IN WHAT WAYS DOES THE MEDIA PRODUCT USE, DEVELOP OR CHALLENGE FORMS AND CONVENTIONS OF REAL MEDIA PRODUCTS?
Evaluation Question One
Jodie Taylor
What sub questions does this evaluation cover?
a) At a technical level, how well did you observe the conventions of continuity, and the language of film and editing?
During the process of producing a short film there were many rules which we were required to abide by to ensure our product was an effective text. These related to the language of film and editing learnt during AS and A level media studies. Several of the rules were practiced in preliminary tasks before being carried out in the actual project.
Our AS preliminary task required several of the rules to be embedded into a conversation following a narrative, ours the meeting of two friends in a cafe. These were carried directly across to our A level media piece. This followed the principles of filming which included abiding by the 180 degree rule, match on action and the use of shot reverse shot. All of these elements were included in our A level media piece.
180 Line Of Action/Rule:
Most commonly in a conversation with two characters, you must only film on one side of the line, at 180 degrees. Camera angles can be altered to close ups, medium shots etc. Filming at 360 degrees can change the set, making the audience disengage with the film, creating a sense of disorientation.
�Shot-reverse Shot:
Changing shots from a close up of one person to the close up of another, alternates between them, allowing the viewers to establish conversation and engagement, due to a differentiation in shot types.
�Match On Action/Match Cut:
The brain follows movement automatically as it detects things continuously. By using different movements, it creates diversions preventing viewers from paying attention to changes in the angles of shots. For example; a person walking to a chair, the shot changes to a close up as the person sits down, this makes the scene less noticeable as the audience pay attention to the movement and not the cut used.
1 AS LEVEL PRELIMINARY TASK CONTAINING 3 RULES
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a) At a technical level, how well did you observe the conventions of continuity, and the language of film and editing?
180 Line Of Action/Rule:
As demonstrated in an AS preliminary task, the following rules were displayed in our final short film product. During the conversation between the two characters of Charlie and Mrs. Jones we ensured the camera was only on one side of the line, at 180 degrees. The camera angle was alternated between the two characters over each shoulder, demonstrating shot reverse shot. It was ensured that we didn’t film the other side as this can change the set and disorientate the viewers.
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Shot-reverse Shot:
This allowed viewers to establish the conversation between Charlie and Mrs. Jones through different shots over each shoulder on the 180 degree line.
Match On Action/Match Cut:
This was demonstrated through changing the shots during movement. For example the shot changed angle from above the desk to below the desk, as Charlie swaps the gun from the table to her pocket. The shot is less noticeable as the audience pay attention to the movement and not the cut used, as with the door opening in the AS preliminary task.
1 AS LEVEL PRELIMINARY TASK CONTAINING 3 RULES
A level project
AS Preliminary
A level project
AS Preliminary
a) At a technical level, how well did you observe the conventions of continuity, and the language of film and editing?
Our first A Level preliminary task required us to demonstrate elliptical editing through the short narrative of a journey, ours to the vending machine. This is displayed on the blog. Elliptical editing was carried directly across to our final short film piece.
Elliptical editing is a technique used to reduce the reality of time to a smaller fragment to ensure the viewers are fully immersed within the film without losing concentration via boredom. This manipulates time as key parts are displayed rather than the full event. For example we incorporated elliptical editing in the build up to the assassination scene. Instead of filming Charlie walking all the way from her house to the destination, only the key shots were taken. In reality the journey took 6 minutes, only around 30 seconds of that was actually shown, mostly walking, however key parts for example Charlie picks up her bag, Charlie opening the door etc. as different movements keep an audience engaged and questions within the brain such as ‘where is she going?’. Elliptical editing is also used as a pace feature as this helps speed up the intensity of the scene and builds up tension directly supporting the incidental chase music. Being a crime thriller, we desired the movie to fulfil the audience’s requirements and be as action packed as possible, meaning elliptical editing was something that was really important to us. In the preliminary task, as shown below, the character is not shown walking to the door, however is shown opening the door, therefore the viewer can piece the shots together and figure out that this person is leaving to travel somewhere. This keeps an audience intrigued without boring them as the journey to the vending machine is a lot longer in reality, however the narrative is still the same to understand and interpret.
