Philosophy Cultural Relativism Essay Example | Topics and Well Written Essays - 500 words

Philosophy Cultural Relativism - Essay Example The technological boom, having emerged to satisfy the society's thirst for innovativeness and easier life, deprived the society of its basic functions - live communication, connection with the reality, building relationships; product variety deprived the planet of huge amount of its resources, destroyed natural habitats and left the poor countries unable to meet their basic needs; the U.S. economy actually lost from the consumerism behavior, because as people were becoming "shopaholics" they started to take more and more bank credits as they could not satisfy their previous loans, thus living a life "on credit"; personal happiness became a transitory state of mind. The creation of cell phones, computers, mp3-players, I-pods, the Internet, TV - all of those items changed the lives of our predecessors so much that they lost their sense of reality. The human himself lost his ability to communicate freely and build real social relationships. One started to prefer cell phone calls, virtual chats, I-net calls as they were more convenient. He did not need to travel to meet the person he wanted to talk with. He did not need to sacrifice the cosiness of his own home or office.

Compare and contrast the consequences of WWI respectively WWII Essay Example for Free

Compare and contrast the consequences of WWI respectively WWII Essay WWI and WWII brought an extreme destruction and devastation to the world, certainly the previous wars had also brought devastation, but in a totally different scale. These wars were the biggest in the history of men with unexpectedly huge causalities to every country participating. The technology of warfare had improved beyond the imagination of men, bringing weapons that could kill enormous masses of people within a short period of time. WWI and WWII both had devastating results, far more than expected since each war took more than 10 million lives each and as written in the header, that was much more than any previous war. The cost of the war had gone along the size. Whole Europe fell in large debts from the wars, and there were inflation everywhere, more severe after the first war, and you can almost assume that the leaders of the countries had learnt something at least. Especially the inflation were high under the depression in Germany. The previous optimism from the 19th century was gone, now people had experienced the true horror of war, of the first world war, and after the second world war the horror that it could be repeated, a thought which didnt occur to most people after the first war. Partly due to that many countries changed their ideologies after both wars, countries drew back after the first war, trying to repair some of the devastation, along with the more republics that came, the ideologies became more turned inwards the country above all, we are the better, nationalism is a possible definition, but in many cases, except Germany, who mostly under these years were driven by hatred and revenge against the unfair Versailles treaty, it was more a fear, a paranoia, especially for the French along the Maginot line, walls rose between countries and the whole area were pretty tense, not as tense as before the war, but still everything hadnt faded away. The exception for this was the USA with their attempts to create the League of Nations, but it became very short lived and hadnt the impact it needed for becoming strong. However it planted the seed for the coming UN, which makes another similarity, both wars created these welfare organisations. But after the WWII the countries in Europe again started to look over their own borders, becoming a little more widely minded, countries became more involved in worldwide questions and started with these war-preventative organizations like NATO, trying to prepare for the next war, now that they knew that a repeat of the war werent impossible. These would show themselves useful sooner than expected. Since WWII as well as WWI led to a new conflict, for WWI obviously the WWII, and later for the second, the cold war, although it werent even close to the scale of the previous wars mostly due to the fact that it didnt blossom to the war it were predicted to. Both wars also had an enormous impact on the economy in Europe. Among others huge economic debts piled up for each country involved. Furthermore the countries lost labour, since they got killed in the war. This was a downfall for the economy but to make up for some of the scarcity of labour women got to work in the