caravaggio,

Study the 3 articles below by clicking on them to open the web links:

1. The Deposition by Raphael:

2. The Deposition by Federico Barocci

:

3. Caravaggio, Deposition

• The objective is to compare and contrast the style and content of Raphael ‘s Deposition, (see slide show from chapter one) with Baroccis Deposition ( fig 1.12) and Caravaggios Depostion (fig. 1, 33.) Read the textbook as well regarding the transition in style and content. Answer the questions below.
• 1, What makes the paintings by Barocci and Caravaggio examples of the shift away from High Renaissance Classicism Represented by Raphael’s verion?
• 2. How do approaches to telling the story in the paintings by Barpcci and Caravaggio reflect the reforming values of counter-reformation theologians?
• 3. Consider the ways that they appeal to the emotions of the viewer by comparing and contrasting:
• their use of gestures and facial expressions,
• body types,
• manipulation of light and shadow, color, and space.
• background vs. void
• overall compositional organization ( how the eye is lead from detail to detail)
• hard versus soft edges and transitions
• 4. Consider the issue of idealism, as shown in Raphael and to a certain extend in Barocci, who still shows some Mannerist habits, versus the expression of naturalism as a result of direct observation of the model that marks the style of Caravaggio,
• _________________________________________________________________________________
• Option Two
• Bernini’s Projects at St, Peter’s as Illustrations of the Triumph of the Counter-Reformation

Study the slide lectures, the textbook and following Videos by clicking on them to open the web links.

1. Bernini, Saint Peter’s Square

2. Bernini, Baldacchino

3. Bernini, Cathedra Petri

Type into your browser Khan Academy Cathedra Petri and a link should appear to watch a video

Describe the salient features of each of these three projects at the Vatican designed by Bernini

1.How does each project advance the idea of the triumph of the Catholic Church after the trauma of the Reformation?

2, Explain how features like the massive scale. the oval plaza layout and embracing arms of the colonnade work on the emotions of visitors approaching the Vatican complex.

3.What is the religious significance of the Solomonic columns used for the baldacchino and the representation of the four fathers of the church supporting St, Peter’s chair, especially as they relate to the early foundations of Catholicism?

4. Which details on the baldacchino indicate the patronage of Pope Urban VIII?

I would like you to rewrite what I wrote. Edit as needed and proofread. correct any mistakes and add anything that is missing. My professor says what I wrote is AI Generated. I want you to rewrote what I wrote in your own words. Use the same artist and art work I wrote about and the same source. I am attaching guidelines to follow from my professor. Here are the original instructions my professor gave me: After watching the entire video The Evolution of Art in the Introduction Learning Module, choose 1 artist and 1 work of art that speaks to who you are as a person. It can be a work of art in the video or one of your own choosing. You must list the artist, date, title, location (if applicable), what its made out of, and other important details from the video or from your research. In a one page double spaced paper, tell me about why you chose the work of art. You can use the image you choose as a starting point to discuss yourself, your origins, your heritage, your lifestyle, languages spoken, interests, major or profession, and a reason for taking this class or just write about the image and why you like it. All assignments must be in 12-point font (Arial or Times New Roman), use correct grammar and spelling, and coherent sentences. This assignment must be at least 325 words to receive full credit. Please proofread, I can tell if you do not! Please use your own words (no plagiarism); I want to hear what you think, who you are, and what you have to say. Please include the image you are discussing. If you cannot include the image in your Assignment upload, please email it to me. Please only submit doc. docx, or pdf files. You must also cite any references you use when writing this paper. If you looked at ANYTHING as a reference you must cite it.

Write a 1500-2000 word paper exploring your topic in an analytical form. This is not a survey paper, and you must fo beyond describing your subjects and offer an analytic interpretation! (social, political, artistic, cultural) i will attach more information on this paper on the the pictures attracted

Overview: Close, careful looking and describing are the foundation of all visual inquiry, from art history to your own everyday encounters. In our visually-centered world, artworks, advertisements, digital media, products, and other expressive objects are purposefully constructed. Your willingness and ability to perceive and describe what you see is the key to breaking down how artworks are put together andeventuallythe impact they have upon us and our understanding of the world. This Part One paper challenges you to build your looking and describing skills by writing up, in narrative format, a detailed set of visual observations on a single work artwork or visually-expressive object. Artwork Selection: Because the key to this assignment is the construction of your own engaged, close description of single artwork, I figure that object should be something you choose. To do so, you should navigate the virtual collections of one or more regional museums (links included below) and select a work of American art that particularly interests you. There is no limitation on subject matter, type of object, or date. The only rule is that the work must be produced by someone that could be described as an American maker, and/or you must be able to link its origins/history firmly to an American cultural context. I have listed a few nearby museums at the end of this sheet that have major American Art collections. You may also consider museums not mentioned here or stand-alone objects (such as campus artworks), just so long as they meet the qualifications. Because the paper requires a detailed description, it is important that the image be available to you as a high-quality reproduction. If you find a work you love but the image quality is low, do an online search for a better version. If you need help or advice, ask your TA! **Finally, choose your object carefully, as it will also be the subject of Part Two! Also think about the museums location as extra credit may be earned by visiting your object in person for Part Two. Work Process: A) Looking: your paper will be founded upon your own close observation of the object, which you will then write down in essay form. No research is allowed for this paper. In fact, if there is a historical description available, DO NOT READ IT. Knowing the basic information is enough: artist, title, date, size, and material. Plan to spend a full THREE HOURS looking at the object and making detailed observations about it. Try to set aside any assumptions that you might bring to the objectapproach it as if you were a visitor from another planet with no prior knowledge of earthly art. Instead, use the formal analysis categories that we have learned in class and via the UNC visual analysis guide (see Week 1 module) to shape your observations. If by the end you have not been surprised by your object in some way, you have not looked hard enough. B) Writing: compose your observations into a narrative description. Use the first paragraph to introduce the work and the basic information about it: title, artist, date, medium, location etc. Your thesis statement should be something like This paper will provide a detailed visual description of the elements that constitute the work as well as their overall effects. Then, write out your observations in an organized way. For example, you might treat the various formal elements (line, composition, color, etc.) as topics of paragraphs, know that some will require more attention than others. As you move through the paper, try also to understand how the formal elements work together to produce an overall effect on the viewer. For example, do they create a sense of calm or agitation? Do they emphasize subject matter in a certain way? You should end with a sense of your overall impression. **DO NOT try to create a cultural or historical interpretation of the work. Thats for Part Two! Finally, please provide an illustration of your chosen artwork. You should be able to do a screen capture and add it to your paper. The image should go at the end of your text and be labeled with its artist/title/date.

