History of Private Investigators in the US

History of Private Investigators in the US Private Security is a corporate business that provide armed and unarmed security services and expertise to public and private security companies. They provide patrolling, surveillance, and protection services for a fee. These services involve, but not limited to, security guards, watch dogs, security monitors, and parking security. Allan Pinkerton, Francois Vidocq, and Jay J Armes paved the way for modern day private security through their investigative techniques, tools, and services that are still either in used or influenced in todays private security sector. Detective Allen Pinkerton first opened up the Pinkerton National Detective Agency in 1849. The Pinkerton agency patrolled the Wild West, stopped bank robberies, counterfeiters, and any crime clients paid or they seem deemed to stop, researched by Bond (2015). Allen Pinkerton and his agency became respected by many, including President Abraham Lincoln where he saved him from an assassination attempt plot on his way to inauguration as President during The American Civil War between 1861-1862. In addition, Pinkerton also created two techniques still in use by intelligence agencies today called Shadowing and assuming a role. Shadowing involve conducting surveillance of a known target or location and recording everything so that a theme emerges from the analysis; and assuming a role which is undercover work where the detective blends into the environment and infiltrates the criminal enterprise, pretending to be a member to gather insider information to stop and prosecute criminal activiti es, researched by Bond (2015). Pinkerton also joined the United States forces and became the leader of the newly formed Union Intelligence Service during the American Civil War where he formed a massive network of spies leading all the way into the heart of the Confederate army, according to Fitzgerald (2017). Allan Pinkerton was also the first to create a database for criminals that outlined their criminal history and background, places of operation, tactics, galleria of criminal faces, etc. It is currently being used today by the Federal Bureau of Investigation. Former criminal turned crime fighter Francois Vidocq wasVidocq was the first chief of the Sà »retà ©, now known as the French National Police. The FBI, Scotland Yard, and other worldwide crime fighting organizations were based on the Sà »retà ©, researched by FlourishAnyway (2016). Vidocq created the First Paris undercover detective unit where they monitored all known former and current criminals as they moved into the city as their new home. The small unit also assisted with arrests and crime prevention. The unit consists of 4 members, eventually 28, who wore plain clothes and had complete access to the city which was surprising. Vidocq only hired ex-criminals because they had the street smarts and tough mentality for the undercover detective unit job. The unit reduce crime rates in Paris to 40 percent by 1820. Vidocq also contributed to modern day investigation due to his creation of these tools: undercover police work, ballistics (the flight characteristics of bullets), record keeping system, plaster of Paris casting for shoe imprints, indelible ink and unalterable bond paper (he held patents on both), crime scene security, fingerprinting, and forensic anthropometrics (measurements of the human body in police work) researched by FlourishAnyway (2016). Due to his criminal activity during early years, he does not get the recognition he deserves. However, He was the father of Modern Criminal Investigation with superb detective skills that will never be forgotten. Jay J Armes is an American Amputee private investigator, and an actor of repute and intelligence. He is known for the way he uses his prosthetics hands due to losing his real hands from rubbing two torpedo sticks together, detonating them and causing the mangling of both hands. This happened after he and his friend Dick Caples broke into a Texas Pacific Railroad section house and stole railway torpedoes. In 1977, Ideal Toy Corp created a new line of action figures around him that included detachable prosthetics, electronic gadgets, and lastly Mobile Investigation Unit. He is the only private investigator having an action figure modeled after him. In 1978, Armes joined forces with Ideal Toy Corp to create the Investigative Course for Children. The course was later introduced in many US schools at district level, researched by famous-detectives (n.d.). Also in 1978, Armes launched the comprehensive correspondence-based investigative training course, and paved the way for the formation of The Investigators Training Academy. In the same year, he also launched The Investigators Security Force. Afterwards, he created a mobile patrol and security service that served the society and provide refined security services. However, the patrol service