Assessment Tools Essay Example | Topics and Well Written Essays - 1000 words

Assessment Tools - Essay Example From this discussion it is clear that the Mobile Interaction Chart (MIF) is a flow chart used for the identification of older people who are prone to falling. It includes the observation of mobility level and ‘Stops Walking when Talking,’ the ‘DiffTUG, a test of vision and a rating of concentration. Having these complete details of observation makes valid information for the assessment. It is designed in order to evaluate older people living in residential areas and could be applied to older males and females, 65 years old and above. This assessment has been applied by the Department of Community Medicine as well as rehabilitation Physiotherapy and Geriatric Medicine (Sweden) and tested to be quick, easy and requires no expensive facilities.This paper outlines that Peter James Centre Fall Risk Assessment Tool also known as PJC-FRAT, is a new instrument which is designed in order to obtain a baseline fall risk assessment. This PJC-FRAT is used in a sub-acute rehabil itation setting and have been tried to male and female patients, 38-99 years old (average 80 years). It is a long term process that could be used by a team. Â  It can identify intervention that will prevent the patients from falling. According to Strudwick in terms of convenience and simplicity, this multidisciplinary tool is close to ideal since it can be easily incorporated to the nurses’ workflow and can be fitted into the routine duties without difficulty.... It is designed in order to evaluate older people living in residential areas and could be applied to older males and females, 65 years old and above. This assessment has been applied by the Department of Community Medicine as well as rehabilitation Physiotherapy and Geriatric Medicine (Sweden) and tested to be quick, easy and requires no expensive facilities. This tool could help nurses to deliver good and quality health care even in the residential areas where they deal with numerous older people in the absence expensive facilities and available resources. PJC-FRAT TOOLS Peter James Centre Fall Risk Assessment Tool also known as PJC-FRAT, is a new instrument which is designed in order to obtain a baseline fall risk assessment. This PJC-FRAT is used in a sub-acute rehabilitation setting and have been tried to male and female patients, 38-99 years old (average 80 years). It is a long term process that could be used by a team. It can identify intervention that will prevent the patients from falling. According to Strudwick (2006) in terms of convenience and simplicity, this multidisciplinary tool is close to ideal since it can be easily incorporated to the nurses' workflow and can be fitted into the routine duties without difficulty. Watson's Theory of Human Caring Patient-nurse interactions are involved in this theory. A phenomenon which is intrinsic to the core of nursing in 10-1tem "carative factors" framework was initially conceptualized by Watson. The framework was changed over time, from carative to "caritas," as the theory's merging elements which means love and caring, were transformed into deep interpersonal caring. Its framework tenets include humanistic-altruistic values; presence of faith-hope;