3 A LEVEL PRELIMINARY TASKS
A level Preliminary 1
A level project
3 A LEVEL PRELIMINARY TASKS
a) At a technical level, how well did you observe the conventions of continuity, and the language of film and editing?
Our second A Level preliminary task required us to demonstrate a restricted narrative through the short plot of two individuals walking to different destinations of who bump into each other. This is displayed on the blog. This was carried directly across to our final short film piece.
Restricted narration is where by an audience do not see, hear or know anymore than the main character. Perhaps the characters know more information than the audience, meaning we are oblivious to certain parts until later on in the narrative. Restricted narration limits information to encourage the viewer to identify with the character’s singular perspective. This is also used to create curiosity, leading to surprise, and heightened emotions as the viewer may be thinking of what may happen next. Subjectivity can lead us to feel certain emotions towards different characters, or have certain expectations, for example we feel Charlie is vulnerable as she is followed, sympathizing with her as an audience. This was directly paralleled from our restrictive preliminary, as the audience are unaware that Charlie is in fact the assassin and believe someone is following her. The narrative at the conclusion reveals information an audience were not aware of at the beginning. At the opening of the movie, the audience were wondering who is wearing the blue gloves, and perhaps associated this with the person who is following Charlie, it is revealed that this is in fact Charlie herself.
In the preliminary, an audience see a girl walking and are unsure what may be around the corner, this may trigger questions such as ‘Where is she walking to?’. The next shot displays another girl of who bumps into her, this solves the enigma. An audience find enjoyment in the tense atmospheres building up to a climax.
A level Preliminary 2
A level project
3 A LEVEL PRELIMINARY TASKS
a) At a technical level, how well did you observe the conventions of continuity, and the language of film and editing?
Although this was not incorporated into the final A level piece, our third preliminary task required us to demonstrate an unrestricted narrative through the short plot of two individuals walking to different destinations of who bump into each other. This is displayed on the blog. This was not included in our short film, as we desired to create enigma rather than allowing an audience to know the information before the character did, as this would not work correctly with our plot.
Unrestricted narration is where by there is a sense of omniscience, as we know more as an audience, seeing or perhaps hearing more than any of the other characters participating in the plot. This can show any character’s experiences and perceptions, as well as information that no other character has. This may be that the audience know someone is hiding in a specific place, however another character does not know. This is used particularly in thrillers to create suspense by framing the vulnerable. Our short movie subverted this, as although Charlie appeared vulnerable, she was actually aware that the man in black was following her, this is exhibited through a close up of her turning her head and carrying on walking before she runs into a confined alleyway to kill him. In the preliminary, an audience see both girls walking to a destination via both perspectives through long shots. The viewers are aware the girls will bump into each over before this occurs, however the girls are unaware.
THIS IS NOT A DIRECT COMPARISON. THIS IS DISPLAYING HOW THE PRELIMINARY IS SUBVERTED BY THE FINAL PIECE.
A level Preliminary 3
A level project
a) At a technical level, how well did you observe the conventions of continuity, and the language of film and editing?
The conventions of continuity, language of film and editing were observed closely through research and applied to our film, some directly paralleled by past preliminary tasks. The AS preliminary task seemed much easier to construct, as this focuses on three rules. The A level preliminary tasks were much more difficult and required these three rules to be followed alongside further editing such as elliptical and follow much more complex narratives.
During the production of our A level short film, we made one important error. The project being much more complex and longer (5 minutes) which increased the probability of mistakes. During filming we broke the 180 degree rule, however this was fixed through editing.
There were several limitations to our project. The short film was shot mostly in public areas. This meant that our group was restricted for time, being in the way of pedestrians, especially through using a fake gun (which we informed the police about) we couldn’t film for long as we didn’t want to impose the public and cause an uprising if someone believed we had a real weapon. Overall I believe our film lacked length to its narrative, which we tried to adjust several times. Although we abided by all of the conventions and rules of continuity, film and editing, our movie wasn’t the best in terms of creativity. We added additional scenes to improve, such as Charlies past (the voice over scene, the child scene, the news report) which allowed her to be empathized with more.
http://www.criticalcommons.org/Members/ogaycken/clips/getaway-axis.mp4/view
A scene from ‘the getaway’ a crime film breaking the 180 degree rule, subverting the typical language of film.
a) At a technical level, how well did you observe the conventions of continuity, and the language of film and editing?