factories, something which earlier was unthinkable, especially in the first world war. A general opinion of men during the late 19th century and the early 20th century was that women should be at home, taking care of the family etc, while men should work, providing the family with money. Although women was accepted working in factories to a great extent in the second world war, compared to the first and especiallty the time before, it would take a lot of more years before a women, not during war time should work. This also provided to the new liberal ideologies after the Second World War. Moreover things that had an impact on the economic change was the new technical improvements during the wars, since many products was invented as a consequence of the war and also the rate of mass production rose during the first world war. Also due to the enormous cost of the war there were inflation in many countries, one extreme example is Germany after the first world war, the Versailles treaty had put Germany under unimaginable debts. Debts that Germany had no opportunity paying back. Thats the major reason behind the inflation, when in just a few months in 1923 the worth of the mark compared to the dollar rose from 4.6 million to 4.3 trillion, about 1000000 times as much. Also the geography of the world changed after the wars, the borders changed quite a lot, and for example the first world war was the final blow for the Ottoman Empire, the reason that it fell, although it were about to fall anyway this was the spark. Then during the war Austria Hungary fell and the borders changed a lot in the Balkans. Finally, as pointed out the effects are quite similar, the atmospheres after the wars were rather similar, both were tense and allowed for new conflicts to start. The distrust of people for the government rose greatly. Furthermore theres one effect I havent taken up yet, the destruction of the earth after the wars, great parts of Europe were affected, trenches were built, big land parts were bombed, and destructed even whole cities were bombed, then especially the Japanese cities Hiroshima and Nagasaki under the second world war. Then theres the social trauma, both of the soldiers and the families at home, losing their relatives. But as they are similar, there arent many significant differences, probably the biggest were however the fact that no country did demand any compensation for the war, then there were no opportunity of a scenario like the one of Germany after the First World War to occur another time. Even though there also were positive sides on the war like the great leap in technology the overall effects were greatly negative, both wars had devastating effects.

Film Analysis Of Double Indemnity Film Studies Essay

Film Analysis Of Double Indemnity Film Studies Essay From the moment they met, it was murder! This is the legendary tag line for Billy Wilders most incisive film noir, Double Indemnity, even though in 1944, when it was first released in New York on September 11, critics called it a melodrama, a elongated dose of premeditated suspense, with a pragmatism evocative of earlier period French films [poetic realism of the 1930s], with characters as rough, solid and inflexible as steel. Even though James M. Cain is accredited as the original novel and Raymond Chandler and Billy Wilder contribute to screenplay credit, the film is in fact based on the case of Ruth Snyder, a criminal murderess who breathed her last breath in the electric chair on January 13, 1928. Supported by Miklos Rozsas throbbing film score and John Seitzs expressionistic black-and-white camera work, Wilder had no valid idea he was filming in a technique called noir; he found out about this many years later, to his great astonishment. In Double Indemnity, Walter Neff (Fred MacMurray), a to some extent cute but dim insurance agent, becomes prey to the charms of a flirtatious blonde, Phyllis Dietrieckson. (Barbara Stanwyck), an anklet-sporting femme fatale/housewife. She plots to kill her husband in a railroad mishap that would bring her a double indemnity insurance imbursement. What makes this film a wonderful case in point of the culture and style of film noir is that, as stated by the movie production convention of the period, jealousy becomes a part of Walters relationship with Phyllis after he does the crime. Thinking she has an additional, much younger admirer, he murders her in a rage of jealousy, then in all probability bleeds to death from a shot fired by the perishing Phyllis, having first relegated the complete story of the film in a two-hour flashback. (In the new novel, Walter and Phyllis