Gogols Petersburg Tales Essay Example for Free

Gogols Petersburg Tales Essay Compare Nikolai Gogol’s â€Å"The Overcoat† with the other St. Petersburg tales. Nikolai Gogol’s St. Petersburg stories have been interpreted as tales of social injustice, urban and human isolation, psychological studies, love stories, moralistic fables and social satires. In keeping with emerging trends of â€Å"naturalistic† writing, the stories deal with relatively lowly members of the social strata in the Petersburg bureaucracy – the everyman. This essay will compare â€Å"The Overcoat† with â€Å"Diary of a Madman† and â€Å"The Nose† and examine how each of the main characters in Gogol’s stories survives in the seemingly unnatural and fabricated world of St. Petersburg. The principal character in â€Å"The Overcoat†, Akaky Akakievich Bashmachkin buries himself so deeply in his paltry work of copying documents that his work almost supersedes the actual reality in which he inhabits, he is described walking through the streets of St. Petersburg oblivious to the people around him or the rubbish being thrown out windows onto him, he sees nothing but a line of beautiful words to copy. He later does the same when obsessing about the coat which he is having made to shield him from the bitter Russian winter. This need to cloak and insulate oneself from the cold harshness of modern society is an idea which runs through these three stories, and seemed to preoccupy Gogol himself. He was a secretive person about which very little is known, he said himself in his letters â€Å"But how can one judge about a secretive person in whom everything is inside, whose character hasn’t even taken shape but who is still educating himself in his soul and whose every move produces only misunderstanding? How can one make conclusions about such a person basing oneself on a few traits which have inadvertently stuck themselves out? Won’t this be the same as to conclude about a book by a few sentences torn out of it – not in order either, but from different passages.† Gogol was interested in how the character and worth of someone is judged by others, the characte rs in The Petersburg Stories are all defined, both by themselves and by others, by their professions, which are comically insignificant, Akaky Akakievich copied pages and Poprishchin in â€Å"Diary of a Madman† was in charge of pencil sharpening. These characters are defined by the role they serve as part of the bureaucracy rather than by any kind of individual identity. Gogol paints a picture of a society in which values the most superficial aspects of a person, an idea which is taken to comical new heights in â€Å"The Nose†Ã‚  when the preposterous and vain main character Major Kovalyov loses something which serves no great purpose other than normalising one’s appearance – his nose. Escapism is essential for Gogol’s characters. Each of the main characters feels happiest when they are detached from reality, when they have some sort of rosy, imaginary insulation between them and the inescapable monotony of their lowly lives. Akaky Akakievich is described garnering a disproportionate amount of joy from his work copying documents, smiling to himself as he coppied letters he particularly liked, going home and copying just for fun and â€Å"when all strive to divert themselves† going to bed â⠂¬Å"smiling at thought of coming day†. Akaky puts all of his faith and love and passion into something arbitrary and ultimately meaningless as a coping mechanism, for how else would he survive his pitiful life? The main character in â€Å"Diary of a Madman† Poprishkin is driven to a similar detachment from the real world as his lowly and socially immobile position as a titular councillor becomes too much to bear. He loses his sanity but arguably gains something of greater value; confidence and social mobility. In creating a world for himself where he is no longer one of many middle aged, poorly paid low ranking civil servants but the King of Spain he frees himself from his suffocating ties to societal norms, he no longer believes in the inherent superiority of those of a higher social status, he even has the audacity to call his employer as â€Å"an ordinary doornail, a simple doornail, nothing more. The kind used in doors†. Similarly, Kovalyov deludes himself to give his life a sense of importance and signi ficance. He gives himself the title of â€Å"Major† and struts down Nevsky Prospect making eye contact with everyone and imagining attention from ladies that he passes. The key difference between the coping mechanism employed by Akaky and the methods used by Poprishkin and Kobalev is that Akaky’s world is not one which elevates his social status. His extremely introverted behaviour does not disrupt the status quo. It is arguably their obsession with class and how they appear to others which causes all of both Kovalev and Poprishkin’s strife. Contrastingly, Akaky just wants to be left alone, he doesn’t care that people often see him with trifle or hay stuck to the back of his cape, this makes Akaky a more likeable, sympathetic character, he is completely harmless and innocent a perfect victim. This is the only story in which Gogol allows us to be fully sympathetic with a character. There are indeed moments in â€Å"Diary of a Madman† which could and should stir sympathy for Poprishkin in the reader, but Gogol always undermines these moments with a humorous or nonsensical comment. In â€Å"The Overcoat† however, the narrative tone flips from heart wrenchingly sad to funny and light hearted and then back again in the space of a page – Gogol displays his talent for evoking sympathy and emotion in a reader and his gift for comedy side by side. It is not just the characters who seek to cover themselves up and conceal the truth from the reader; there is a lack of reliability coupled with nonsense running through all three of the narratives which obstinately refuses to make sense. â€Å"The Overcoat† introduces us to this immediately, it begins with a digression â€Å"In the department of but it is better not to mention the department.† The narrator continues in this vein, using a conversational, unreliable tone, often forgetting the facts or losing their place in the story. Gogol’s deliberate elusiveness undermines the idea of the omniscient authorial voice of the narrator and injects suspicion and confusion into the narrative. Gogol uses a similar narrative voice in â€Å"The Nose†. The narrator of â€Å"The Nose† is similarly uninformed and forgetful and makes no attempt to elucidate the reason for all the bizarre occurrences in the story. Things in these stories can often just disappear into a puff of smoke, Gogol increases the confusion, and elusiveness with the use of a lot of mist and smoke imagery, he is like a magician, cloaking his intentions, keeping himself safe behind a cloud of nonsense and a mist of confusion. Gogol’s St. Petersburg stories portray many different types of characters, but pervading through the stories and uniting them is this sense of heightened self-consciousness a need to protect oneself from a befuddling, cold harsh world. Gogol himself put it best in another St Petersburg story – Nevsky Prospekt â€Å"It had seemed as if some demon had crumbled the world into bits and mixed all these bits indiscriminately together† Bibliography Gogol, Nikolai translated by Macandrew, Andrew R and Meyer, Priscilla The Diary of a Madman and Other Stories SIGNET CLASSICS, January 2005, New York, NY/US One Of The Oldest Cases Of Schizophrenia In Gogols Diary Of A Madman Eric Lewin AltschulerBMJ: British Medical Journal , Vol. 323, No. 7327 (Dec. 22 29, 2001), pp. 1475-1477 Published by: BMJ Publishing Group Article Stable URL: http://www.jstor.org/stable/25468632 Cloaking the Self: The Literary Space of Gogols Overcoat Charles C. Bernheimer PMLA , Vol. 90, No. 1 (Jan., 1975), pp. 53-61 Published by: Modern Language Association Article Stable URL: http://www.jstor.org/stable/461347 The Laughter of Gogol R. W. Hallett Russian Review , Vol. 30, No. 4 (Oct., 1971), pp. 373-384 Published by: Wiley on behalf of The Editors and Board of Trustees of the Russian Review Article Stable URL: http://www.jstor.org/stable/127792

