Women and Marriage Essay Example for Free

Women and Marriage Essay Women are confusing, complicated, and they can stress you out sometimes. On the other hand, they can make your entire day better whether it is a smile, hug, or just to give you extra support in life. That brings up the topic of marriage and for what reasons women ever think of getting married. The word marriage can be misinterpreted, and thought about very differently depending on your culture. Marriage in the eyes of most Americans is to represent a legal way of which to express how much you love and care for your partner. Most Americans never realize that marriage in other cultures can be put in to play for much different reasons. One other form of marriage is called marriage of convenience which is a marriage or joint undertaking arranged for political, economic, or social benefit in which rather than to love each other you get married to gain more power. All things a side marriage in general takes much time, effort, and most importantly understanding. Marriage, if looked at without bias, most people conclude that women are the main targets in society for the fact that they lose much freedom, rights, and not to mention their dignity. Men, on the other hand, gain things from the experience and do not have to worry about losing anything. I know that seems like a very unfair statement for all the men out there, but not only have I done surveys to prove it but all men know the facts. In the past, women would hand over everything to their husbands once they got married in which they didn’t have much of a choice. If the women would not have gotten married they would have had to live with their parents until they did get married, rarely did women live on their own and if they did they had little to no rights. The husband would work in the fields and bring home the money; while the women (wife) with no say in the matter, would have to stay home watching the children, cooking, and cleaning. Women not only were mentally treated like slaves, but were physically enslaved; if the husband got angry and hit his wife, she would have no choice but to just take the beating. Also, in that matter if the husband wanted sex he could force his wife to have sex with no consequences for his inhumane actions. For this matter, in the past the men had full control and power over his wife in ways that if those actions were performed in the present times the husband would not only be ridiculed but punished several times for his ridiculous mindset. Women in time became more powerful and started to declare their independence from the current mindset of American men that tried to degrade women. Men always thought they were superior to women, but they never could have imagined that women would stand up demanding the same fairness as men throughout the entire United States. Women were not even able to vote or even make any decisions in life in the recent past. Men had all the power to make not only his own decisions but also make his wife’s’ decisions. During World War 1 when the men were fighting over seas the women took it upon themselves to go work in the factories to prove how much independence they really had. At that time women started to realize how great life could be making decisions and having dignity. After that period of time women started forcing America to change for the better and women started gaining extensive amounts of respect. Over time women started wanting equal rights throughout the United States so in time women started gaining rights including voting, working, and even having the right to live on their own. Many men thought that women were not capable of fulfilling the same duties as men but are slowly finding out that there philosophy is completely wrong. Over time men have been working in the same careers as women and even to this day gender problems still occur on a daily basis. In fact a huge change in gender stereotypes came when fathers would become a stay at home father as the women would work to support the household. The women of America have created a total revolution in the framework of our society. When women get married in present times they still lose some freedom, but much dignity is kept for the sake of womens’ fight in society through the years.

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â€Å"Little Dancer, Aged 14† In 1881, Edgar Degas caused a scandal by unveiling Little Dancer Aged Fourteen (Petite danseuse de quatorze ans), his wax sculpture of a young ballet "rat†. Today, Degas' creation is considered a masterwork of Impressionist sculpture, a piece worthy of detailed study in an international exhibition. It wasn't just the subject matter of Little Dancer that repulsed critics in 1881 at an exhibition in which impressionist presented their work. The little dancer, Marie van Goethem, was a normal girl standing in a very normal position; it shows her hands behind her back instead of dancing. That ordinariness irritated those who believed that sculpture had to be monumental in subject and design. Degas also had the foolhardiness to use real materials, a muslin tutu, linen bodice, satin ballet shoes, a real hair wig and a colored satin ribbon rather than the customary media of bronze, stone and wood. (Wolgamott) Edgar Degas’s birth name was Hilaire-Germain-Edgar De Gas. He was born in July of 1834 in Paris, France. Compared to most families at this time, he grew up moderately wealthy. Degas began to paint when he was very young. By the time he graduated from school in 1853, when he was 18, with a baccalaureate in literature, he created an art studio in his home to create his works of art. â€Å"After he completed high school, he applied to work in the Louvre Museum; however his father pressured him into to law school not believing in art as a career. Degas enrolled at the Faculty of Law of the University of Paris in November 1853, but put forth very little effort to his studies if any at all. In the early months of 1855, Degas was granted access to the École des Beaux-Arts, a French art school, his mentor whom he stu... ...ind it concerning that his subject would be of this age even for this period of time. My focus, unlike the professionals who critiqued this sculpture, is not based on the child’s aesthetics, it is on her age and why she is posing nude for an artist. One can’t help but think further on that subject, and how that Degas and other powerful male figures abused their power. The use of the cloth corset, satin objects and real hair wig is fascinating to me. In this era of art although the artwork that was created was of â€Å"real† things, you would not see the use of various materials on a clay sculpture. In fact, the idea was unheard of. Degas was one of the leading creators of the impressionism period along with Monet, without them the art world would not be the same and we would not view art and the various brush strokes and darkness of colors in the same light.