go off jointly on a journey, happily back together.) in accordance with with the crime doesnt pay principles of the era, Billy Wilder even added a shot of Neff dying in the San Quentin gas chamber, but thought the film looked better with the film concluding as Neff hears the wails of police and/or ambulance sirens approaching. Double Indemnity is the most excellent example of a noir film to date: rough as sandpaper, with acerbic, wrenching dialogue and practical sets. Watch Walter and Phyllis as they get together in a luminous white southern California superstore, sporting dark glasses, not shopping or still watching each other while plotting up plans for a homicide. And those magnificent lines: Yes, I killed him for money and for a woman. I didnt get the money and I didnt get the woman. Pretty, isnt it?, There was no way in the world I may perhaps have known that murder occasionally can smell like honeysuckle, or I couldnt hear my footsteps. It was the walk of a dead man,. Double Indemnity moreover has a homoerotic bond between Walter Neff and Barton Keyes (Edward G. Robinson), the claims examiner who believes Phyllis, but not Walter, of the crime. Wilder underplayed the father-son relationship in addition to the police routine constituent that could have made his film a detective tale more willingly than a twisty noir, which is what it in actuality is. Wilder took the focal point off Robinsons role and cultivated his viewpoint, in disparity to the many detective films of the age that instigated in novels of Raymond Chandler, his co-conspirator. By modeling Double Indemnity into a homicidal melodrama with sexual insinuations, Wilder produced a rational crime accomplishment. The Book and The Film Wilders film and Cains novel even supposing it does not credit the book as its source. Body Heat can be expressed as a masquerading or unacknowledged remake, a film that repeats basic story units from the Cain novel (and Wilder adaptation) but changes the details of its name, location, period, character names and the those like it. For want of a screen credit recognizing the source property, the remake becomes a hypothetical construct or role of the films production and response. Imperative here is Cains standing, and the untimely 1980s revitalization of notice in Cains work, nevertheless more important is Double Indemnitys advantaged place in the noir principle. A small number would refute that Double Indemnity is a perfect film noir and one of the most significant movies in Hollywood history. It was an unconventional film, challenging almost a decade of Production Code battles to Cains literature. Frank Krutnik in the same way declares that Double Indemnity was traditionally signif icant in the growth of the 1940s erotic crime thriller, setting up through its depiction of the Cain tale a model for the story structures of following film noirs. Lately, Brian De Palma (whose reverence to Alfred Hitchcock are well known) has paid compliment to film noir, by the opening scene in Femme Fatale (2002) with the title character, Laure Ash (Rebecca Romijn-Stamos), mirrored in a hotel room television screen as she gazes at the Barbara Stanwyck model in Double Indemnity. These instances of Double Indemnitys repute and standing in film history help make clear why critics such as Leitch openly match up Body Heat to Wilders version, but do not take heed to Double Indemnity had previously been more honestly remade as a lesser-known movie for television, intended for by Jack Smight in 1973. Double Indemnity starts with Walter Neff (Fred MacMurray), bleeding from a bullet wound, stumbling into his office in the Pacific Insurance Building. Neff talks into his dictaphone and his narrative of an unholy love and an just about perfect crime unfurls in flashback. Neff is an insurance salesman who becomes entangled with the beautiful and treacherous Phyllis. Phyllis encourages Walter not only to lend a hand her take out a $100,000 life insurance policy on her spouse, but also to assist her in murdering him. Jointly they simulate Dietrichsons inadvertent death in order to meet the criteria for the double indemnity, but things go awry when Neffs manager, Barton Keyes, starts to infer murder. Neff starts an acquaintance with Phylliss step-daughter Lola, who suspects that Phyllis has started going out with her (Lolas) previous boyfriend Nino Zachetti. Believing he has been deceived, Neff plots a plan to murder Phyllis and trap Zachetti. In an argument in the gloomy, Dietrichson sit ting room, Walter slays Phyllis, but not before she gravely stabs him. Towards the end, the narrative turns back to the current