Franz Kafkas The Metamorphosis and James Baldwins Sonnys Blues Essa

There are many factors that lead to the development of an individual’s identity. Franz Kafka’s â€Å"The Metamorphosis† illustrates an extreme change in Gregor Samsa’s external identity and the overall outward effect it has on the development of his family. While James Baldwin’s â€Å"Sonny’s Blues† illustrates a young man struggling to find his identity while being pushed around by what society and his family wants him to be. Both of these characters exhibit an underlying struggle of alienation but both also demonstrate a craving for belongingness. This conflict of trying to belong to something as well as satisfying the needs of society, has directly impacted their own individuality and the lives of the people around them. Gregor Samsa, a hard working salesman providing for his family in need, has sacrifice his own freedom for the sake of the survival of his family. As a provider, his family is expecting him to work, be successful, and bring home the wealth. Although Gregor doesn’t enjoy his tedious job in the slightest, he still agrees to do it. This is more influenced by his father’s debt rather than his own morals. â€Å"If it weren’t for my parents, I would have quit long ago, I would have gone to the boss and told him off† (Kafka 2). This shows that he is a frustrated individual. Gregor is someone who would likely hold in his own personal feelings to preserve the family name. A night of nightmares later, Gregor awakes to see his many little legs flailing about. He isn’t initially shocked by this horrid transformation and however terrible it looks to him, his primary focus is how is he going to get to work? In spite of everything, he is still in the mindset of w orking no matter what the cost. After all, he doesn’t want to lose the tr... ...development of your identity. Gregor, the family man, tried as hard as he can to be there for his family. His family is everything he has got and this is his identity. While Sonny, the trouble kid turned musician, abandoned his family’s suggestions and went his own way by keeping true to himself and being dedicative to a specific goal. Both of these characters are polar opposites in a sense that one follows his family and the other does not. But, both characters were forced into difficult situations and both have experienced some sort of sacrifice. Works Cited Mendoza, Ramon G. The Human Vermin: Kafka's Metaphor for Extreme Alienation. N.p.: Salem Press, n.d. Literary Reference Database. Web. 23 Mar. 2014. Murray, Donald C. James Baldwin's 'Sonny's Blues': Complicated and Simple. N.p.: Newberry College, n.d. Literary Reference Database. Web. 23 Mar. 2014.