Comparing Macbeth and Frankenstein Essay

Both Macbeth and Frankenstein are powerful, ambitious characters. However, they have very different ambitions and desires. Macbeth’s ambition is to become king by committing murder whereas Frankenstein’s is to create life. For example â€Å"I will pioneer a new way, explore unknown powers, and unfold to the world the deepest mysteries of creation.† -Victor Frankenstein, chapter 3 Frankenstein. â€Å"Stars, hide your fires; Let not light see my black and deep desires.† –Macbeth, act 1 scene 4 Macbeth. Frankenstein wants to create something innovative and astonishing, something that he can be remembered for and something that will push the boundaries of life and science. This is evident when he says, â€Å"pioneer a new way† and â€Å"unfold to the world the deepest mysteries.† We can understand why Frankenstein is driven by creative ambition when he uses the word â€Å"pioneer† which indicates to the reader that he wants to be the â€Å"leader† of this science in the future and wants to make progress beyond existing limits. Furthermore, the word â€Å"deepest† does have some connotations of â€Å"dark† and â€Å"unknown;† this could be foreshadowing to the reader what is to come. Unlike Frankenstein, Macbeth is completely consumed by his ambition to kill. He has to commit murder to achieve his goals and his ambition is a major factor in what leads him to do so. Macbeth is already in a highly regarded position within his kingdom, but once he has had a taste of this newfound power, his desire for more cannot be stopped. â€Å"Stars,† in the eyes of a Jacobean audience, would suggest something heavenly or Godly. So by saying this it is almost blasphemes: Macbeth is asking God to turn a blind eye on what he is about to do and asking that his true, evil intentions not be understood by his peers, â€Å"black and deep desires.† Both Macbeth and Frankenstein, to their respective audiences, would have been viewed as people defying the boundaries of life and humanity. Frankenstein, pushing the boundaries of creation and trying to â€Å"Play God:† Macbeth doing acts that are unnatural to human beings.