This displays the 180 degree rule, shot reverse shot and match on action of which we analyzed before conducting the film. This is taken from ‘Light Sleeper’ a crime film in 1992.
AS LEVEL PRELIMINARY TASK (3 RULES)
A LEVEL PRELIMINARY TASKS
This displays elliptical editing, which was analyzed before the film was conducted. This is taken from ‘Batman Begins’ a crime/action film in 2005.
The restrictive narrative is influenced by ‘Red Sparrow’ a recent agent crime thriller. The restrictive narrative is displayed through a plot twist much like the ending of our movie. The female lead in red sparrow gives up her uncle instead of the man the agency were looking for. The other characters are oblivious to this, as are the audience, much like they are with Charlie as she is unknowingly an assassin.
Examples incorporated in the media piece
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b) In terms of the content, how does your film reflect or challenge the conventions of the genre you are working in? Does it fulfil the nature of film genre or will it subvert expectations deliberately?
c) Are there any elements of deliberate pastiche or parody, where you ‘play’ with the genre’s codes and history? Are there any intertextual moments where you hint at a reference to another film?
During research of short films, we found out many conventions of the crime thriller genre. In terms of the content, our film supports several of these generics however subverts some deliberately which is a unique selling point.
This included the typical narratives, the characters, the locations, cinematography, editing, sound, iconography and the title sequences. Each of the listed above was researched in depth in order to gain influences for our own media piece. Our movie is an Intellectual Puzzle which thrillers often are. This is why the film may seem complex, however an audience find pleasure in unravelling the puzzle/mystery, deciphering the plot and finding out the unexpected at the conclusion.�
Genre
Crime thriller is a sub genre of thriller characterized by the moods of suspense and anticipation. Our short movie, as mentioned in the audience feedback, provides a viewer with adrenaline and surprise, particularly by the action within it. For example the assassination scene, which is really intense teamed with the excoriating incidental music. Although death isn't directly shown, ( a black out with a gun shot) action is still evident through a chase scene before hand. Death is directly shown in the movie ‘SEVEN’ however this is an 18, compared to ours of a 12A.
b) In terms of the content, how does your film reflect or challenge the conventions of the genre you are working in? Does it fulfil the nature of film genre or will it subvert expectations deliberately?
c) Are there any elements of deliberate pastiche or parody, where you ‘play’ with the genre’s codes and history? Are there any intertextual moments where you hint at a reference to another film?
Narrative and Character
Crime thrillers usually contain a protagonist of who is involved with crime related situations. There is stereotypically an antagonist, which at one point crosses path with the protagonist, disrupting equilibrium. The aim is for the protagonist to resolve the disruption, almost by being the hero, the antagonist usually prevents them from doing this by destroying the resolution, putting them in a merciful vulnerable position. This summarises the majority of crime thrillers we viewed and analysed. We did not desire our narrative to follow this system in order for the text to be unique. Although we took aspects from the research, we ensured that this was interpreted in our own way.
Our short movie contains a protagonist, however she can be also perceived as the antagonist. We did not create a specific character preventing Charlie from doing every day business, as the victims of her work are also murderers and rapists, being villains within themselves. Charlie is involved with crime related situations and crosses path with many antagonists, destroying them entirely. Perhaps by them escaping or confronting her the narrative may have been adapted and improved further. Our plot doesn’t particular follow the generic conventions of narrative and character as stereotypically the characters are casted as the villain, the hero, victims of the villain and most often a sidekick of who is humorous and tries to help the hero, although this person commonly causes more problems. Our short movie focuses particularly on the hero, being Charlie. The victims of the individual villains (rapist, murderers etc.), are the ones Charlie helps as she is subverting a stereotypical hero, as the typical hero doesn’t particularly kill for a living, perhaps causes death by killing the villain, however she is essentially doing this also. This is shown through a meeting scene when Charlie helps Mrs. Jones find the man in black through her service. The character casting for crime thriller usually follows Propp’s character theory of where there is a hero, a villain, a dispatcher, donor, helper, heroine, and a false hero. Our cast does not follow this, subverting the typicality of character as we desired Charlie to lack emotional connection with other characters as her lifestyle is shaped by her past and is full of brutality. Our main character can be interpreted in several different ways, as some may view Charlie as the villain as she saves lives but also takes them, some many view her as a complete hero in society, others a complete villain as perhaps they believe in authority by law (police) rather than by murder, as this is essentially an illegal death penalty. This was directly influenced by the casting in a more recent movie ‘Red sparrow’ of which has a female lead. This female is recruited to a Russian intelligence service where she is forced to use her body as a weapon, being in a poor financial state. Although Charlie doesn’t particularly use her body to manipulate she is an attractive character of could seduce to kill, she also relies on the assassinations financially, indicated by the payment on the letter towards the beginning and her being displayed in the working environment of an office. Our narrative was also pivotal towards ‘Atomic Blonde’, an undercover agent sent to Berlin to investigate a murder of another agent. This features a female lead however has additional complexity in its characters and narrative. We seemed to lack creativity in our plot, as it may have seemed more interesting if containing other character of who contest Charlies lifestyle. Although the initial villain is the man who killed Charlie's parents, there is no other character of who confronts Charlie. Charlie’s image was also influenced by ‘red sparrow’ wearing black to appear professional and sophisticated. Our characters don’t particularly follow the generic conventions of thriller, subverting through a female lead of who is powerful in contrast to the typicality of muscly male heroes.