The Ice Storm Book Vs. Movie C Essay -- essays research papers

There are many ways to tell a story. Back before there were books there as the actual storyteller who could speak out a story. There is also acting where people physically perform a story. Books are another storytelling device that is more permanent, the words are kept and they can be reviewed again and again. Now there are movies, which provide story telling with more an emphasis on visual effects. The question is which way is the best to present a certain type of story. The Ice Storm by Rick Moody was in such a position that one could actually look at both the modern movie and the book version.   Ã‚  Ã‚  Ã‚  Ã‚  The story is a realistic story about the Hoods and the Willams. Both of these families were affluent families that lived in New Canaan. The book centers around Wendy and the events that take place during the their thanksgiving in the 70s. The story is pretty simple and is about family strife. Wendy is a typical adolescent exploring her sexuality. At the same time her parents, Ben and Elena are having marital differences. Ben is cheating on his wife with Janey, the wife of his close friend Jim. The irony comes up with Wendy who is has sexual relations with Janey and Jim's son Mikey and his younger brother Sandy. Wendy's older brother Paul who goes to boarding school returns home and is sexual inexperienced he desires to be with a girl named Libbets. The story centers around a key party that both the Hood's and Willams' attend. The highlight of the key party is where people place their keys into a jar and people pick up the keys of different people to have sex with the owner of the keys. At this party Ben expects to have sex with Janey, but instead Janey blows him off and has sex with someone else. This night Elena also finds out about the affair and has an affair with Jim, Janey's wife. Now while both of the parents are away Mikey wants to see Wendy, but instead Wendy fools around with Sandy. Mikey ends up wandering during the ice storm to get electrocuted by a live wire. At the same time Paul is with Libbets drinking and taking drugs. All of this is happening simultaneously on one fortuitous night.   Ã‚  Ã‚  Ã‚  Ã‚  Though the events and a lot of the dialogue are the same in both the book and the movie the crux of the two are completely different. The book focuses a lot more on sexual tension and sexual exploration. The... ...modems'; (3). It's much longer than that, but the jist of it captures the period of the sixties, which is a completely different time period with different morals and different problems. The movie should have started with Paul on the train and going through that speech, it was really well written.   Ã‚  Ã‚  Ã‚  Ã‚  The book and the movie are two different things both are remarkable in their own way. The book captures the period of adolescence and the sexual tension extremely well. It also captures the time period of the seventies well too. The movie has really good acting and the emotion of a family. It's realistic and the dialogue seems typical of an average family, which is what the movie is trying to portray. The movie and the book are two perspectives looking at the same story. It's impossible to judge which is better, but instead respect them both for their merit. The story behind both the book and movie is excellent. What makes it extraordinarily good is that all characters seem so real. Moody did a stellar job of humanizing the characters. This makes the story behind the book and movie so easy to relate to. The Ice Storm in any form of media is time well spent.

A Critical appreciation of Othello Act 1 Scene 1 line 41 – line 82, commenting upon Shakespeare’s portrayal of his characters