David Lynch as a Cult Auter

David Lynch as a Cult Auteur David Lynch has long been known for his abstract, surrealist, highly ambiguous, and often confusing films. Since his first film, the bizarre and depressing Eraserhead, Lynch has become synonymous with the word â€Å"baffled. † He has been responsible for heady acid trips such as Lost Highway, Mulholland Drive, and Inland Empire. He has created a bizarre examination of sex and violence in Blue Velvet and a quiet, emotional character study in The Elephant Man.Lynch has always been the artsy type; throughout high school, he was a keen painter, with a very abstract style, and after leaving school, he studied painting at the Museum of Fine Arts, Boston in 1964. However, he left after only a year, stating that â€Å"I was not inspired AT ALL in that place†. He then proceeded to travel around Europe to study the works of Austrian expressionist painter Oskar Kokoschka. He returned to America, however, after only 15 days. He then studied Fine Arts at the Pennsylvania Academy of Fine Arts in Philadelphia, before moving to Los Angeles in 1971 to study filmmaking at the AFI Conservatory.It was at this time that Lynch began winning grants in order to fund his films, including one for $10,000 which he received from AFI in 1970 to make his debut feature-length film, Eraserhead. Over his lengthy career, Lynch has been nominated for four Oscars, but has yet to win. Four of his films have been nominated for the Palme d’Or at the Cannes film festival; 1990? s Wild At Heart won the prestigious award, and Lynch also won Best Director at the festival for his 2001 film Mulholland Drive. Lynch, like many other burgeoning directors, started his audio visual career making short films.From 1966-1974, he created four of film history’s arguably most memorable shorts, leading up to his breakout, oft-critiqued feature, Eraserhead (1977). His style is defined by the dark, the grotesquely physical, and the straight out bizarre. Many of h is shorts included animation of his paintings. Sound and music for films was also of utmost importance to the paranoia-filled atmosphere of his works. The dark and the bizarre were aspects he would carry over to his television show, Twin Peaks, which aired for two seasons in 1990 and 1991.Lynch is valuable because he explodes conventions, both cinematic and psychological, but it’s not enough for him to be as strange as possible—even an approach based on throwing off the fetters of the conventional and the logical demands a kind of discipline. The trick is to allow one’s imagination free play, but to be able to recognize what is genuinely strange and unsettling, rather than merely bizarre, to distinguish between the rare specimens you’ve unearthed from the darkness of the ocean floor and the seaweed clinging to you when you emerge from the water.It’s a completely unscientific process, and one that can’t be forced, so in a sense it’s ac hievement enough that Lynch has remained devoted to exploring his own subconscious, however successful he’s been in conveying his findings to the screen. Leading film critics Le Blanc and Odell state that Lynch’s films â€Å"are so packed with motifs, recurrent characters, images, compositions and techniques that you could view his entire output as one large jigsaw puzzle of ideas. One of the key themes that they noted was the usage of dreams and dreamlike imagery within his works, something they related to the â€Å"surrealist ethos† of relying â€Å"on the subconscious to provide visual drive. † This can be seen in John Merrick’s dream of his mother in The Elephant Man, Agent Cooper’s dreams of the red room in Twin Peaks and the â€Å"dreamlike logic† of the narrative found in Eraserhead, Mulholland Drive and Inland Empire. Another defining pattern of Lynch’s films is that he tends to feature his leading female actors in mul tiple or â€Å"split† roles, so that many of his female characters have multiple, fractured identities.This practice began with his choice to cast Sheryl Lee as both Laura Palmer and her cousin Maddy Ferguson in Twin Peaks and continued in his later works. In Lost Highway, Patricia Arquette plays the dual role of Renee Madison/Alice Wakefield, while in Mulholland Drive, Naomi Watts plays Diane Selwyn/Betty Elms and Laura Harring plays Camilla Rhodes/Rita and in Inland Empire, Laura Dern plays Nikki Grace/Susan Blue. By contrast, Lynch rarely creates multi-character roles for his male actors.In a short film titled â€Å"How to Make a David Lynch Film† a group of young film makers explored just that. In the short, the group highlight a number of definitive features found in Lynch’s films. They mention that â€Å"the people who like David Lynch do so because he is the master of mood, or because he’s all about atmosphere† and that â€Å"the ‘art sier’ the fan you speak to, the more they pretend to understand Lynch’s nonexistent plots. † Other Lynchian traits mentioned in the short include: * Unneeded tension brought about by dramatic pauses