- Give an example of an externality cost and an externality that benefits people. Specifically, explain why externalities tend to cause additional pollution and environmental degradation and why externalities make environmental legislation necessary.
- Use the concept of supply and demand to explain why an increase in Medicare subsidies can lead to an increase in health care spending by the government.
- A government is thinking about increasing the sales tax rate. Should it use static or dynamic tax analysis? Explain why one approach is better than the other. Give one example of a tax rate plan that would be static and another than would be dynamic.
- In the illegal drug market, dealers can sometimes dramatically decrease the purity of the product without seeing much of a decrease in sales. On the other hand, in restaurants, a small decrease in food quality can often mean death the to business. Explain why this is true in the context of elasticity.
eelings clearly and unpretentiously. It is determined to be radical yet accessible, and to take its work to as wide an audience as possible”. (DV8, 2010, online) Originally premiered as a stage piece on 5th October 1988, Dead Dreams of Monochrome Men was the first stage piece by DV8 to be reworked and transformed for film (in 1990). My impressions of the piece are based on this film, directed by David Hinton, rather than the stage performance. Dead Dreams of Monochrome Men is divided into ten different pieces, involving a cast of four male dancers, (including Lloyd Newson himself), conveying the alienation of homosexual males and the deionisation of homosexual thirsts’. (Hutera, 83, 2008) The work is said to be inspired by the serial killer Dennis Nielsen, a man sentenced to life imprisonment in 1983 after murdering fifteen male homosexuals. Newson’s decision to use Dennis Nielsen within this piece could be regarded as surprising as Nielsen could be seen to represent the seediest, most violent and sadistic aspects of homosexuality rather than it’s more acceptable face. For me this shows Newson’s honesty in not backing away from difficult issues. However “while violence is always imminent in this work, the choreographer and director also focus on the unexpected tenderness of four men who are too desperate to control their needs to suppress their fear,” (Ney, 2001, online) Through the choices made in terms of movement, camera, music and set in Dead Dreams, the ‘fear’ suggested is of the sexual desire between the four dancers, who are battling with themselves and those around them. Newson is suggesting that homosexuals feel a need to try and suppress their desire, because of the harsh world they live in. Although homosexuality is treated far more openly within U.K. society than ever before, it is still tinged with danger and fear, perhaps echoing its past and the impact that prohibition and prejudice still have on homosexual culture. Newson made known that ‘the production loved to assault middle England prejudices and use shock as a major tactic.” (Brown, 2003, online) Newson was one of the first artists, not just in dance but across all art, to not feel the need to try and hide or tone down the homosexuality in his work. Newson was not afraid to use real male bodies, show you the real skin on skin contact and let you know that homosexuality is what you were being witness to. The use of camera in Dead Dreams of Monochrome Men brings the audience face to face with the ‘gay’ relationships between dancers. Throughout the piece the camera zooms in on close-ups of skin to skin contact. For example a duet in the second piece “blind” shows us a moment where two dancers are stood one in front of the other. The dancer behind reaches around the dancers body in front and lifts his t-shirt (a popular item of clothing among gays) to cover his head. Using his hands he then slowly and lightly explores the surface of his skin around his abdominal and pectoral area. At the culmination of this, the camera slowly zooms onto the dancer’s stomach and all we can see is this hand to stomach contact. The use of close up by the camera gives us no choice but to be confronted with this idea of intimacy between the dancers, emphasising the importance of this imagery to the piece, and the overall work. Suddenly the hand slaps the stomach and the piece finishes. The slap communicates to me a feeling of ‘forbidden’, that the touching between the two is wrong. Whilst we are shown the close up camera shot of the hand to stomach contact, there are short ‘snaps’ of another dancer who is positioned to the side of the duet. This dancer is crouched tensely over with this body, with his mouth pushed wide open, every limb, and finger to neck is stiff an>GET ANSWER