b) In terms of the content, how does your film reflect or challenge the conventions of the genre you are working in? Does it fulfil the nature of film genre or will it subvert expectations deliberately?
c) Are there any elements of deliberate pastiche or parody, where you ‘play’ with the genre’s codes and history? Are there any intertextual moments where you hint at a reference to another film?
Red Sparrow
Atomic Blonde
Cinematography
b) In terms of the content, how does your film reflect or challenge the conventions of the genre you are working in? Does it fulfil the nature of film genre or will it subvert expectations deliberately?
c) Are there any elements of deliberate pastiche or parody, where you ‘play’ with the genre’s codes and history? Are there any intertextual moments where you hint at a reference to another film?
Many of the shots were directly taken from crime thrillers we analysed. The main aim was to show Charlie’s superiority therefore the camera was always placed at medium level or lower but never at a high angle as we didn’t want the character to appear vulnerable, even when she is being chased. Charlie had the most screen time being the main character and focus of the narrative. Other minor characters included Mrs. Jones, the news reporter, the woman working for Charlie, Charlie’s mum and dad (which are never displayed except from in the news report image) and the man in black (who is only framed following Charlie). The derelict setting was shown through a long establishing shot. The setting was really important iconography to thriller being unsanitary and desolate which the long shot established. The setting was influenced by ‘Atomic Blonde’. This city area is normally abandoned and has graffiti and bins appearing as an area of poverty where the crime Charlie deals with, is an everyday thing. This setting has underexposed lighting as there are large buildings cowering over the alleyways which fore board negativity. The scene where Charlie was getting ready directly referenced red sparrow, as a close up is shown as she puts on lipstick in a circular mirror as does Charlie. Mirrors are a common symbol in crime thriller addressing two personas to a character, much as Charlie is an assassin and an everyday citizen.
Red Sparrow close up
Medium level shot
Atomic Blonde setting
Setting
Setting
Red Sparrow medium level shot
Title Sequence
b) In terms of the content, how does your film reflect or challenge the conventions of the genre you are working in? Does it fulfil the nature of film genre or will it subvert expectations deliberately?
c) Are there any elements of deliberate pastiche or parody, where you ‘play’ with the genre’s codes and history? Are there any intertextual moments where you hint at a reference to another film?
Our title sequence was influenced by many other crime thrillers. During research it was evident that many title sequences contain bold writing usually white or red against a black background. Our specific influence was ‘strange days’ this thriller opened with a sequence of events in the narrative alongside a black background and a red title, this was found on http://www.artofthetitle.com. A title sequence usually opens with events which begin the narrative and create mystery. Our short movie opened with the gloves holding a brown envelope, this was certainly something an audience would be questioning. ‘The next target’ is displayed on the information sheet she holds before being displayed as a title. The title briefly summarised Charlies work, targeting many rapists and murderers.
b) In terms of the content, how does your film reflect or challenge the conventions of the genre you are working in? Does it fulfil the nature of film genre or will it subvert expectations deliberately?
c) Are there any elements of deliberate pastiche or parody, where you ‘play’ with the genre’s codes and history? Are there any intertextual moments where you hint at a reference to another film?