between dialogue * There must be ominous ounds or music in every scene to create a mysterious atmosphere * There must always be a character that goes by the name of Mr. , followed by a common first name (eg. Mr. Jimmy) * When in doubt, add close ups of eyes and lips * Phone calls to add suspense * Halfway through the film, change the actor/actress playing the lead character * In between scenes always fade in and out of black * There should be nudity for no apparent reason * Random shots of out of focus movement * Lots of kissing * Painted fingernails * Lesbian love scenes At least one sex scene, often overexposed * Infantilism (eg. Dennis Hopper as Frank Booth in Blue Velvet) * Use of black and white * Abrupt endings and loose ends Lynch is an established auteur; in f act, not only does he write his screenplays, but he has been involved with every level of his films production at one point or another: sound design, editing, camera work, lighting, casting, special effects, music, etc. His hands-on approach to every aspect of his films has helped to tie them all together with a common thread.Lynch has sufficient strength of identity within his work and peculiarity of world view to warrant his position as auteur, and David Foster Wallace, in his ‘Premiere' article for Lost Highway, said : â€Å"Whether you believe he's a good auteur or a bad one, his career makes it clear that he is indeed, in the literal Cahiers du Cinema sense, an auteur, willing to make the sorts of sacrifices for creative control that real auteurs have to make – choices that indicate either raging egotism or passionate dedication or a childlike desire to run the sandbox, or all three. As Orson Welles said, â€Å"Cinema is the work of a single man, the directorâ₠¬ . Lynch's films, good or bad, successful or not, have been the work of a film-maker in control of his medium, aware of his position as auteur and willing to assert it within his texts. Many of Lynch’s works have developed a cult following over the years. Of note are Eraserhead, Blue Velvet and Mulholland Drive.There are also many in the Lynchian â€Å"cult† who are not film specific. That is, they are fans and followers of David Lynch himself, and are intrigued by all things Lynchian. The major reason that Lynch’s films stand the test of time is due to their very nature; because his innovative style is so surreal and cryptic, a selection of viewers are compelled to delve further into understanding his films.That’s the beauty of Lynch; his films deeply intrigue his audiences, igniting a thirst in the niche, cult followers to decipher meaning in films where others see none. In most cases, a director cannot really foresee whether or not a film will develo p a cult following over time. However, a further urge to make sense of his works is almost inherent of Lynch’s style, and some may argue that Lynch has constructed his films with the intention of being labelled by society as ‘weird’, or ‘strange’.It almost gives his loyal followers an excuse to be self righteous of their involvement in the cult community; â€Å"Hey look at me, I study Lynchian films, aren’t I cultured? † It can give them a sense of intellectual snobbery. Lynch’s most recent feature, Mulholland Drive was initially scripted and filmed as a television pilot, however, the project was turned down by several networks, and so, after some deliberation, Lynch decided to finish the text as a feature film.As a pilot, the story didn’t have a proper ending, and it took Lynch quite some time to formulate an ending for the film; however he says that it all came to him one night when he sat down on a chair and closed his eyes. In Mulholland Drive, Lynch dwells upon the theme of duality of identity, set in the world of Hollywood. After the failure of both her movie career and her love affair, the main protagonist, Diane, imagines a fantasy of her as another character named Betty, by recreating her ruined career and failed relationship with the woman she loves.To further expand on his main themes of identity, fantasy and reality, duality of things and Hollywood, Lynch uses contrasted filming techniques for each of the parts of the movie, creating a visual dichotomy between Diane’s fantasy (where everything is embellished in a way, highly illuminated, colourful and visually striking) and reality (which is almost completely dark and uses very little lighting, making it seem quite surreal), thus blurring the edges between the two. In her fantasy, Diane loses her identity, as her dream presents another aspect of herself. One ight argue that this fantasy is actually Diane’s attempt at self-id entification, but it is also another representation of her own personality. In the end, Diane must understand that she is comprised of, and capable of, both light and dark, good and evil, naivete and deep mystery. Therefore, she cannot escape or ignore the darker parts of herself – her failure, her hatred, her jealousy. Lynch has explained duality in his films in this way: â€Å"You must have the contrasts. Films should have power. The power of good and the power of darkness, so you can get some thrills and shake things up a bit.If you back off from that stuff, you’re shooting right down into lukewarm junk. †¦You have to believe things so much that you make them honest†. In other words, he argues that in order for films to be strong and powerful, they need to present both sides of a coin, an unrestricted view of life with all of its light and all of its darkness. However, according to him, there is no need to fear the darker side because it is a part of all of us: â€Å"Fear is based on not seeing the whole thing and, if you could get there and see the whole thing, fear is out the window†.Hence he argues that once we come to terms with these darker things and accept them as a natural contrast in all of us, rather than try to hide and escape them, we will be able to face and understand them. In an interview with The Denver Post during the release of Mulholland Drive, Lynch says: â€Å"we know that when we're walking around we see the surface of things, but sometimes we sense something more, sometimes what we sense approaches a kind of dreamlike state.Those feelings take on a life of their own; they are just as real as anything else. † This echoes Breton’s lecture that these often dichotomous forces of inner and external reality â€Å"are the one and the same thing. † However, Lynch does make note that we do approach these various layers of reality in different ways: â€Å"We have waking, sleeping and dreami ng—for most people that's what we deal with. So all of them are real, though the brain functions in a different way for each. The final movement of Mulholland Drive asks its viewers to reinterpret the first 100 minutes of screen time as now being a universe fabricated in the consciousness of small-time, failed-actor Diane Selwyn, who lies dying (or dead) somewhere in a run-down apartment in Hollywood. Linking the narrative material of the film’s final movement to the material that preceded it becomes critical in terms of how one understands the workings of the film. Of course, crucial as it may be to connect narrative information to the film’s internal structures, it is not this alone that makes Mulholland Drive such a unique experience.As in much of Lynch’s other work, the film asks its viewers to attend to every aspect of its construction, from colour schemes to camera movement, from music and sound to performance, from lighting to editing patterns, fro m set design to costume and make-up. In short, every element of the film’s construction can be a container of possible meaning. Because of this, most viewers miss much of the film’s meaning, and walk out of the theatre complaining that it made no sense. Others, however, may pick up on certain symbols or motifs, and are intrigued to decipher their meaning after viewing.What’s especially interesting in Lynch’s films is the way the entire mise-en-scene is presented as meaningful and significant. The hierarchy of significance that we associate with most movies, where some things are to be attended to more than others, is abandoned. We can never tell while watching a scene – at least the first time around – what its most significant features are. It’s possible that a seemingly minor detail will turn out be of critical importance. Everything is presented on the same level of significance.Over the years, Mulholland Drive has developed a cult following in a niche audience, and many of its devout followers are continuously attempting to decipher elements of the film. The website mulholland-drive. net is an extensive database of information regarding the film, where the film’s loyal followers can discuss the film and share their understanding of certain elements of the movie. Since all of the posts on the site are by members of the niche audience, it gives everyone a chance to see what other people thought of the movie and their analysis of its meaning.The website epitomises the commitment of members of a films cult following. To conclude, it is fair to say that David Lynch has well established himself in society as a cult auteur to be reckoned with. His abstract style often leaves his viewers with more questions than answers, and for some viewers, a desire to learn more. It is this factor that has essentially led to Lynch’s grandiose cult status. His followers are intrigued by his ambiguity. Although his ti me as a director will inevitably come to an end, the legacy of his films will last forever through their cult status. ——————————————- [ 1 ]. Lynch and Rodley, 2005, p. 33 [ 2 ]. David Lynch. (2013, March 16). In  Wikipedia, The Free Encyclopedia [ 3 ]. Le Blanc and Odell, 2000, p. 08 [ 4 ]. Lynch and Rodley, 2005, p. 148 [ 5 ]. Cook, 1986 [ 6 ]. David Lynch On Mulholland Drive, DVD Extra [ 7 ]. Lynch and Rodley, 2005, p. 150 [ 8 ]. Lynch and Rodley, 2005, p. 244 [ 9 ]. â€Å"Lynch composes cerebral symphony†, Rosen, 2001 [ 10 ]. Breton, ed. Fotiade 2000, p. 04

