Clan of the Cave Bear Term Paper Example | Topics and Well Written Essays - 1500 words

Clan of the Cave Bear - Term Paper Example The woman’s name is Iza and she requests the clans leader,’Brun’ since the girl belonged to a distrusted antagonists of the clan and as such they had been nicknamed, â€Å"the others†. With the help of her brother who happens to be the â€Å"Mog-ur† of the group in spite of him being disabled. It happens that immediately the group adopts Ayla they are lucky and find another cave. Therefore she is adored and is seen as a good omen to the clan. In fact better thing come their way from that time. She is even given the role of becoming the next Mog-ur of the new cave. However, the young man who is expected to that over the clans leadership is angered by the way she is being envied by most people plans to avenge (Auel 1-211). Paleoenvironment Flora refers to the plants while fauna refers to the wildlife and they are distinct from place to place. In the case of this book the environment hosts a lot of animals and plant. In fact, it is evident from the boo k that the caves are in a forest. This has made the lives of the Neandertal to be easily since they are hunters and gathers as well as farmers. The farming aspect can be seen though the readily available green vegetables and plants like cinnamon. More so they have horses which are tamed (Auel 14).The fact also that there is a Mug-ur and a sister medicine woman revels the presence of many indigenous trees (Auel 94). Another example is revealed when Durc is heard telling Vorn how his hunt had favored him and he caught a deer that was being cooked by his mate (Auel 19). Further there are many fruits and this is revealed by Ura when he says, that cinnamon tastes good with apples. Moreover, the presence of foods like bread and cakes demonstrates that wheat was being cultivated (Auel 208). In addition, there are many birds in this setting as defined in this text of songbirds and squirrels fly (Auel 18). Lastly the book demonstrates that there are a lot of greens most of which was used by the clan as food (Auel 100). Neandertals v. Moderns There are very many anatomical, behavioral, and mental differences between the Neandertals and the current world people. For example their mode of survival in the Neandertals is totally different they have demonstrated to be almost supernatural if they can live in cave under ice and harsh cold conditions (Auel 19). Moreover, their eating habits are not what a modern day person would prefer. They survived on mainly wild meat and fruits and even used herbs as their only medication. Consequently, these people have been portrayed as being illiterate a thing that is almost inexistent in the modern would. However they have proved that literacy I not wisdom because they have demonstrated that even with the lack of basic education they were able to survive under hardships and they even had leaders and a medicine woman (Auel 23). Lastly but not the least their adaptation to harsh cold weather is seen as having a big start at an early age. T his is seen through the many children that the Neandertals bore and raised. The Neandertals also have a difference with the modern people through their neighborliness and harmonious way of living. They mind and watched each other closely and yet they were able to maintain respect for each other.

The Influence of Film and Fashion and the Impact on Cultural Essay

The Influence of Film and Fashion and the Impact on Cultural Traditions of Behavior - Essay Example The paper "The influence of film on fashion" explores film influenced on the fashion. The film industry has also used this as a tool to create messages with the intent of changing and challenging cultural trends. In looking at the way in which fashion and behavior has been influenced by film, it is clear that the film industry has had a monumental impact on the way in which the event of going to the movies has a broader influence than merely the entertainment value that is offered. The existence of fashion in film is a form of communication that lends to the overall intent of each scene. According to Munich, the fashion in film gives further meaning to the communication that is intended by the look that has been created to enhance the overall design and look. Fashion and costuming becomes a part of the set design, the color of the walls being in balance with the color of the dress, the forms and structures of each element of the scene, including the clothing that the actors wear, a c arefully constructed ‘painting’ that gives to each scene the depth that will provide the messages that the meaning intends to convey. The look is a part of the overall communication, tying the fashion to cultural meanings and emphasizing new ways of viewing when done well. The meanings behind fashion have often been in creating a sense of social class, but through film these meanings become conveyed to all classes. According to what Munich has written, â€Å"Film offers fashion to the masses and is an avenue to its democratization†. ... A bottle of Coca Cola is a classic example of how the consumer culture is equalized through transactions. A bottle Coca Cola is worth the same amount of money to someone who is poor as it is to someone who is wealthy. No one pays more or less for a better or worse bottle of the product (Pendergrast 15). In this same vein of thought, Munich has suggested that fashion has been equalized through the same process as fashion becomes accessible for cloning to those in lower class levels as well as higher class levels (5). The visual opportunity to see styles and concepts allows for fashion to infiltrate sectors of the society that would not have had this opportunity in other time periods where accessibility was as easily attained. In designing clothing for the public, a designer must not only have a sense of how the evolution of the history of fashion has transpired, but must have a sense of what is important within the culture so that the clothing continues that communication. Film influe nces the direction that cultural thought processes are developed, and how the dress of a film has been developed in order to understand those thought processes further can be transferred as a part of the communication and message. An example of this type of influence can be seen through the film Annie Hall directed by Woody Allen. In the film, the lead character Annie Hall, played by Dianne Keaton, wears a specific wardrobe that has a masculinized representation. The wardrobe includes menswear in the form of hats, ties, and menswear style fabrics. The look was casual, oversized, and detailed with feminine pieces to give a sophisticated, cross gender look. After the release of the film, the look as it was created by