Editing
Editing was particularly important in the construction of our short film. Editing is the process of putting together shots to attain continuity, this can be done in several different ways to indicate the genre.
Our editing techniques as a group have developed overtime from AS to A level. During research of the history of thriller we came across Alfred Hitchcock’s psycho. This had a particular scene within it we wished to recreate. The graphic match used in Hitchcock's movie was evident in the shower scene after she is murdered. Her eye is graphically matched to the plug hole, both being of a circular shape. We directly incorporated this to foreshadow the next occurrences of death in our movie, as this graphic match was famous for being one of the first as Alfred introduced many cinematic features. This transition was a really smooth edit to use whilst Charlie was getting ready as it displayed the passage of time between the two shots for an audience to understand. This graphically matched the clock and Charlie’s mirror, both being circular. Montage editing was also incorporated whilst Charlie was getting ready. This featured her putting on mascara, brushing her hair and putting lipstick on, all in a sequence binded by elliptical editing which reduced the actuality of the time taken for Charlie to get ready. This fractured space, time, reality and narrative. This technique was taken from the death scene in psycho. This scene was important as it exhibited Charlies need to care for her appearance being a woman in society and highlighted her seductive and attractive persona as she cares for her personal appearance. Rhythmic editing was also featured during the chase scene as the shots change angle on the beat and the editing becomes fast paced. In the concluding scene of where Charlie points the gun, we used a circular tracking shot much like the one used in Matrix. This was sped up to elicit a sense of panic, chaos and tension.
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d) What kinds of audience pleasure are you trying to provide, and how confident are you that you have achieved this?
Our target audience was both the male and female gender above the age of 12, we aimed to provide pleasure towards this specific.
The audience theory directly applied to our text is the Uses and Gratification theory. This follows the idea that the audience are active and develop different perspectives via the content shown. The audience use the text for pleasure and are not influenced by it in a negative way (such as outbreaks of violence). An audience may believe that violence is acceptable in some cases. Our short movie is produced to make the majority of viewers feel that Charlies work as an assassin is correct due to her past shaping her future providing morals of the work. All of the people she assassinates are murderers or rapists. Although an audience may agree with this, they do not support in extremist ways such as barbarity. This is blocked through filters such as common sense, education and religion. Although an audience may engage and understand the text, this prevents them from committing violence similar to the actions displayed. The audience are in the free position to reject the media message or support this however either way they are not influenced physically just mentally.
The viewers may use the text for several purposes. Most commonly the media is used for escapism from the reality of the audience’s lives as they may lack a number of things they desire of which they can find within a text. This usually dictates which genre a person chooses to receive this pleasure from. This includes using the media to gratify needs such as information, comparing lifestyles, sexual stimulation, pleasure and emotional satisfaction. This can help individuals learn, particularly those categorising under a 12A which are frequently active learners, being in education. The text may also allow viewers to relax or feel more positive about their identity and inner conflict. This can diverge however and make them feel worse for example women and the manipulation of media making them feel that they have to look a certain way in order to be perfect. Through consuming media violence, the audience can relieve any tensions within themselves which helps rather than harms, as this is an effective solution to prevent violent outbreaks. This is all evident within our movie through the chase scene and the gun indicating violence in a minimal way through not directly expressing death. An audience may idolise Charlie and find comfort in her lifestyle in order to escape their own of which will not be fulfilled with action, crime and money. The emotional satisfaction may be found in the conclusion when Charlie kills the man in black, as the audience plead this to happen, as the chase scene is cut off before the flashback takes place, the audience are unaware of the next occurrences. This can also educate an audience into the fact that violence is not acceptable (murdering or raping) otherwise this leads to further consequences (being killed).
Our narrative is directly influenced by Atomic Blonde which also follows the uses and gratifications theory. Many thrillers follow this theory as they are used to pleasure an audience and not influence them in a negative way. The audience should use the violence in atomic blonde as pleasure and escapism from the reality of a dull life.
Uses and Gratification theory
Uses and Gratification theory
Richard Dyer: Entertainment and Utopia theory
d) What kinds of audience pleasure are you trying to provide, and how confident are you that you have achieved this?