This assignment accounts for 14% of your overall score.

How have works of art engaged with the conditions of modernity? Answer with reference to two works of your choosing from two different study weeks of Block 3.

In your answer you should analyse both of the extracts below, each of which engages with some of the different aspects of modernity explored in the block.

There is a mode of vital experience experience of space and time, of the self and others, of lifes possibilities and perils that is shared by men and women all over the world today. To be modern is to find ourselves in an environment that promises us adventure, power, joy, growth, transformation of ourselves and the world and, at the same time, that threatens to destroy everything we know, everything we are. Modern environments and experiences cut across all boundaries of geography and ethnicity, of class and nationality, of religion and ideology: in this sense, modernity can be said to unite all mankind. But it is a paradoxical unity, a unity of disunity: it pours us all into a maelstrom of perpetual disintegration and renewal, of struggle and contradiction, of ambiguity and anguish. To be modern is to be part of a universe in which, as Marx said, all that is solid melts into air.

Berman, M. (1982) All that is solid melts into air: the experience of modernity. London: Verso, p. 15.

It is generally agreed that modernity as a nineteenth-century phenomenon is a product of the city. It is a response in a mythic or ideological form to the new complexities of a social existence passed amongst strangers in an atmosphere of intensified nervous and psychic stimulation, in a world ruled by money and commodity exchange, stressed by competition and formative of an intensified individuality, publicly defended by a blas mask of indifference but intensely expressed in a private, familial context. Modernity stands for a myriad of responses to the vast increase in population leading to the literature of the crowds and the masses, a speeding up of the pace of life with its attendant changes in the regulation of time […] All these phenomena affected women as well as men, but in different ways.

Pollock, G. (1988) Vision and difference: feminism, femininity and the spaces of art. London: Routledge, pp. 6667.

Rationale

This assignment is designed to test your knowledge and understanding of the key theme explored in Book 3, Art in the Modern World, and the online materials for Weeks 1215 and to enable you to construct a reasoned argument supported by visual analysis of works of art and the critical analysis of textual sources.

You are advised to read the above instructions slowly and carefully to ensure that you have correctly identified all the requirements of this assignment. Please note that points will be deducted from your grade for this assignment if it does not fulfil all the Guidance note

This assignment is the first one for which you have been asked to structure your answer as an essay. It is also the first one for which you have been asked to make your own selection of works of art to write about. You may therefore find it helpful to consider the following points when planning your answer and selecting your images.

For this assignment, you are required to discuss the conditions of modernity as they have developed since the late eighteenth century. In your discussion, you should make close reference to the accounts of modernity presented in the two extracts above, supporting your points by briefly quoting from these texts. You are advised to pay careful attention both to the similarities and differences between the account of modernity that each text offers. You should be aware that Marshall Berman was a cultural theorist who wrote about the broad impact of modernisation while Griselda Pollock is a feminist art historian who is here concerned with the experience of modernity in the late nineteenth century. In your discussion of modernity, you should take account not only of broad historical shifts but also of geographical differences in the way that it was experienced.

In selecting your two works of art, you will need to make sure that they come from different study weeks. You will also need to consider how your selected images will work in relation to the two extracts, making sure that they enable you to construct a focused answer that explores key points drawn from the texts. The block features works of art and visual culture dating from the late eighteenth century to the present day, produced in a range of locations and representing a variety of media, so these are all factors to consider in making your selection. The visual analysis of your chosen works should be an important aspect of your argument, but you should also take care to consider how they were made, displayed and viewed.

Once you have considered the extracts and made your selection of works of art to discuss, you will need to work out how to structure your essay. You are advised to avoid writing a mini-essay about each of your chosen examples; you should instead try to devise a structure that allows you to explore the broad themes and issues raised by the question.

Please note that there is no need to provide a reference for any quotations from the two extracts above.

I have attached the assignment and its requirements to the document session.

Thank you!