day where the dying Walter is reassured by the paternal Keyes. Even though Wilders Double Indemnity is frequently thought of as the original alongside which Kasdans noir remake is weighed up, Body Heat can more generally be seen as a remaking of Cains composition (or no less than those works by which he is best kept in mind). Some critics go as far as to dispute that Double Indemnity was a case of auto-citation, produced by [Cain] in full familiarity of the fact that he was paying his own homage to [The] Postman: Both tell fundamentally a similar story: an all too obedient male is enchanted by a physically powerful and scheming lady. With her inspiring it and with him ironing out of the details, the disloyal couple carry out a perfect murder of the womans husband. Afterward, when they are practically free, providence (or irony) swipes them with its gigantic lumbering paw and they are given their just desserts but for different reasons. Such an association makes possible for one to recognize noir essentials for example the hard-boiled conversation and portrayal of bare (and graphic) animal covetousness that are universal to both The Postman and Double Indemnity. For example, Body Heat is considered for dialogue for example Neds You shouldnt wear that body, and Mattys Youre not too smart, are you? I like that in a man. On the other hand, at an even higher plane of generalization, it can be said that Body Heat at the same time refers to and remakes the noir genre to which its intertexts belong. Film Noir For a moment or two, both the problem movies and the semi documentary crime thrillers made it appear that Italian neorealism had established a habitat in an anxious, if prosperous, America. One of the preeminent things that is taking place in Hollywood is the propensity to move out of the placeto support imaginary pictures on information and, more significantly, to shoot them not in decorated studio sets but in authentic places. But an additional assortment of postwar American film, one which was dependent on the restricted environment of the studio on top of bona fide locations for its representation of the sordid underbelly of American life, soon became apparent. This was film noir (more exactly, black film), invented and named by French critics in 1946 when, experiencing American motion pictures for the first time ever since 1940, they alleged a weird and wonderful new mood of cynicism, dimness, and depression in definite crime films and melodramas. They came up with the term from the Serie Noire detective pulp fiction books then all the rage in France, many of which were renditions of works by members of the hard-boiled genre of American crime authorsDashiell Hammett, Raymond Chandler, and James M. Cain (afterward coupled by Mickey Spillane, Horace McCoy, and Jim Thompson)whose books were also recurrently tailored in films noir. In the vein of the novels, these films were set apart by a subdued atmosphere and realistic violence, and they presented postwar American cynicism to the extent of nihilism by presuming the total and hopeless corruption of society and of everyone in it. Billy Wilders acidic Double Indemnity (1944), which shocked Hollywood in the year of its release and was just about banned by the authorities, may be considered as the archetype for film noir, even though some critics trace the origins back to such rough but significantly less pessimistic films as This Gun for Hire, High Sierra, The Maltese Falcon, and Stranger on the Third Floor. Mo dified by Wilder and Raymond Chandler from a James M. Cain novel, Double Indemnity is the squalid story of a Los Angeles insurance agent (Fred MacMurray) sexually ensnared by a clients wife into killing off her husband for his death reimbursement; it has been declared a film without a solitary trace of compassion or love. Without a doubt, these are characters remarkably missing from all films noir, as conceivably they seemed not present from the postwar America which created them. Like Double Indemnity, these films succeeded upon the unembellished interpretation of greed, desire, and unkindness because their fundamental theme was the profundity of human immorality and the absolutely unheroic character of human beingslessons that were almost not taught but without doubt re-emphasized by the one of its kind horrors of World War II. Nearly everyone of the dark films of the late forties take the structure of crime melodramas for the reason that (as Dostoevsky and Dickens recognize) the devices of crime and criminal detection afford an ideal metaphor for dishonesty that cuts across conformist moral classes. These films