Visual storytelling in films

Visual storytelling in films Literature Review Introduction In this preface section, more than a few factors that shape the art of relating visuals and stories in films will be listed down. These factors will be the root of the research in order to perform the methodology analysis of the thesis, in addition to answering the research questions as well as analyzing the obtained results from the research. Visual Storytelling in Films: What is it? The exact description of visual storytelling is hard to pin down succinctly as there are various schools of thought regarding the matter. All the same, The International Film School of Paris (EICAR) had defined it frankly as â€Å"Communicating visually in forms that can be read or looked upon. In cinema a story is most visual when ideas and emotions are expressed through performance and aesthetics as opposed to dialogue.† Based on that characterization it is not hard to understand why Monaco (2000) claims that a film is a language for it ‘communicates’ to an audience. It is not a language in the sense of English, French or Mathematic is, for there is no such thing as grammar or vocabulary that needed learning. Campsall (2002) is in agreement as he elaborated that the language of film expresses the way a film would ‘speak’ to its audiences and spectators which is why directors, producers and editors work to produce meaning from the moving still images of film, video and television. The viewers in the end are responsible in decoding these meanings in a not dissimilar way to interpreting spoken and written language. When watching a film; everyone from various age groups is able to comprehend the visuals they see. Monaco (2000) states further that there are two conclusions, that everyone can perceive and identify a visual image which leads to the above statement. Another is that even the simplest visual images are interpreted differently in by people with different backgrounds. This is because, as human beings, we don’t simply read what we see but we bring to our interpretation of moving images, a range of pre-existing expectations, information and mutual experiences that f orm the significance we take from what we see (Campsall, 2002). An essential facet of film language is its gripping temperament and its manifestation of realism also known as verisimilitude. As Campsall (2002) wrote, it is not only as if the audiences are watching a bona fide ‘window on the world’, it’s a window that they would desire to remain on watching. Through these means, films are not only capable of being entertaining, enlightening and informing to its viewers, but also enabling them to perceive the world in a particular means. Moreover this makes the film language very much recognized as semiotic what with the usage of signs, codes and conventions. Those who could understand the language are able to see the methods or conventions used for visual storytelling. Throughout this research, there were many books and articles that voiced out their opinions on methods of reading a film; each film jargons have their specific symbolism and usage depending on what the direction of the story. When one is able to properly read a film by means of identifying and understanding the conventions, one would be capable of visual storytelling (Sijll, 2005). Below is the list of the accumulated conventions used in today’s visual storytelling. Visual Storytelling: Space Space in film refers to the spatial dynamics inherent in the frame of a film. One would say that a film frame is akin to a static snapshot thus part of a moving picture. Like a painting, the static image of the frame presents inherent storytelling opportunities. Because a movie is a motion picture, the composition of the frame continuously changes. This added characteristics affords two important story elements – that of screen direction and comparison. Screen direction can suggest antagonism, individualism, and conflict, for example. A moving frame might be used to represent change, similarity or it’s opposite, stasis. Visual Storytelling: Framing a Composition The eye responds differently to various visual stimuli. Among the most important elements that have been discerned are: brightness, colour, size, shape, motion, speed, and direction. Through careful manipulations these elements can be used to guide the audience’s attention and emotional response. As always, content, juxtaposition with bordering frames, and the intersection of other elements will contribute to the viewer’s response. Visual Storytelling: Shape within the Frame Depending on use and context, shapes can be used to suggest ideas and emotions. Traditionally there are three fundamental shapes: the circle, the square and the triangle. Out of these three, many forms can be derived out of them: the half circle, the rectangle, and many others. For each shapes there are certain traditional association made of them. Block (2008) listed in â€Å"The Visual Story† some of the shape meanings. Rounded Shapes are associated with indirectness, passive, romantic, pertaining to nature, soft organic, childlike, safe and flexible. Squares however are direct, industrial, ordered, linear, unnatural, adult, and rigidness. Triangles are for aggressiveness and dynamics. Block cautions that these are not rules for new associations can always be made depending on the need of the story. Shape is merely one element in the frame. Visual Storytelling: Editing Editing is a way of constricting time and space or producing the outcome of a dream sequence or flashback. The results of editing are more often than not seamless and natural that the audiences tend not to be aware of it. In theory, editing is the constriction of scenes through assembly of shots. Different choices of editing could guide the audience’s emotional response. Pudovkin (1926) had set down five editing techniques that remain the foundation of the modern day cutting: contrast, parallelism, symbolism, simultaneity, Leit-Motif. Visual Storytelling: Time A film is a dramatic representation of life. It is made up of scenes ordered to represent the passage of film time through the assembly of edited shots. Film time is rarely paced the same as real life. With the exception of mise-en-scene, most edited sequences manipulate real time. From one cut to another, an opportunity of altering experiences of real time can be made. The reason filmmakers alter time is because they are creating a dramatic story. Only those moments that contribute to its advancement are included, all else is left out. Visual Storytelling: Sound and Music Outside of the musical score, movies rely on three kinds of sound to tell their stories: Dialogues, voiceover and sound effects. While voiceover and dialog are well understood to be writer’s tools, few screenwriters approach sound effects with the same certainty. Yet sound effects are as much the purview of the writer as are visual metaphor, sound effects can also suggest an extended aural metaphor. They can add layers of meaning to a film that are hard to achieve in other ways. Sound effects can be obvious or subtle. They can intentionally draw attention, or manipulate with stealth. They can expose, disguise, suggest establish or reveal. They can also be associated to specific events or characters. Lyrics of music can act as the voice of a character. They can reveal the inner thoughts in a way that can be more interesting than a simple dialogue scene. Lyrics can also act as the voice of the narrator. They add another delivery system with which to parcel out character and thematic information. In other times, music is symbolically used as a story element. Visual Storytelling: Transitions The movement between the end of one scene and the beginning of another is called a transition. Each transition presents an opportunity to convey story information by virtue of how the scenes are cut together. The scene can simply be cut with no intentional reference or constructed to add a story element. A matching transition is one way to exploit this opportunity and can be achieved in an infinite number of ways. Visual Storytelling: Lenses, Positions and Motions of the Camera The camera presents a scene – subjects, actions, settings – in a series of shots that render images on a screen. Instead of just placing the camera where an audience can watch the action, the camera is able to provide the audience with engaging visual experiences. Variety is important for if a scene is simply rendered by a continue series of wide shots, the eye will soon tires of repetitions. A good shot will usually contain a variety of camera framings, and angles. For example by exploiting the depth of field of the lenses, each character on scene can inhabit their own horizontal plan. In this way characters can be staged in-depth. This allows the audience to see each character reacting to one event simultaneously and in real time. Different positions also play a part. The closer the camera is to a character, the more likely audiences will sympathise with the character. Visual Storytelling: Lighting and Colour Film interprets subjects and scenes as images of light and shade. Lighting is one of the few aspects in film that has the ability to create a certain reality to the audience. There are a number of different styles of lighting, each designated as a style geared to the theme and mood, as well as its genre. Lightings can also be used to weaken subject matter. Colour on the other hand tends to be a subconscious element in film. It’s strongly emotional in its appeal, expressive atmospheric. In short, colour helps to suggest moods. Visual Storytelling: Props, Wardrobes, and Locations Props provide a dramatic way to express a characters inner world. Props speak visually, are mobile, and can be returned to throughout the movie. By purposely selecting and exploiting props, a film’s scene can be given an added layer of meaning. Wardrobes are the same as props; the decision to include wardrobe elements depends on whether it adds sufficient dramatic value be it to a character, to show character transformation or the passage of time. Another way to externalize the inner thoughts of character is to manipulate the locations. It also offers a huge storytelling potential, for a certain location can heighten drama, suggest parallels and contrast besides defining a character. All three can also serve the purpose of bringing a sense of metaphor to the film. References Arnheim, R. 1969. Film as art. Berkeley: University of California Press. Bellantoni, P. 2005. If its purple, someones gonna die. Amsterdam: Focal Press. Bordwell, D. 1985. Narration in the fiction film. Madison, Wis.: University of Wisconsin Press. Bordwell, D.; Thompson, K. (2006). Film Art: An Introduction (8th ed.). New York: McGraw-Hill Block, B. (2008). The Visual Story (2nd ed.). Burlington: Focal Press Campsall, S. (2002). Analysing Moving Image Texts: â€Å"Film Language† [Online]. Available: http://www.englishbiz.co.uk/downloads/filmanalysis.pdf [2011, January 7]. CustomFlix. (Studio). (2006). Visual Culture: Visual Storytelling [DVD]. (Available from Amazon.com) Douglass, J.; Harnden, G. (1996). The Art of Technique: An Aesthetic Approach to Film and Video Production. Boston: Allyn Bacon Dirks, T. (No date). History of Film: The Pre-1920s [Online]. Available: http://www.filmsite.org/pre20sintro.html [2011, February 25]. Duguid, M. (No date). Hitchcock’s Style [Online]. Available: http://www.screenonline.org.uk/tours/hitch/tour1.html [2011, February 25]. Ebert, R. (2008). How to read a movie. Roger Ebert’s Journal [Online], 14paragraphs. Available: http://blogs.suntimes.com/ebert/2008/08/how_to_read_a_movie.html [2008, August 30]. Freeman, D. (No date). Visual Storytelling in Batman Begins [Online]. Available: http://www2.beyondstructure.com/article_batman.php [2011, February 25]. Gelmis, J. (1970). The Film Director As Superstar. New York: Doubleday Company. Giannetti, L. (2001). Understanding Movies (9th ed.). New Jersey: Prentice Hall Green, D. E. 2003. The proper use of cinematic storytelling in biblical preaching. Hallahan, K. 1999. Seven models of framing: Implications for public relations. Journal of Public Relations Research, 11 (3), pp. 205242. Martz, M. and Hallahan, K. 2009. Filmmakers as Social Advocates—A New Challenge for Issues Management: Claims-making and Framing in Four Social Issue Documentaries. Pedagogical Posters _ 156, p. 119. Metz, C. (1990). Film Language: A Semiotics of the Cinema. Chicago: University Of Chicago Press. Monaco, J. and Lindroth, D. 2009. How to read a film. New York: Oxford University Press. Playboy (1968, September). What did Kubrick have to say about what 2001 means? Playboy Magazine, 10 paragraphs. Available: http://www.krusch.com/kubrick/Q12.html [2010, 12, December] Pimenta, S. and Poovaiah, R. 2010. On defining visual narratives. IDC Design Research Journal, 3 pp. 2546. Pudovkin, V. (1926). Film technique and Film Acting. New York: Grove Press Rosenbaum, J. 2010. Goodbye cinema, hello cinephilia. Chicago: University of Chicago Press. Sijll, J.V. (2005). Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know. California: Michael Wiese Ward, P. (2003). Picture Composition for Film and Television (2nd ed.). Burlington: Focal Press Zettl, H. 1973. Sight, sound, motion; applied media aesthetics. Belmont, Calif.: Wadsworth Pub. Co.