buy custom Captivating Nursing Essay Examples on Staff Members Nursing Homes

buy custom Captivating Nursing Essay Examples on Staff Members Nursing Homes Nursing Essay Example on Acts of Violence and Staff Members Nursing Homes Introduction Violence is any act, physical or verbal, aimed at a second party, which causes massive bodily or mental damage and/or harm. In a society aiming to uphold peace and harmony, such acts are unacceptable if not deplorable. Despite this, violence experienced in nursing homes is beyond any wild imagination. Staff members and certified nursing assistants in nursing homes have frequently yet silently been the subjects of violence for a long time. To say that it is understandable given the nature of their work is to be ignorant. The time to implement recommendations made by many researchers has surely come. Administrators, policy makers, and other stakeholders, therefore, have to use this opportunity to minimize, if not to eradicate all atrocities borne by staff members in nursing homes. Since experiences and information obtained from the Daughter of Miriams Nursing Home is reflective of the events occurring in other nursing homes nationwide, it is not wrong to assume that the suggestions put forward are revelatory. These suggestions will not only be a turning point to the Daughter of Miriams Nursing Home, but also to all other nursing homes aiming to increase staff's satisfaction and enhance its productivity.

Azuria Medical Problems Essays - Medicine, Health Care, Free Essays

Azuria Medical Problems The state-run medical system has collapsed in Azuria, and only rudimentary care is available through NGOs (when they aren't being shot or kidnapped). Statistically there is supposed to be one doctor for every 4,640 people in Azuria. Diarrhea, communicable and parasitic diseases are rampant in the country. Chloroquine-resistant malaria is present in all parts of the country. Larium should be used for chemical prophylaxis. Cholera, dracunculiasis (Guinea worm), cutaneous and visceral leishmaniasis, rabies, relapsing fever and typhus (endemic flea-borne, epidemic louse-borne and scrub) are prevalent. Azuria is also receptive to dengue fever, as there have been intermittent epidemics in the past. Meningitis is a risk during the dry season in the savanna portion of the country, from December through March. Schistosomiasis may also be found in the country and contracted through contact with contaminated freshwater lakes, streams or ponds. A yellow fever vaccination certificate is required for all travelers coming from infected areas. There's also a pesky little problem with Tumbu Fly, a local maggot that burrows into human skin, munching on flesh all the way. The larvae grows big enough to rip out flesh before it turns into a fly. Hospital Resources No non-trauma medical care is being delivered at the hospitals. If the needs of those with chronic or acute medical conditions, such as diabetes, are being met, it is likely to be through the efforts of private physicians working out of their private homes in the community. Hospitals provide casualty care to heavily populated portions of the country. Digfer Hospital in Mogadishu has the capacity for about 650 inpatient beds, with an estimated current inpatient census of 1,000 patients. Benadir Hospital in Djibouti City has approximately the same capacity and current census. Medina Hospital in Mogadishu currently holds approximately 400 patients. Hospital needs in the north are served by a team of five Azuri physicians who set up the "Health Emergency Committee" on April 18, 2005. They work out of 27 converted villas, which have been combined to form what is called Karaan Hospital, where most of the emergency surgery takes place. An additional set of 16 villas in the north constitute a collective inpatient ward, Karaan 2, for patients who are convalescing from acute injury. The total number of patients hospitalized in these 45 villas is approximately 5,000 to 6,000 people. For medicines, the Karaan Hospital relies entirely on weekly supplies brought in by the ICRC. The physical condition of the acute care areas of these hospitals is uniformly austere and, with the exception of the casualty and operating areas of Medina Hospital, where the expatriate staff from Mdecins Sans Frontires-France (MSF) have taken over and renovated the most advanced of the city's surgical units, conditions are unsanitary. As the factional fighting prompted urban fighting and then as the intra-clan conflict broke out, makeshift casualty wards were set up in the existing entryway in the other two hospitals in the south during the course of the past year. During this year, both parties to the conflict have looted and destroyed public and private facilities. They have not spared hospitals. Digfer Hospital was particularly hard-hit and stripped almost bare of equipment, furnishings, and supplies. The ICRC had opened a hospital for the care of acutely injured casualties for the north in early February, but after one week of operations, was forced to close it abruptly in the face of active hostilities. (The hospital is operational again; see below). The surgical care structures on the north are even more minimal, since they were built as private homes. With the exception of the acute casualty and surgical areas of Medina Hospital, none of these hospital structures have screens over the windows to keep out flies and other insects. Electricity is available only to the operating areas on an intermittent, limited basis, from locally maintained diesel fueled generators. Running water is infrequent and unclean. There is no oxygen available in the city and no inhalation anesthesia possible. Surgical drapes are scarce or non-existent, depending on the site or hospital. Sterilizers occasionally work and are used according to varying routines and frequency. Much of the surgical equipment in most of the sites is re-used without interim sterilization over a 24-hour period. Casualty and operating areas are mopped down intermittently, depending on the volume of cases arriving in acute condition. Available antibiotics included penicillin and erythromycin; medicine for the prevention of tetanus was in short supply. Medical support can continue to be provided at its current rudimentary level only if the lifeline provided by the ICRC can be maintained. Medical supplies to both sides of the city and food rations for

Dunkle v. State, 2006 Okla. Crim. 29, 139 P.3d 228, 2006 Okla. Crim Assignment

Dunkle v. State, 2006 Okla. Crim. 29, 139 P.3d 228, 2006 Okla. Crim. App. Lexis 29 (2006), - Assignment Example Character evidence was used in the court for the purpose of proving action and computer-generated crime scene re-enactments were used to persuade the jury that the state’s version were consistent with evidence at the scene and the defendant’s was not. Based on this, Dunkle was convicted of first degree murder. Dunkle has now appealed for her sentence and conviction. The issue is whether, by using improper character evidence, the appellant was denied of a fair trial. It is to be seen if character evidence provided is relevant and admissible in the court of law. Another issue is whether the computer-generated re-enactments are actual images of the crime or a set of possibilities. Previously, the Court had convicted Dunkle of first degree murder, but the decision has now been reversed and the case has been remanded for a new trial. It was found that there were reversible errors in admitting of computer-generated reconstructions and, irrelevant and inappropriate character evidence. The previous court had decided that the character evidence showcased and the evidence from computer-generated re-enactments were sufficient to prove that Dunkle had committed the crime and hence was convicted of first degree murder. But this court is of the opinion that evidence is insufficient to justify the decision. The court came to this conclusion as most of the arguments of the State were directed towards establishing that Dunkle had a bad character and a person who would kill someone but there was no attempt made to establish an apparent motive for the crime. The majority of the character evidence presented was irrelevant to the murder charge. And with respect to computer-generated re-enactments, the evidence only proves that defendant’s version is not consistent with the evidence at the scene but in no way proves the claim of the state that the