are frequently set in southern Californiathe geographical archetype for a social order in which the breach between anticipation and reality is determined through mass hallucination. The cent ral characters are regularly unfeeling antiheroes who chase their foundation designs or basically drift aimlessly from side to side in sinister night worlds of the metropolitan American harsh world, but they are even more frequently decent people trapped in traps set for them by a crooked social order. In this concluding sense, film noir was immeasurably a cinema of moral nervousness of the kind experienced at various times in postwar Eastern Europe, most lately in Poland at the pinnacle of the Solidarity groupi.e., a cinema about the environments of life enforced on truthful people in a untruthful, self-deluding society. The moral unsteadiness of this world was rendered into a visual style by the expert noir cinematographers John Alton, Nicholas Musuraca, John F. Seitz, Lee Garmes, Tony Gaudio, Sol Polito, Ernest Haller, Lucien Ballard, and James Wong Howe. These technical masters turned into moral vagueness obviously real through what has been called anti conventional cinematography. The method incorporated the all-encompassing use of wide-angle lenses, allowing even more and greater depth of field but causing animated deformation in close-ups; inconspicuous lighting and night-for-night filming (that is, essentially shooting night scenes at nighttime more willingly than in bright daylight with dark filters), both of which produce ruthless contrasts between the light and dark spheres of the frame, with dark outweighing, to match the moral disorder of the world; and pointed, unnatural set-ups. If all of this spears to be suggestive of the artificial studio modus operandi of German Expressionism, it ou ght to, for the reason thatlike the Universal horror phase of the thirtiesfilm noir was fashioned to a large degree by German and Eastern European migrs, a lot of of whom had gained their basic training at UFA in the twenties and near the beginning of the thirties. The noir directors Lang, Siodmak, Wilder, Preminger, Brahm, Litvak, Ophls, Dieterle, Sirk, Ulmer, and Bernhardt; the director-cinematographer Rudolph Mat; the cinematographers Karl Freund and John Alton; and the musicians Franz Waxman and Max Steiner had all been linked with or inclined by the UFA studio technique. On the other hand, given its subject matter, film noir could barely break out of the general pragmatic predisposition of the postwar cinema, and noir directors recurrently shot outside shots on location. Such wartime modernizations as slighter camera dollies and moveable power packs, higher speed lenses and additionally sensitive, fine-grain film rolls cut down the logistics of position shooting and aided to generate for film noir a nearly standardized visual method. For this motive, it has become trendy to discuss film noir as a category (some consider it is a genre) of idealistic or expressive pragmatism; but its inheritance includes such a wide variety of cultural influencesGerman Expressionism and shock exploitation, American gangster movies from the thirties, Sternbergian exoticism and self-indulgence, the graceful pragmatism of Carn, the case-hardened institution of American fiction, the forties cultural significance and fame of Freud, postwar American disenchantment (particula rly a sagacity of sexual betrayal amongst GIs coming back home) and the flourish of cinematic practicality it created, cold war mistrust, and for sure, Citizen Kane that it is probably better to typify it as a cycle to a certain extent than to draw up the boundaries too rigidly. Double Indemnity (1944), d. Billy Wilder, Paramount, 107min., bw, sc. Billy Wilder and Raymond Chandler from the novel by James M. Cain, ph. John Seitz, m. Miklos Rozsa, v. MCA.

Costs of Childhood Cancer Treatment and Research Essay example -- Heal

Cancer, one of the most feared words in our vocabulary of this time, especially in childhood (Druker 1). Most people when thinking of â€Å"childhood cancer† envision very young children, although a â€Å"Nation Institute of Health Policy concerning inclusion of children in clinical research defines children as being younger than twenty-one years of age while the Food and Drug Administration considers children to be fifteen years and younger† (Ries 158). That being said, most cancers incidence peak among children occurs during the first year of life (Gurney 149). Some of the most well-known nationwide childhood cancers are leukemia, brain cancer, and other central nervous system cancers (oeconline 1). In