The passage, act 1 scene 1, lines 41 to 82, open with a long speech from Iago. Already, from the onset we see that he feels it is wrong to follow his master ‘ the Moor', demonstrated by the answer he gives to Roderigo's statement of: â€Å"I would not follow him then† – line 40, with, â€Å"O sir, content you.† – line 41 It is as if it were a discontenting thought to think that Iago actually really wanted to follow his master of his own accord. Iago expands on his opening statement, informing us that he is only following Othello for his own benefit, and informs us on his view of there being two types of knaves. The first, follows his master to help his master, works hard and is humble and actually enjoys his devoted service to his master; ‘Many a duteous and knee-crooking knave, That doting on his own obsequious bondage' line 45-46 But for all their hard work Iago feels that they get nothing back in return and in addition will be looked down upon and be seen in the same category as the ‘master's ass', as they only receive food and lodging (‘for nought but provender'), in return for years of dedicated service only to be dismissed without a second thought. This is not for Iago, he will not be used by others, but in turn wants to use others for his own benefit ironically using the cover of a used ‘honest' servant. It is this word ‘honest' that appears many times in the play and is used to mean different things, mainly trustworthy and truthful or simple and easily deceived. But when used in reference to Iago there is often a sense of patronisation or an indication of it intended as an insult to suggest stupidity. When Iago uses the word ‘honest in line 49 saying: ‘Whip me such honest knaves.' He shows the audience exactly how he views the perception of the word ‘honest' as he uses it to describe the foolish ‘duteous and knee-crooking knave'. Here Iago makes it clear how he understands the meaning of the word ‘honest' even though the use of the word is frequent and varied and of course deliberately ambiguous in other references in ‘Othello'. Iago now moves onto the second type of knave, which he associates himself with: these knaves outwardly give off the appearance of hard working and submissive servants, but inwardly they are working for their own agendas. Even though these knaves look as though they are sacrificing a lot for their masters with little apparent return, in fact they are using their masters to their advantage better than their masters are using them. Therefore in paying service to Othello he is in effect paying service to himself. This gives an impression of selfishness but we must remember that just because Iago is not a master, does not make him feel that to serve a master is a privilege. Therefore, like people who are more fortunate than him and are higher in the social and military rank, he too wants people to devote their lives to him. As he can't have this, it is only natural that he would want to get something out of this ‘relationship', (though in the end circumstances do get out of hand and develop into tragedy.) The second type of knaves who are ‘trimmed in forms and visages of duty, yet keep their heart attending on themselves' (lines 50-51) Iago feels that: ‘ These fellows have some soul' – line 54 This suggests that Iago sees this deceit and pretence in a man as character and qualities to be admired and respected for: in fact the reverse of societies view of men who lie and plot others' downfall. Iago has already introduced the theme of deceptive appearances, and that actions and true thoughts or feelings have nothing in common. Therefore no one can judge or analyse someone else's actions without knowing how that person feels, and even with this knowledge, one can still not understand or appreciate the character's motives. These issues are demonstrated in Iago's following lines: ‘Were I the Moor, I would not be Iago; In following him, I follow but myself. Heaven is my judge, not I for love and duty, But seeming so for my peculiar end.' Lines 58-61 Iago's mysterious statement ‘Were I the Moor, I would not be Iago' indicates that the Moor symbolises authenticity and all things genuine while Iago stands for falseness and deceit. Therefore one cannot be the other as they are opposites and work antagonistically. Therefore we are faced with the common ‘good against evil' presentation, (which later proves evil to be the winner). It seems that Iago sees himself and Othello as opposites and therefore Othello will never be able to understand Iago, and therefore can not understand his deceitfulness and plotting against his ‘friends' and Iago will never be able to comprehend Othello's love for Desdemona as a thing of beauty and purity. Thus Iago can only make the tragedy happen by manipulating what is good and sowing the seeds of doubt. Iago comments that he is not seeking ‘love and duty' and so we start to wonder at how Iago will ‘ thrive by them' from his ‘peculiar end.' This last statement suggests that nobody will understand Iago's motives or the passion which drives his actions because even Iago refers to his end as ‘peculiar' and therefore as people will not be able to see it from Iago's point of view they will wrongly assume that he is a psychopath