Choose a scene from The Fall (2006) and write a minimum of 250 word analysis of the Mis-en-Scéne. What did you notice about the set design, locations, composition, lighting, wardrobe, etc? How did these elements support or detract from the story? This paper has a total of 10 possible points and will be graded based on the overall analysis of the chosen scene, use of proper film terminology, spelling/grammar, and length.

the support that the author, uses in the article facing our fears is a): a definition of the part of the brain called the amygdala.

he takes neuroscientist joseph ledoux's words by telling that by falling to distinguish between evolutionary old systems located in the amygdala and newer systems, centered in the prefrontal cortex, doctors have conflated non conscious threat circuits in the brain with circuits that underlie the conscious experience of fear. that, the author says, "leads ledoux to the jarring conclusion that the amygdala, a decades-old centerpiece of the brain's fear circuit, does not underlie the conscious feeling of fear".

despite this, the author points out in the article that that is a controversial notion and that evidence, in animal and humans, supports the idea that core emotions can exist outside of conscious awareness.

thats just how it be sometimes

the third paragraph is your answer,

"but, in a larger sense, we can not dedicate — we can not consecrate — we can not hallow — this ground. the brave men, living and dead, who struggled here, have consecrated it, far above our poor power to add or detract. the world will little note, nor long remember what we say here, but it can never forget what they did here. it is for us the living, rather, to be dedicated here to the unfinished work which they who fought here have thus far so nobly advanced. it is rather for us to be here dedicated to the great task remaining before us— that from these honored dead we take increased devotion to that cause for which they gave the last full measure of devotion—that we here highly resolve that these dead shall not have died in vain—that this nation, under god, shall have a new birth of freedom—and that government of the people, by the people, for the people, shall not perish from the earth. "

the thousand and one nights – or, as i prefer to call them in the following for purely practical reasons: the arabian nights – as we perceive them three hundred years after antoine galland’s epochal french adaptation bear a distinct arabic imprint. meanwhile, the commonly accepted model for their textual history acknowledges various stages in the conceptualization and effective formation of both the collection’s characteristic frame story and the embedded repertoire. the vast majority of tales in the preserved manuscripts of the nights has been integrated into the collection during two periods of arabic influence, the so-called baghdad and cairo periods (gerhardt 1963: 115–374). these “arabic” stages are preceded by an iranian version, probably dating to pre-islamic times, which in its turn profits from both structural devices and narrative contents originating from indian tradition. considering the eminent position that iran and iranian culture hold in the early stages of the textual history of the arabian nights, surprisingly few details are known concerning the collection’s relation to and its actual position within the iranian cultural context. in the following, i will discuss links between the arabian nights and iranian culture on several levels. in surveying these links, i will treat five major areas: (1) the iranian prototype of the nights; (2) tales of alleged persian origin; (3) persian characters within the tales; (4)persian translations of the arabian nights; and (5) the position of the arabian nights in modern iran