conjunction, â€Å"the side effects of treatment, which range from heart disease to brain damage, can linger for decades and cost nearly as much as therapy for the original cancer† (USATODAY 1). With the total cost of childhood cancer exceeding many peopleâ€℠¢s yearly salary, help and support are the main focus for many childhood cancer advocacies (disease.com 1). Therefore, increasing awareness is the first step to raising more advocacy and support for childhood cancer programs and research (StJude.org 2). Childhood cancer treatment is an excessively pricey dilemma. It ranges from the cost per child to the overall cost. For example, â€Å"a new leukemia medication for children who no longer benefit from chemotherapy, costs $45,000 for a three week treatment cycle† (USATODAY 1). With the average time span of cancer treatment ranging from three months to roughly three years the price can climb to multiple figures (compasscare 1). The median cost per day for one child in a pediatric hospital for cancer treatment is nearly $1,000 more than the average... ...ng diagnosed with cancer as a whole. As a refuge for many families, St. Jude’s Children’s Research Hospital takes responsibility for all expenses dealing with immediate medical care that insurance does not cover. As well as immediate medical care coverage, St. Jude’s also distributes other attributes to the family in need, such as housing and payment for outpatient expenses. Since St. Jude’s is run by the donations of donors from around the world, although mostly from around the country, it is vital for the survival and future cure for childhood cancers that we as a nation continue to fuel St. Jude’s Children’s Research Hospital to prosper and thrive. In conclusion, childhood cancer treatment and research is extremely important for the future survival of thousands of childhood lives. Every cent matters when it comes to saving the lives of our future generations. Costs of Childhood Cancer Treatment and Research Essay example -- Heal Cancer, one of the most feared words in our vocabulary of this time, especially in childhood (Druker 1). Most people when thinking of â€Å"childhood cancer† envision very young children, although a â€Å"Nation Institute of Health Policy concerning inclusion of children in clinical research defines children as being younger than twenty-one years of age while the Food and Drug Administration considers children to be fifteen years and younger† (Ries 158). That being said, most cancers incidence peak among children occurs during the first year of life (Gurney 149). Some of the most well-known nationwide childhood cancers are leukemia, brain cancer, and other central nervous system cancers (oeconline 1). In conjunction, â€Å"the side effects of treatment, which range from heart disease to brain damage, can linger for decades and cost nearly as much as therapy for the original cancer† (USATODAY 1). With the total cost of childhood cancer exceeding many peopleâ€℠¢s yearly salary, help and support are the main focus for many childhood cancer advocacies (disease.com 1). Therefore, increasing awareness is the first step to raising more advocacy and support for childhood cancer programs and research (StJude.org 2). Childhood cancer treatment is an excessively pricey dilemma. It ranges from the cost per child to the overall cost. For example, â€Å"a new leukemia medication for children who no longer benefit from chemotherapy, costs $45,000 for a three week treatment cycle† (USATODAY 1). With the average time span of cancer treatment ranging from three months to roughly three years the price can climb to multiple figures (compasscare 1). The median cost per day for one child in a pediatric hospital for cancer treatment is nearly $1,000 more than the average... ...ng diagnosed with cancer as a whole. As a refuge for many families, St. Jude’s Children’s Research Hospital takes responsibility for all expenses dealing with immediate medical care that insurance does not cover. As well as immediate medical care coverage, St. Jude’s also distributes other attributes to the family in need, such as housing and payment for outpatient expenses. Since St. Jude’s is run by the donations of donors from around the world, although mostly from around the country, it is vital for the survival and future cure for childhood cancers that we as a nation continue to fuel St. Jude’s Children’s Research Hospital to prosper and thrive. In conclusion, childhood cancer treatment and research is extremely important for the future survival of thousands of childhood lives. Every cent matters when it comes to saving the lives of our future generations.