or mental. The lines: ‘†¦not for love and duty, But seeming so for my peculiar end' create dramatic tension and suspense, making the audience wonder what Iago could possibly have in store for them. Therefore, Shakespeare has written this line deliberately ambiguous to arouse curiosity in the viewers. Ironically, line 60 includes: ‘Heaven is my judge' this is the same heaven that does not intervene in any of the unfolding tragedy even though Cassio, Desdemona, Othello and even Emilia call to heaven for blessings and protection. Iago feels that honesty and sincerity are weaknesses that make you more open to attack and therefore more vulnerable. It is here that a hint of insecurity is detected in Iago as it seems it is in his nature to envy those whose character or situation is in any way superior to his own thereby leading to Iago suffering from a sense of injured merit. He seeks to destroy anything which by its very superiority threatens his self-love and he is always finding ways in which he feel that Othello and Cassio have slighted him. Thus he cannot control this feeling of rejection and it grows on him making him feel insecure and wanting to take revenge on those who make him feel belittled. Also, maybe Iago thinks that he can not ‘wear my heart on my sleeve for draws to peaks at' as he can not reveal his true soul to anyone because then he will no longer be able to hide behind a mask or character which what is known about them is false, which will make Iago feel more safe, again pointing to Iago feeling insecure. Iago ends his speech with a paradox: ‘ I am not what I am'. This is in effect summarising Iago's speech into saying that what people conceive him to be is not the real him, and the real him will never be revealed for people to comprehend, so people will never ‘see' the real genuine Iago. This of course is the main reason Iago manages to deceive Othello and this is also a problem for Rodrigo, but at this stage Rodrigo does not pick up on this point, as he is a bit slow to say the least. It is rather ironical that Iago only reveals his true intentions and plans to Rodrigo who is the only person too stupid to really understand their full implications, highlighted by Rodrigo's random and abstract comment: â€Å"What a full fortune does the thick-lips owe, If he can carry it thus!† Lines 67-68 Next we see Iago at his best: making havoc. Iago plainly delights in his own skill at causing chaos and his desire to make another human as unhappy and miserable as possible. When he plans to wake Brabantio, and ‘poison his delight', he maximises Brabantio's humiliation at the dishonour of it by telling Rodrigo to ‘proclaim him in the street'. Iago seems to get carried away by his lust in planning to tell Brabantio of his misfortune saying ‘plague him with flies' and ‘incense her kinsmen'. This of course is an example of Iago's two faced nature as to Brabantio he seems to be on his side by informing Brabantio of his daughter's secret liaison with Othello, yet in the next scene, Iago is seen with Othello acting as the faithful manservant.  Read also Critical appreciation of the poem â€Å"Old Ladies’ Home†. Even though Iago wants Rodrigo to call out to Brabantio, he can not help himself adding to Rodrigo's feeble and polite attempt at calling Brabantio with loud and alarming phrases and cry's of ‘Thieves,' repeated four times to make Brabantio feel as uncomfortable and worried as possible. It seems that Iago is drawing out the situation and going the round about way of telling Brabantio what has happened, to leave Brabantio in suspense and confusion for as long as possible. Iago's energy and excitement is conveyed in the pace and thrust of Iago's poetry or prose. In Iago's soliloquy-like speech (lines 41- 66) poetic images and long words do not slow the quick movement, like the agile darting of Iago's mind constantly on the look out for new niches to get in and use to his advantage. The light punctuation helps keep the fasted paced childlike enthusiasm. Iago's speeches are full of ambiguous and mysterious phrases, these highlight his double character that is in fact a paradox in itself and often seem to present two conflicting and antagonist characters, even though they are both represented through Iago. There seems to be no fixed sentence length with many varied disjointed phrases helping make up Iago's speech and present his rush of ideas and force of feeling. This passage is really a platform for the ‘plotter' Iago, to reveal his true feelings on his relationship with Othello and how he intends to use his service to Othello and the social role he is expected to play as a base for his deceit and ruin of other characters. Therefore dramatically this is an intimate scene between the audience and Iago (with Rodrigo, as merely an excuse for Iago to speak) where they are invited to see events and situations from Iago's point of view. This low-key plotting and the later loud disruption caused by Iago to wake Brabantio, is further indication of how quickly and easily i.e. how flexible, Iago can be to change to suit the situation to deceive characters, manipulate trust and ultimately cause a tragedy through his consuming hatred for seemingly all things good and beautiful.

