- Peter pays $9.99 for an all-you-can eat pizza buffet. How would you predict the number of pizzas that Peter will eat using utility theory?
- Consider an NFL quarterback who makes millions of dollars per year and a schoolteacher. Who is likely to receive more economic rent in his/her job? Explain your answer.
3.You have won the lottery. There are two payment options for you. The first option is a lump sum payment of $10 million that you will receive immediately. The second option is an annual payment of $1 million for each of the next 12 years. Assume there is no inflation. How would you make a decision between the two options?
- “In economics, the short run commonly refers to a period within one year and the long run is a period longer than one year.” Explain why this is incorrect, or at least an oversimplification.
dancer appears anguished and frustrated. The fact that we are unable to hear any ‘scream’ which you feel he is desperately trying to project, communicates that he may be a symbolic reference to the silent frustration felt by many homosexuals who feel they need to live in denial of their sexuality. There are many moments in Dead Dreams that contrast what we see on the outside of the dancers with what they are feeling on the inside. Newson has created moments which make us think there is more to the dancers than what is being portrayed on the surface, that an ‘act’ is being put on. For example, in piece four ‘I just want to be with you’ we have the only moment in the whole work where a dancer speaks. A man (perhaps representing Nielsen) is sat smoking, looking at us through the camera and speaking as though he were trying to ‘chat us up’ in a bar. The smoke illusion and the steadiness of his voice communicate an impression of calmness. However, about five metres in the distance behind this man we see another male figure, squashed between two walls. As the dancer speaks the male behind moves in a fidgety manor within his small space, as if trying to find a position that is comfortable. As the conversation builds and the sentences become longer and more personal, the dancer’s movements becomes bigger and more frantic, suggesting that perhaps the dancers are actually different sides of the same person. This scene appears to be metaphoric. Newson may be trying to say that however comfortable gay men appear to be on the outside, there is still a lack of confidence inside. “DV8 aims to connect the world outside with the world inside – or, if you like, the personal with the political. Even though their focus is on the body in action, they use whatever means they need to achieve that connection – dance, acting, circus, film, whatever. The message matters more than the medium. (2008, Roy, online) Silence is used very effectively throughout Dead Dreams. The use of silence at moments enables the audience to hear the breathing of the dancers. In Piece Four the dancer’s breathing speeds up as another dancer walks towards him, getting closer and closer. The breathing increases even more as that dancer then makes body contact with him, hand to his neck. By the intensity of the breathing we can sense a strong feeling of the nervousness and perhaps lack of trust he feels about the situation. This idea of trust between two dancers is bought up again later in the work, in a more symbolic and obvious way. Piece six called “Falling Down” involves a moment when one dancer is dropping himself from a ladder onto another dancer who is supposed to catch and break his fall. The dancer falls testing their trust, three times. First from a height of about two metres, the next as high as four metres, but then on the third drop, he is willing to fall from a height of about ten feet. The dancer beneath walks away, but the dancer drops himself anyway, perhaps suggesting that even those who you have grown used to trusting always have the capacity to let you down again echoing the Nielsen story as he first befriended his victims before killing them. “Filmed in starkly lit, anguish- and muscle-enhancing black and white, Dead Dreams looks like a living George Platt Lynes photograph set in a fevered, prison like bar world, pulsating with wordless sexual narratives, twitchy erotic appetites and well-shorn, hunky men.” (From Video Cover). Is this ‘prison’ supposed to represent another world, ‘homosexuality’ from which there is no escape? In Piece Five, ‘Drum and Dance’ for the first time we see the outside of the prison. A protected barred window, through which a bright light shines through (as if suggesting a happier place) into the dark and eerie box in which the four males seem trapped. A desire to reach for this ligh>GET ANSWER