The Lottery :: essays research papers

â€Å"The Lottery† Shirley Jackson wrote â€Å"The Lottery† in 1948, not long after the second World War. The horror of the Holocaust was still fresh in everyone’s mind’s. Jackson wrote this story to remind everyone that we are not so far from this world of sadistic human sacrifice. She created a town, very much like any American town, with the gathering of the towns people to celebrate some annual event. She wanted to shine a mirror on contemporary society, a reflection of humanity, or rather, inhumanity. One would think that she was protesting against the shallow hypocrites that rule the world. The town sets up this lottery in a very practical way, there were several things that were a part of the ritual that the town allowed to fade from practice. But the town still saw it necessary to stone a citizen to death once a year just because that was the way it was always done. Shirley Jackson wanted the world to try and find another way, to break away from traditions and be more humane human beings. Once the heads of household have drawn, everyone looks at the slip of paper in their hands and at the same time everyone is praying that it is not their family. Once again the family members draw and each one is praying it is not them, at the same time they know that they are about to lose a loved one. Everyone has felt these same feelings. A friend loses her husband or child and we say a little prayer of thanks to what ever power each of us believes in , thank goodness it was not me. When Tessie Hutchinson realizes that her family has been chosen she says, ‘ I tell you it wasn ’t fair. You didn’t give him time enough to choose. Everybody saw that.†(233) â€Å"The Lottery† makes one feel guilty for desiring one’s own survival.