Victimology and Alternatives to Traditional Criminal Justice essays

Victimology and Alternatives to Traditional Criminal Justice essays Alternatives to criminal justice system have been the growing part of the debate surrounding the theory of criminology. Shaming: In this arena of alternatives to criminal justice system, the most distinctive contribution has been John Braithwaites theory of regenerative shaming which conjectures the efficacy of re-integrative shaming and the counter-productiveness of stigmatization in controlling crime. John Braithwaite has asserted persuasively that the twin informal controls dissuading most people from offending against their fellow brethren are what he termed social disapproval and pangs of conscience. (Moore, n. d.) The formal criminal justice system in practice in the present modern era is all built upon a model of the state intervening so as to remedy the behavior of reasonable and rational individuals who have made choices that are socially undesirable. Shaming, under the theory of regenerative shaming, on the other hand, stresses upon the interdependency of individuals. It recognizes shame as an emotion which helps in regulating this interdependency. (Moore, n. d.) It is important to appreciate that a society marked by properly regulated interdependency, by the application of correct practices relating to shaming, the quantum of unlawful anti-social activities, i.e. the level of crime must be less. The hypothetical issue of modern criminology, its poor focus on social interdependency, therefore shows an intense issue in the Western approach towards punishment and crime. The basic issue has been that a methodical uncoupling relating to punishment and that of public shaming has been witnessed. In identifying shame as the emotion that controls the attachment between interdependent individuals Braithwaite as well as other theorists who are pioneers in the role of shame are proposing that realistic, effective programs are present. These programs should ...

Movies Based on Dean Koontz Books

Movies Based on Dean Koontz Books Dean Koontz is one of the most prolific suspense writers alive. It is no surprise, then, that many of Koontzs books have been adapted into movies. Here is a complete list of Dean Koontz movies by year. Dean Koontz Film Adaptations 1977 - The Passengers aka The Intruder (1979 video release) This was adapted from the novel Shattered, which Koontz wrote under the name of K.R. Dwyer. It was filmed in France and Italy and released in French. The original title was Les Passagers, and it was also released on video in the US as The Intruder.1977 - Demon Seed  Based on the novel of the same name, it starred Julie Christie and Fritz Weaver as a couple whose super-computer Proteus IV gets a little too familiar with them.1988 - Watchers Based on the novel, boy (Corey Haim) meets dog. Dog is a super-intelligent runaway from a genetic research lab.1990 - Whispers Based on the novel, Victoria Tennant gets stalked in Canada. The tagline was, Fear shouts. Terror whispers.1990 - Watchers II Still based on the novel, the dog saga continues, now with Marc Singer and Tracy Scoggins.1990 - The Face of Fear   This was a TV movie based on the novel. It starred Pam Dawber and Lee Horsley. A killer stalks a guy who has psychic powe rs and is about to uncover his serial killer ways. Good thing he was a former mountaineer. The tagline was, Their lives are hanging by a thread, forty stories above the street. And a madman is trying to shoot them down.   1991 - The Servants of Twilight Based on the novel, Bruce Greenwood tries to protect a boy who might be the Antichrist.1994 - Watchers III  We cant get enough of that dog. This stars Wings Hauser.1995 - Hideaway   Based on the novel, Jeff Goldblum is brought back to life after a traffic accident, but now he has a psychic connection with a mad killer who is after his daughter, played by Alicia Silverstone.1997 - Intensity Based on the novel, in this TV movie, Molly Parker tangles with serial killer/kidnapper John C. McGinley.1998 - Mr. Murder  Based on the novel, this TV movie stars Stephen Baldwin as a mystery novel writer who gets cloned, and the clone is murder-y.1998 - Phantoms Based on the novel, the town of Snowfield, Colorado is not where you want to be. Starring Peter OToole and Rose McGowan.1998 - Watchers Reborn aka Watchers 4  The dog keeps going, this time with Mark Hamill as a detective.  2000 - Sole Survivor  Based on the novel, this was a four-hour TV mini-s eries. Billy Zane grieves over losing his wife and daughter in a plane crash, but the sole survivor (Gloria Reuben) may know it was actually a nefarious plot. 2001 - Black River Based on the novella, bad things are happening in this town.2013 - Odd Thomas Based on the novel, Anton Yelchin portrayed a fry cook who sees dead people.