The audience theory which applies to our text alongside the uses and gratifications is Richard Dyer’s theory of entertainment and utopia. This theory suggests that entertainment can be gained from idealised solutions, this is similar to the uses and gratification’s model as an audience look for things that they lack in everyday life. Richard Dyer suggested that there are five different things an audience look for: Transparency, Intensity, Community, Energy and Abundance. Our short film addresses all of these five solutions for an audience to find pleasure within.
Community is where by the audience feel they are part of a group if someone in the text is in unity, the feelings are mutual. Charlie lacks emotional connection as her life is pivoted around her career. There are very few characters in the narrative however Charlie works for an agency company. Although the details are subtle almost like clues, the letter and phone call address someone by the initial of H. Frequent crime thriller viewers have a skill that many other genres don’t generate. This skill allows them to pick up details others may not. If an audience recognises that Charlie is supported by this organisation, they will feel part of a community. If viewers do not pick up on this subtle clue, they will find community within Charlie herself, sharing her experiences, as a protector, an audience can find safety within her, hence the help for Mrs. Jones. Intensity addresses the excitement and heightened emotions that an audience may feel which is particularly associated with this genre. The final scene addresses this through a circular tracking shot before Charlie pulls the trigger. This keeps an audience on the edge of their seats with anticipation. This can offer a range of emotions from excitement to fear which they may not feel in their everyday life. Energy can be found within the chase scene which is accompanied by incidental tension music whilst Charlie is being followed. Dyer suggests we view films which energize us when feeling exhausted. The brain physically feels stronger when watching scenes containing dynamics such as running and jumping, particularly evident in fight scenes. Abundance is the offering of an illusion of having a lot of something. This is particularly evident in the first couple of scenes however incorporated throughout. In the first scenes there is a letter which states a huge amount of dollars, this is soon to be revealed that Charlie has completed many of these assassinations, suggesting her abundance for money, some can only wish for. Charlie’s abundance is also suggested when she is getting ready as she has all of her everyday essentials (makeup etc.) and an iPhone 6s which is an expensive gadget. This is also indicated by her house as although it appears derelict from the outside, the inside is modernly decorated, as she has to appear to be normal to citizens. If Charlie suddenly bought a mansion, her work would be obvious in this town. This is similar to James Bond franchise, as Charlie herself is attractive and has weapons and an idealised lifestyle undercover. Transparency is the clarity of life, revealing its simplicity and what a world would be like filled with honesty. This is directly displayed in our media piece as though an audience find pleasure within the narrative this lifestyle is not evident in reality. It would be impossible to be able to kill all of the rapists and murderers in a town, however an audience find pleasure in desiring life to be that simple, but if Charlie was in reality she would probably be in prison herself. This narrative provides a sense of hope for those wishing to feel it, perhaps by incorporating their own experiences. Charlie reveals her emotions through a voiceover of which transparently reveals to an audience her life and personal experiences.
Reception theory
d) What kinds of audience pleasure are you trying to provide, and how confident are you that you have achieved this?
This audience theory was created given that the uses and gratifications theory causes further problems. This may relate to our media piece as differing people decode the messages differently. The perspective can differ from what we believe we have encoded as producers, this is why audience feedback is extremely important in the process of constructing a movie to ensure the piece is appropriate and to have knowledge in the different interpretations created from it. This theory suggests that a text has a dominant meaning which as producers we wish to be established. In most situations the audience will correctly decode the message and understand it. In rare instances, the audience may reject the message disagreeing with the content or lacking to understand its complexity. Stuart Hall ( the founder of the theory) identified three different types of audience decoding: Dominant or preferred, negotiated or oppositional. The dominant message is the one we prefer and expect the audience to decode as producers. In our movie, we expect the majority of the audience to decode the message and agree with Charlie’s line of work. The audience should agree with her being an assassin as she uses a voice over to explain her past and the audience are expected to empathise with her and understand her perspective. This explains her killing rapists and murderers after finding revenge on the person who killed her parents and explains why she provides that support to others. The negotiated is where by an audience neither agrees nor disagrees or is disinterested in the text. This may occur in our media piece as not everyone can engage with the narrative, being a niche topic created by independent low budget producers. This may be influenced by their past experiences. The oppositional is where the audience recognise the dominant meaning however cannot support the message due to cultural, political, ideological or religious reasons. This results in active opposition. This may also occur in our text depending on the viewers personality. This may occur if someone is strongly against violence disregarding any circumstances ( for example the religion Ahimsa in Jainism - no harm to any life form ).