How Are Human Beings Similar to and Different from the Gods Essay

In Greek mythology, specifically in Homer’s eminent epics; (the Iliad and the Odyssey), the gods are depicted according to anthropological means. They basically resemble human beings in form as well as in behavior. One must understand first that the Greeks had very much appreciated the human form. Contrary to the Egyptians, for example, who had portrayed their gods with human features incorporating some animalistic bodily features as well. Many other civilizations’ gods also had a certain idiosyncratic factor; they were above human beings, on an entirely superior level, to a point where there was a palpable barrier between gods and humans. A Pharaoh, for instance, would be like a god but there would still be a division between him and the people. The Greeks also had no bible, or holy sacrament. All they had were myths with no precise moral or lesson, other than the mere fact that â€Å"life’s a bitch†. Throughout Homer’s epics, the gods display human emotions such as anger and love. They were petty, having numerous sexual affairs with humans. And like humans, they even shared a diverse personality range. Each god acted very differently from the other. Zeus, for example, was a womanizer and could even be viewed as a knave. Whereas Neptune loved humankind; always helping humans in need. Or Poseidon, as seen in the Odyssey, liked to hold a grudge on Odysseus for blinding his son. The gods were all over the place with emotions and personalities. They would even love you one day and then stab you in the back the next. However, there is one very crucial difference between the two: gods, unlike the humans, were immortal, and being immortal was one of the attributes which rendered them as gods aside from having certain powers. It was also nearly impossible to become a god, and if one had become a god there was always a catch. Achilles, for instance, had become immortal except for one place on his body which was vulnerable – his heel (since it didn’t touch the â€Å"holy water† his goddess mother, Thetis, immersed him in). And of all the places that one could attack him; Paris, according to myth, had ended up killing him with an arrow aimed at his heel, thus infecting him and ultimately ending his â€Å"immortal† life. In conclusion, there is very little that can differentiate the Greek gods with humans, because essentially the gods were humans, sharing many similarities, since the Greeks were true humanists.

