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Jackson Pollock is regarded as the most prominent writer of the second half of the twenty first century. He was the first American painter to create a public impression. He became a well known painter to use the famous style convergence. He contributed much in the art that was prominent during the period of the World War one. The main interest of the artist was to bring out the main social problems that existed in the society at the period. He was a drunkard, hence; spent most of his time drinking since, he decided to spend his time expressing what life offered him through painting.

            One of his famous works is called Elephant Stone. It is the third single by The Stone Roses and their first release on Silvertone Records. Initially released in October 1988, it showcased the cluster's rising self-assurance and incorporation of dance rhythms. It was produced by New Order bassist Peter Hook in his own studio. Elephant Stone was released in binary substitute forms; the unique ran for closely five minutes and featured a protracted drum introduction, though the advanced, tinier cut ran for three minutes and comprised layers of wah-wah guitar. The "Full Fathom Five" which was christened after a Jackson Pollock painting is basically a substitute solitary mix of Elephant Stone frolicked in converse.

            The work reflects the contemporary issues that happen in the modern society. Many people tend to give up in life after facing challenges. The painting is meant to give them some sturdy reasons to push through with life. The artist had a worked up generation in mind as he made the painting. The normal surroundings are full of ups and downs though through the challenges, the individuals are able to deal with future problems. In this ethnic antiquity of the USA during World War II, Thomas Doherty observes the interface amid Hollywood cinema and America's participation in the war. He discloses why Hollywood rationalized its creative incomes on behalf of the war exertion, giving a voice to numerous dissimilar groups' belvederes.  The motion picture business, management organizations, besides audiences at home and abroad participated.  Doherty verifies that war-time Hollywood was not a strictly meticulous publicity mechanism, as assumed but an ad-hoc concerted exertion amid the administration and the movie industry. The communal, dogmatic and fiscal militaries formed category classics which depicted the war situation.

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