was stopped after two years of effort. The Investigators Security Force then and now serves as the function to provide domestic government contracts and industrial security management abroad, reported by famous-detectives (n.d.). Armes is also a certified peace officer. His commitment in his work, and the many profiles of job roles that lead to great accomplishments shows that he is intelligen t and can give answers to anything related to private security and any security field. References Bond, M. (2015, February 26). MultiBrief: Pinkertons legacy still lives in law enforcement, security fields. Retrieved February 26, 2017, from http://exclusive.multibriefs.com/content/pinkertons-legacy-still-lives-in-law-enforcement-security/law-enforcement-defense-security Famous-Detectives. (n.d.). J.J. Armes. Retrieved February 26, 2017, from http://www.famous-detectives.com/j-j-armes.htm Fitzgerald, P. (2017). Allan Pinkerton. Retrieved February 26, 2017, from http://www.thefinertimes.com/Spy-s/allan-pinkerton.html FlourishAnyway. (2016, June 18). Eugà ¨ne Vidocq: The Convict Who Became the Father of Modern Criminal Investigation. Retrieved February 26, 2017, from https://owlcation.com/social-sciences/Eugne-Franois-Vidocq-The-Convict-Who-Became-the-Father-of-Modern-Criminal-Investigation

How Successful Was Daniel Kleinman in meeting the brief of the Charity?

For any charity, advertisement and raising awareness of the issue they are campaigning against is an essential part of their running. The NSPCC in particular find that raising awareness of child abuse is of vital importance, and this means that the advertisements they do broadcast have to be extremely effective. After studying an advert produced by Daniel Kleinman for the NSPCC, called The Ventriloquist, I have realized that in order to make an appeal advert as successful as possible, a number of devices must be used or taken into consideration. The whole purpose of Kleinman's campaign was to alert the public that there are millions of children out there who have no-one to turn to- and that by simply volunteering just a few hours of their week, they could completely change a child's life. The title given to the Campaign was ‘Someone to Turn to', which refers to both adults being more aware of Child Abuse trying to act more productively against it; and also to encourage children to talk to the NSPCC because they are always there for them. This advert in particular focused on alerting the public that Child Abuse is happening even in situations which may seem perfectly ordinary. The child in the advert was in supposedly safe environments with trustworthy figures that should have been protecting her- yet they all failed to notice what was going on, a point illustrated by the fact the man was sat right in front of them and perfectly visible, yet they still couldn't see him Other than all of this, the main aim of the charity is always to attract more attention to the problem and to encourage more contribution, whether it is through volunteering, donations or even through physically going out and taking action against Child Abuse. In my opinion, the advert is very successful, as it could have easily inspired all of the above events to take place. This is particularly impressive, as the brief Daniel Kleinman received would have been unbelievably difficult to fulfil, considering the sensitivity which has to be given to the subject. It needed to be treated with complete appropriateness, and Kleinman had to take care not to be crude or offensive, but at the same time still highlight the brutality of the issue, both physically and mentally. I feel this is achieved, and that the advert manages to tactfully show how sinister and malevolent the situation is through using effective scenery, expressions, or even silence itself; and therefore illustrates how isolated and mute the victim is. So what is it about the advert which makes it have quite so much impact? Kleinman used a number of technical devices in the advert, which contributed greatly to its success. For a start, he mixed visual effects and real people with animated effects and dummies. The ventriloquist act is very appropriate for several reasons- Firstly; it is a great allegory of how the man completely rules her life- so much that she has stopped being a real human being and is just controlled by him. Secondly, the whole principal of dummies is very chilling and ominous, and so people are alarmed right from the start of the advert when there is a dummy amongst a class of real children. This draws attention to the girl, and our minds immediately focus on her. One of the best used animated effects was the dummy's eyes. Using animation, the eyes were made larger than they should have been and therefore reflected the girl's emotions a lot better- similar to Dennis Potter's idea of using adult actors to represent children, as their larger bodies act as a kind of magnifying glass to the