Installation Art Essay

Out of the many ways in which we can view Installation Art, the term itself is not clearly defined. There are, however, different characteristics of it, and within this essay I will discuss the two most prevalent from my own point of view, and support my thoughts and opinions with examples from information we have encountered throughout this past semester. Although Installation Art has many qualities that it can be associated with, I believe that one which stands true above most is the fact that it Installation Art often casts the spectator as the protagonist. As we have seen throughout the semester, many different artist’s have employed their own ideas of what makes art Installation Art, yet from my own vantage point, it is only Installation Art if we create something for the spectator to walk into and ‘do’ something within the piece itself, as opposed to viewing it from a more museum like way, in order to create a more ‘authentic’ form of art. Lucas Samaras’s creation of ‘Room’, is a direct example of my thoughts on this characteristic of Installation Art. He wished to accommodate the viewer in his work. In this piece, he wished that the space of the piece become â€Å"a wholly immersive environment in which the space existed for the viewer to activate as an engaged and absorbed participant† (Bishop, 27). Installations should be geared toward first hand, real experiences by the viewer, and not illustrate simply a situation. Samaras’ ‘Room’ created this by having the items in the piece ‘fluid’, and not ‘glued-down’. ‘Room’, was a conglomeration of the artist’s own personal belongings reconstructed to mimic his own bedroom, in which the viewer could walk in, sit down on, and actually interact with the items, which, according to Samaras, created the ‘authentic’ quality of the art itself. As we view the characterstic of Installation Art as the spectator casted as the protagonist, we can now realize that, once again looking at Samaras’ ‘Room’, it addressed itself directly to the viewer, whose experience was not that of a detached onlooker, but was indeed the actual focus of the work itself. Samaras created a state of mind more than anything, in which the viewer was essentially in the first-person, and the subject actually will see things through their own ‘daydream’, which is nothing less than escape from a reality that is not completely suspended (in contrast to dreams while we are sleeping, in which we are suspended). According to Freud, a daydream is initially the expression of an unconscious fantasy, as a sort of ‘hallucinatory’ sense and is an escape from reality, which centers the viewer as the protagonist in the piece, because they are the one’s creating the art in which they see.

Submitting a Paper Essays

Submitting a Paper Essays Submitting a Paper Essay Submitting a Paper Essay An essay mill (or paper mill) helps students who seek to buy essays and other written homework and to pass off this ghostwritten work as their own. Educators generally see this as a form of academic dishonesty or academic fraud (see also plagiarism). The typical customers of such a service are university and college students. Universities and colleges may investigate papers suspected to be from an essay mill by using Internet plagiarism detection software, which compares essays against a atabase of known essay mill essays and by orally testing students on the contents of their papers.In response, many essay mills state that a unique essay will be composed by a ghost author and pre-screened with plagiarism detection software before delivery, and as such will be undetectable as an essay mill product. Essay mill companies hire university students, graduates, and professional writers to ghostwrite essays and term papers, and solicit business from university and college students by posting advertisements. Until the early 1990s, most essay mill companies were bricks and mortar businesses offering their services by mail-order or from offices located in university or college towns.By the 2000s, most essay mill businesses have switched to an e-commerce business model, soliciting business and selling essays using an Internet website. Companies often provide free sample essays on popular topics, such as Hamlet or The Merchant of Venice, to attract Internet searches. [citation needed] The most basic essay mill service is the sale of a previously-written essay; services dvertise essays that have allegedly gained a good grade and which have allegedly not been used for plagiarism before.Students using essay mill services have little or no legal recourse if the essay they purchase does not act ually receive a good grade. Since submitting a previously-written essay exposes a student to the risk of detection, some students will pay a much higher price for custom-written papers that take into account the course outline, topic, number of sources and any specific grade the student wants.While some students select a high grade on the ghostwritten paper to oost their average, other students with poor grades may choose to purchase a paper that deliberately contains errors, and which will receive a grade such as C+, to reduce the suspicion that they have committed academic dishonesty. The academic community has criticized essay mill companies for helping students to commit academic fraud. Some essay mills have defended themselves against criticism by claiming that they are selling pre-written examples which students can use as guidelines and models for the students own work.In 2002, a UK-based essay mill called Elizabeth Hall material provided by Elizabeth Hall Associates [is] on the understanding that it is a guidance model only. [l] Other essay mills claim that they are scholarly publishing houses that provide students with essays that the student can then cite in the students own work. Although essay mills and the students who use them are considered unethical by many educational professionals, they do not violate copyright law; the mill is the legal copyright holder of the papers, and the papers are licensed to paying students for imited use.As of 2009, no essay mill or client of a mill has been legally prosecuted for engaging in transactions. The mill may, however, hold the student legally responsible in the case where they redistribute the paper to other students without the permission of the mill. In informal settings where students exchange papers without any formal licensing or transfer of copyright, copyright violation may occur, but it is unlikely that the students will press charges, since they would incriminate themselves by doing so.