Analysis of Adarsh Society Scam Essay

Chavan was the revenue minister between 2001-2003 and had dealt with files pertaining to the ownership of the land. He is alleged to have recommended 40 per cent allotment of flats to civilians in the society, which was meant for war widows and heroes of Kargil war. The exposure of the scam forced the Congress party to seek the resignation of then Maharashtra Chief Minister Ashok Chavan . Maharashtra environment department had denied giving clearance to the society. The reports make it clear that neither MCZMA nor the state’s department of environment gave any clearance for the high-rise building, The state environment department has denied giving clearance to Adarsh housing society. The state environment department has denied giving clearance to Adarsh housing society. Adarsh Co-operative Housing Society building violated provisions of the Coastal Regulation Zone Notification, 1991. No CRZ clearance or permission had been sought to construct the building. It concluded that th e no CRZ clearance had been sought for incorporating 2269 sqm of BEST land. This was a condition imposed on the housing society by the state’s department of revenue when additional land was allotted in August 2005. The Adarsh Society has also violated the floor space index permissible in the CRZ-II area of Mumbai. This is prescribed in the Development and Control Regulations of 1967. There are reports that there are other buildings too that have come up,† he accepted, adding that he will go after them after 2010 amendment to the CRZ regulations are passed by Parliament. The high-rise is built on 6,450 sq metres within the Colaba naval area and was cleared on the condition of housing war veterans but now has 104 members, including former service chiefs, senior serving Army officials, a former Environment Minister, legislators and state bureaucrats. Govt. is waiting for the official report from the various ministry, only then they take action against the gulty. MMRDA to revoke occupancy certificate till Ministry of Environment and Forest gives clearance. The prime piece of land in upmarket Colaba given to the Adarsh Cooperative Housing Society belonged to the state government and not the Services, he said. The land belongs to the state government, based on the collector’s records. Revenue department granted land to the Society as per GR of 9. 7. 1999,† he said. Certain files were missing from the adarsh community housing society that bearing signatures of important officials, pertain to the decisions taken in the stages before the project was cleared by the government. Tiwari was urban development secretary for over eight years (2000 to 2009). During his tenure, the Adarsh society was given various clearances, including additional floor space index. Raj Bhavan sources confirmed on Tuesday evening that governor K Shankarnarayan received a formal request from the state government recommending him to make reference to the Supreme Court for removal of Tiwari. This will mean that Tiwari will not be able to challenge his removal in any court. Both Defence Minister AK Antony and Army Chief General VK Singh have promised strict action against any serving officer who is found to be guilty in the scam. MoD has also said that it will give prompt permission to CBI to question any serving officer and will have no objection if they are prosecuted. The controversial Adarsh Cooperative Housing Society (ACHS) had plans to undertake another residential project. It had even approached the Maharashtra government for allotment of a 7,500 sq m plot situated near the Spastic Society of India in Colaba   ACHS had proposed to develop the plot to build cheap houses for the ‘‘ weaker sections , defence personnel and other deserving classes’’ . Society was promoted by a few IAS officers; subsequently IPS officers, government servants, MLAs and MLCs joined in and the list went up to 130 members. The society applied for land at Wadala , and the government in principle showed willingness to allot 13,000 sq metres (over 3 acres) in September 2009. This plot was located close to the high tide line, where no construction activity is usually permissible. Arguing that there were at least two other buildings which had previously been permitted to be set up right next to the HTL, Adarsh promoters requested processing of their proposal and even urged the state government to modify the HTL to override CRZ concerns. he society requested the state government to redraw the high tide line (HTL) to clear the project from the ‘‘ CRZ point of view’’ . HTL is the line of intersection of the land with the water surface at the time of high tide. Restrictions are imposed on development activity within 500m of the HTL. Minimal construction activity is permitted in these parts. But since the Adarsh scam was unearthed, the names added to the file will be deleted or the allo tment of land to Indus may be delayed,’’ said sources. All of them got flats in the society in an expensive part of Mumbai at throwaway prices. While ownership of the land was still with the state, it was in the custody of Army for several years. Army had taken custody of the land ever since it was reclaimed because the state government was to give it to the Army in return for Army’s land in Santa Cruz firing range which was taken over by for expanding the Western Expressway. Now, as the auditors go through records, it is clear that the Army neither got the land, nor financial compensation from the state. The society was asked to change the bye-laws by the then Revenue Minister Ashok Chavan. That is on record. He called a meeting and called members of the society and asked them to change the bye-laws and 40 per cent of civilians should be allowed to be members of the society. There it created a lot of problems,† Deshmukh said. the defence ministry has asked to look into issues concerning the issue of a no objection certificate, relinquishment of the land in possession of the army and the extent to which commitments for the welfare of defence ersonnel were complied with, the official added. Among other things, the bureaucrats have been asked about the circumstances under which they became members of Adarsh Cooperative Housing Society and the source of funds for the luxurious flats in the 31-storeyed building, the official said. the authorities cancelled the building’s occupation certificate and snapped off its water and power supplies. Brihanmumbai Municipal Corporation (B MC) has decided to provide all necessary information regarding residential buildings and societies on its website. People can ascertain whether a particular shop or nursing home is licensed or not. RC THAKUR   chief promoter of Adarsh Society, was the military estate officer in Colaba division when he came to know about the prime plot and started getting files moved. His colleagues say that whenever Thakur came up against a hurdle, he would make the person a member of the society. What I think is to demolish that building because it is not following any norms passed by the government. Or we can hand over that building to the navy and army and let them decide what to do. Or we can give the flats to the kargil widows, because that land is for them only. Rest is depend on the government. If any such scams occur in mere future than public must raise their voice in order to protest them, it somehow effect our economy and spoil our society. Mostly the scams are done by the government personnel’s. and nowadays many people are trying to somehow get the government job. If we are not raising our voice now then in future we cant save our country. In India there are so many terriost who are spoiling our country and we are not bothered about them we just focus on the terriosm.