emotions and movements. They dummy's eyes have this very same effect. They are very expressive, and throughout the advert they look scared, uncertain, alarmed and sad; as well as constantly checking with the man before she speaks. Furthermore, at the end of the video after dismissing her mother's concerned questions, she closes her eyes for a few seconds so that her complete misery is made obvious. Another technical device used by Kleinman is the soundtrack of the advert, which uses a good mixture between silences, background noises and actual music. The advert begins with just the normal sounds of a school classroom, leading the viewer into a false sense of security, and when the dummy sat on the man's lap comes into view, it makes it even more disturbing and shocking. Then, as the dummy speaks with the man's voice, chilling music starts, making the scene even more alarming. This spine-tingling music is used throughout the advert, with the exception of just a few scenes, and results in a growing feeling of suspense, making the overall impact of the commercial much greater. An alternative method used by Kleinman in the soundtrack is silence, an effect which works perfectly in the play park scene. The play park scene is perhaps the most distressing, which is mainly due to the isolation of the surroundings. We are witnessing firsthand a form of Child abuse, and as the viewer we are made to feel helpless- we can see the abuse happening, yet we can't hear it or do anything about it. In this way, the video is extremely emotive, as it creates an urge in people to take action. However, it is not just the soundtrack which created this feeling, and many other elements of the advert contributed to its success- Obviously, the actual Character and Narrative were a fundamental part. The man who was playing her abuser was extremely convincing in his part, and at some points actually made the viewer cringe with how alarming the scene was. His facial expressions were completely composed, showing how confident he is in treating the girl like this, as if it were perfectly natural. Another part of his characterization which was as equally disturbing was his intimacy with the girl. Throughout the advert she is constantly sat on his lap, an allegory to his domination and control over her. Also, it stressed the fact that no-one can get close to her apart from him; and that she is isolated and separated from everyone else, even her own mother. Another affective part of the staging for the Advert is the fact that no-one else notices the man, stressing the loneliness and seclusion of the girl, and that no-one can get through to her. In fact, it is the exact opposite, and she is shunned away by people- particularly her peers. This is represented predominantly in the bus scene, when everyone is laughing at her- even the paedophile is smirking and appears to be mocking her. Overall, I think that the most important feature in the commercial is the use of narrative, and the swapping of voices. The girl can't speak for herself; instead the paedophile has completely taken over her life, always present and intimidating. The deep man's voice is grotesque, and immediately captures the audience's attention and shocks them, making them mesmerized with the advert and meaning they are affected as much as possible by the advert. Consequently to such enormous affects on the Audience that the advert motivates, it is clear that Kleinman must have used extremely great directing techniques to create such a result. In particular, Kleinman uses lighting and colours a lot to put empathize on the mood of the film, such as putting the Ventriloquist doll under a direct spotlight to draw the viewers attention towards her. This lighting effect also means that the doll has lots of shadows around her, especially falling on the Ventriloquist himself. These shadows represent the malevolence which surrounds the girl constantly, and how her whole life seems like a dark pit of despair. Another technical device which Kleinman used in the advert was the colouring used. Whilst the girl is around other children, the colouring is bright and energetic, as a children's life should be, but as soon as she is away from them it becomes dreary and sinister- an illusion of what her life is like at home. Throughout the advert, the background to the scenes is mirroring the mood of the soundtrack and lighting, putting empathise on the points being made even more. As part of my research for the making of this Advert, I watched an interview with Kleinman so that I could see what his objectives were whilst creating the advert. From seeing this, I discovered that Kleinman's idea for the Ventriloquist doll was drawn out of his desire to show how controlled and vulnerable abused children were. Using a Ventriloquist is perfect for this, for they are naturally chilling even away from any fearful situation. Kleinman felt that this automatically brought great tension to the scenes, and complete caught the attention of the viewer- the makings of an ideal advert. Owing to the number of effective elements of the advert mentioned above, it is logical that the impact on the viewers was extremely great. Any child-abuse advert automatically evokes sadness and sympathy from the audience; however because of the in-depth styles of directing which took place in the producing of this commercial, the audience are also made to feel complete empathy towards the girl, and it leaves them with severely distressing thoughts. However, one of the main necessities of the advert was that its message was clear to younger audiences, and in this way the advert does not produce very good results. Due to the depth of the allegorical devices used in the advert, it is quite likely that a younger audience would find it hard to grasp the idea and information which is being portrayed. This is one of Kleinman's only faults in the production of this advert. In the majority of circumstances, it is young children, who are suffering in these abysmal situations and therefore the appeals also need to be suitable for someone of that age group. What is the use in alerting the public of all these horrendous acts if the children themselves cannot realize what is going on and tell someone? Overall, I think that due to the complexity of the advert, it is not suitable for a younger audience, as it would not have the wanted affect on them and be equivalently useless. Despite all this, the advert is still incredibly emotive. So did Kleinman reach the Charity's brief? Personally I feel that he did, as the disturbing nature of the advert resulted in the utmost awareness from the audience, meaning that the appeal was even more likely to be successful. This reaction to the advert is exactly that which the Charity wanted- they are inspired to take action against Child Abuse and are made conscious of the reality that Abuse can happen in the most ordinary of situations.

Intertextual Relationship Between Renoir’s Parte de Campagne Essay

France can be credited as the home to the film industry. French film directors can be said to have invented the whole concept of cinema. For instance, as early as 1895, Lumiere brothers produced a 50 seconds film titled The Arrival of a Train at La Ciotat Station and this led to pundits to name it as the first bold step in the cinema industry. They continued in their production until the First World War where they shifted focus to producing documentaries films and newsreel. However they had already laid the bedrock for the advancement of the film industry and other pioneers took it in the 1930’s. (Hortelano, 2011, p.256) While during the First World War, the cinema industry seemed to have grounded to a halt, the period after 1920 going to 1930’s show emergence of younger film directors with much enthusiasm in the industry. Such included Marcel Carne, Rene Clair and Jean Renoir (Conley 2007 p.166). He adds that they experimented on wide styles and cinematic themes in the process. However, France was plunged into the Second World War in 1939 which consequently led to slow down the evolution of the cinema industry. This did not pick up until 1950’s where again France show emergence of young budding enthusiastic film directors who are regarded as the new wave, Nouvelle Vague, of cinema industry. This included among others, Jacques Rivette, Jean lucques Godard, Loius Malle, Francois Truffaut and Alain Resnais. This group of film makers believed that a filmmaker has possession of the film without interference from either studios or producers. This paper will discuss Partie de Campagne and Les Mistons., two films made by two great French film makers, Jean Renoir and Francois Truffaut respectively. Renoir’s Partie de Campagne is a forty-minute film produced in 1936. It is regarded as the greatest unfinished film ever made. While many films are abandoned and fail to break the ground due to unreliability of financiers or filmmaker’s own volition to abandon the project, Parte de Campagne was abandoned due to persistent bad weather (Miller, 2006, p.3). However, despite it being unfinished, it was released ten years down the line. Renoir is famed for producing films with lots of realism and satirical content (Hortelano, 2011, p.257). Just like Truffaut’s film, the film Parte de Campagne is a romance filled film based on a story by Guy de Maupassant and the plot of the film revolves around a family that decides to take sometime in the country side. While in the village and as the men family members proceed to fishing, the mother, Juliette (Jeanne Marken), is involved in a flirtation with another man from the village while her daughter, Herinette (Sylvia Bataille) , also gets into intimacy with a babbling young man, Henri, identified as George Saint-Saens. However, being a vacation, the family leaves and never to return in the same place any sooner. When they did fourteen years later, so much had changed. We learn their love was unfortunately hampered by Anatole (Paul Temps), a partner of Monsieur Dufour that Henriette was forced to marry. The former lover, George Saint-Saens, undertook to renew the initial relationship but to no avail. They both try to catch up but the family heads to the city. Episodes on what happened were never shot as the project was abandoned (Miller, 2006, p.5) Exemplar, the shots of the summer storm and the long sequence of the rain firing the river that, underlying the explosion of passion of the natural element, and between Henry and Henriette. The sequence leads the film to the next encounter of the lovers, dramatically resulting in the resigned acceptation of the course that social norms have imposed on their existences. It has been argued that the film captures the importance details of the French history, at a time when there were no hostilities, in the 1900’s. Being produced 1936, no one would ever think what lay ahead in 1939 when France was involved in the war and Paris fell in 1940. The film captures the serenity of the moment when people were relatively care- free before the world fell into disgrace (Hortelano, 2011, p.258). On the other hand, Truffaut’s Les Mistons delves onto the lives of children. It was shot in 1957, when Truffaut was only twenty five years old. Unlike Renoir, Truffaut represents the second phase of French new wave in the cinema industry. However, the two seem to put emphasis on the theme of love. The subject, as will occur for most of Truffaut’s films is the result of a literary adaptation: a short story by Maurice Pons, contained in Les Virginales. But adaptation is not so much based on the principles of inventing without betraying the spirit of the text, but rather by the need to filter the situations offered by inspiration through the feelings and concerns of the author, by combining the elements of the story to traits of his personality. Telling the story of five teenagers who spend their time to monitor and harass a pair of lovers, during a sunny summer in a small town in the south of France (Nà ®mes), the film disposes to surprise and record, with participation and detachment together, the disturbances produced by a nascent sensuality, awakened by all the more insinuating and fleeting images, a new tenderness full of mystery fuelled by sweet visions of bare legs showing under fluttering skirts, of still images of breasts, furtive kisses exchanged in the dark of a movie theatre and of embraces favoured by the complicity of a deep forest. Bernadette is the origin and object of a prestigious discovery, symbol of a bright sensuality, mysterious and fascinating personification of the dark dreams and secret imaginations that populate the nights of adolescents in Nà ®mes. She becomes the victim of a hostile crowd as soon as the brats learn the impossibility to possess the object of desire, the sense of their strangeness as jealous witnesses, forced to only spy kisses and desire hoped tenderness. The camera takes on this helpless anger, clutching close behind the five Mistons, following them lovingly. The destruction of the couple has a remote character, is projected out of the exclusive world of adolescents: there is just a little bitterness, pity perhaps, only as a memory of the adventures of adolescence. Thematically, the film seems to anticipate, in an inaugural gesture, the main obsessions that make up the universe of director’s film: the cruelty of childhood, the fleeting nature of happiness, the unstoppable flight of time, the purity of feelings and the instability of the couple. Claude Beylie, in â€Å"Cahiers du cinà ©ma† comments upon the film â€Å"I ​​like this sincerity on the skin that follows them like the look of someone who has not forgotten his childhood, this luminous sensuality that they pursue (and the camera with them) without having the exact consciousness, this unbridled eroticism sifted through a demanding purity †¦ For me, some say, is like little pieces of wood. With small pieces of wood and a crazy talent put together, Truffaut reinvents cinema â€Å". (Alberto Barbera, Franà §ois Truffaut, Il Castoro Cinema, 1976) The film was the foundation of what Truffaut would be viewed in future as a romanticist. He attempted to make the film as sensuous as possible using affects such as reverse motion and slow motion in for instance the scene where Gerald is seen kissing Bernadette on the balcony (Dixon, 2006, p.6). Just like his hero Renoir, the shooting of the film was grounded for some time, as the cast took a ten days break and came back to continue as if nothing had happened. Being twenty five years then, it captures the moment of the time as it displays his love for the youth and relationships. It being shot in black and white does not diminish its feel. It adequately captures the serenity of the summer time and the bouncy energy of the youthful age (Hortelano, 2011, p.258). Truffaut’s creatively is portrayed in the fact that no boy stands out as the main play and hence they could be used interchangeably to play their role of admiration. So well was the synchronization that any boy chosen to appear on the scene would be seen to be representative of the entire idea of all boys’ infatuation (Conley 2007 p.166). This is based on his approach in acquiring the cast where he conducted interviews with boys in the age bracket eleven to fourteen, where he was looking for raw talent and best fits into the cast rather than theatrical experience. His desire to grow and uplift young people saw him recruit a young person for the position of director of production, his friend and collaborator Bazin (Dixon, 2006, p.5). In Les Mistons another feature that has accompanied the entire work of director is evident: quotes from other movies, but never a pure a cinephile divertissement but rather they are the filmic transposition of the sympathies and antipathies of Truffaut as a critic. You could almost say that the French director never fails to be a film critic and does so on newsprint, continuing to write about cinema, and in film, when substituting the typewriter with the camera. The film captures evident homages to the Lumià ¨re brothers, Jean Vigo, Roger Vadim, his friend Jacques Rivette, of which the two lovers see at the cinema Le coup du berger , but also a fierce critic to Chiens perdus sans collier, film by Jean Delannoy already crushed by Truffaut. In fact, one of the boys out of the cinema rips the poster while the others sing Colliers perdus sans chiens, reversing the lyrics of Paul Edmond Bacri Misraki which is part of the soundtrack of the film by Delannoy. Both Renoir, and years later, Truffaut managed to convey the message on the ‘frailty of human nature, the uncertain journey of human heart and the inevitability of passion taking over convectional social mores and the mutability of love’ (Miller, 2006, p.4). Both aueturs treat similar themes in a natural framework, signature of both’s poetic realism. Conclusion From the discussion above, it becomes apparent that both films can be categorized as short films. Yet they captured all the essence of a full blown film. Though both the films are short, the writers have been able to capture the theme ad impression intended. They were shot at a time when commercialization of film was not entrenched and as such, they are as authentic as they can be. In addition, coverage of the films was done in the natural setting using not so advanced technology and hence, they have both been regarded as masterpieces up-to-date. Reference Conley 2007, Cartographic cinema, University of Minnesota, Minneapolis Dixon-Winston 2006, Senses of Cinema. [Online]. Available at: http://sensesofcinema.com/2006/cteq/mistons/ Hortelano, TJ 2011, Directory of World Cinema: Spain, Intellect, Bristol Miller, K 2006, Parte de Campagne. [Online]. Available at: http://www.imdb.com/title/tt0028445/reviews

Slavery in Latin America vs Us - 3432 Words

Slavery and its Impact in Latin America Vs the United States Slavery originally started in Latin America and the West Indies by the French, Spanish, and Portuguese after the conquest, to replace the depopulated labor of the Indigenous people. Shortly after, slavery became a profitable enterprise for the capitalistic driven United States. Some of the principal laws and systems of slavery were the same in both regions, but others were later changed. It brought about many changes, with respect to African-Americans and black culture. Those changes had long lasting effects, not only on how blacks view and are viewed in society, but also on how the destruction of our culture influenced our current life-style today in United States and†¦show more content†¦Prosecuting them was hard to do, due to the fact that laws were enacted to prevent slaves from testifying against their master. This treatment continued into the 1900s with the lynching and tree hangings of many blacks. However, masters who treated their slaves cruelly were legally punished In Latin America; slaves were able to testify against their owners. In contrast, a slave having a Sunday of was considered as an incentive from the owner, to encourage efficiency under the U.S. English Common Law, and those laws treated slaves drastically different. They viewed slavery as a business only. They did not care about their livelihood, nor did they consider slaves as people. They based the price of each slave on gender and age; considered them as property, and sold them like real estate. The states enacted laws for contracts, which protected both the buyers and owners in the initial purchase. The same effects of what contributed to Latin America’s uneven society can also be the blame for the physiological issues of segregation amongst the black race itself in both regions now, as well as during slavery. 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