Gender Roles Of Women And Men - 845 Words

In today’s society both male and female are expected to play specific gender roles. In Canada women and men are thought of as equal, having the same rights to respect, autonomy, and independence (Bonvillain and Miller 2013: 39). The CBSA ignored this right when the agency allowed religious travellers to avoid female guards. Although men and women may have different roles in their households and communities, their work and activities are equally valued and socially rewarded (Bonvillain and Miller 2013: 39). These roles play an important part in shaping the way individuals think about others in society. The CBSA should not have approved the request of the religious travelers as it disvalued the female guards’ rights by promoting gender inequality and male dominance. The approval of the males’ request raises the gender issue of gender inequality. Specifically because of their gender, the female guards could not perform their regular duties as a CBSA officer. Women and men should be thought of as equal by having the same rights to respect, autonomy, and independence (Bonvillain and Miller 2013: 39). In certain societies women are targeted as weak and unable to fulfill certain male positions. It is argued by Bonvillain and Miller on page 41 â€Å"that other tasks assigned to men and women may not be considered equivalent or equally valuable. The five males did not take the female guards’ occupation seriously as they felt the males would perform the job more efficiently. SocietyShow MoreRelatedGender Roles Of Men And Women1749 Words   |  7 PagesRoles of Males and Females in Different Television Programs Americans watch an alarming amount of television starting from a young age. The average American watches five hours of television a day (Koblin 2016). This enormous amount of media input influences perceptions and is connected to cementing many things in people, such as gender roles. Gender roles are thoughts, actions, and feelings learned by a person fitting their gender due to cultural norms (Santrock 2016). Additionally, stereotypes appealRead MoreGender Roles Of Women And Men1461 Words   |  6 PagesFor years, women have always been inferior to men. Even the bible states, women must be submissive. During War World II, women got a chance to experience a hint of freedom. Not by choice of course. While men went off to war, women had to hold down the fort at home. This marked the beginning to pioneer change. No one foresaw this innovation until it was too late. In a society were men are superior to women, was no longer susceptible. The road towards equality was certainly not an eas y one. AlthoughRead MoreGender Roles Of Women And Men1464 Words   |  6 Pages Introduction: Gender Roles in media is how women and men are portrayed in everyday media such as tv shows, movies, and music. Today media can have negative effects on the thought of gender roles in the society because more and more people stereotype following the media, while stereotyping can lead to prejudices and gender discrimination. This is a controversial issue because men and women are depicted a certain way with unequal and identified gender-related stereotypes which influence the societyRead MoreGender Roles of Men and Women2024 Words   |  8 PagesThe gender roles of men and women are defined before a person is even born. When a parent finds out that their child is either a little boy or girl, themselves and other family members will begin the process of gender role socialization. Gender role socialization as defined in Gidden’s Introduction to Sociology is â€Å"the learning of gender through social factors such as schooling, the media and family.† (Giddens et al. 2014 : 216) By buying all blue or pink, making sure the boy will have trucks andRead MoreGender Roles Of Women And Men Essay1485 Words   |  6 PagesAbstract Through many generations women were not treated equally as men. Women have fought their way to have gender equality but it has been slowly progressing. More women are starting to have high ranked jobs, more have been going into the workforce and don’t have to stay home all day long to take care of the kids. There are many differences between the gender roles (how women and men act or how they should be) when it comes to certain things. Like if you tell a girl, she hits like a boy or tellRead MoreThe Gender Roles Of Men And Women1243 Words   |  5 PagesThe gender roles of men and women were quite different in pre-20th-century drama. In his play Lysistrata, Aristophanes creates a world to bring about his thoughts on the Peloponnesian war with the comedic relief of gender role reversal. The women in his play are not necessarily the way women of his time were, but more of what men thought they were as well as what men feared or fantasized women could be like. Through action an d dialogue, the play shows examples of several different types of women. LysistrataRead MoreGender Roles Of Men And Women1702 Words   |  7 Pagesthe agricultural to industrial societies gender role has gradually changed in many ways. It can be seen from today that the role of male and female does not really much different. From the past with the perspective that women need to stay at home and perform housework while men need to work outside, these perspectives have changed over the time. Gender role which was built within the social contexts and since the globe has changed role of both men and women should be able to transform themselves toRead MoreGender Roles Of Men And Women1362 Words   |  6 PagesGender Roles in Fairy Tales Fairy tales have been around for generations. They are a way to express the idealistic realities of society. In most fairy tales, the roles of men and women reflect the way men and women are portrayed in reality. Many cultures believe that women are to be seen and not heard and that the only necessity for them is to take care of the house and raise children to repopulate society. Fairy tales originated from oral tradition. These stories were passed down and here eventuallyRead MoreGender Roles Of Men And Women1998 Words   |  8 Pages Men and Women have many different life experiences that allow their literature to be different from each other. Gender plays a really important role in society. From the day we are born, we are instantly given a blue blanket if we are a boy or a pink blanket if one is a girl. In society, we are told that we can be whoever we want to be, but many people especially women are criticized if they want to endure a path that is similar to a male. In literatu re, authors are able to express from their realRead MoreGender Roles And Expectations Of Men And Women1009 Words   |  5 Pagesthe last few decades, there has been a trend of shift in roles and expectations of men and women. The shift was dynamic in the latter half of the twentieth century. World had been made a great stride in acquiring and adapting to the new definition of gender roles. These changes can be seen in the fields of education, media, economics as well as many other things. The reason for the change is a rapid increase in the number of women at workplaces-worldwide. Unlikely, this wave of change is

Use of Symbols in The Lottery by Shirley Jackson - 981 Words

Many great authors use symbolism numerous of time in their stories. A symbol is a noun or word that represents a different idea. An author displays the symbols as a hit rather than blurting it out. Symbols are not only used in novels or poems, they are also used in everyday use. For an example, the American flag has fifty stars on it which each star represents a state. On the other hand, the thirteen stripes plays the part of our thirteen colonies; the beginning of our country. Even with our high school, a tiger pawl represents us as a fighting tiger that will strive to do what’s right, and to show our strength against our greatest rivals. In the short story â€Å"The Lottery† there was a village that practice an ancient sacrificial killing for†¦show more content†¦(The Lottery- Names) Jack is standing for the young generation. He was the youngest household taking the risk for the family. â€Å"glad to see your mother’s got a man to do it† (Shirley Jackson 1994) One of the minor characters in â€Å"The Lottery† is Mrs. Delacroix. According to Martine â€Å"the name Delacroix is the meaning of the cross in French† (Literary Analysis Essay) The Delacroix family wasn’t picked, so they were blessed. Gobellan6 Shirley Jackson did not only use characters to represent a different idea but she also used objects for symbolism. The main object form the story was the black box. â€Å"The box plays on the idea of a coffin holding the dead people† (symbolism in Shirley Jackson ‘The Lottery’†) The box contains the white papers which represent each family, who have a chance of death. The box itself is a symbolizes tradition. â€Å"No one really knows how the lottery began, but they keep following through with it, because it’s always been done†(pirate teacher) The villagers themselves have no clue when the lottery started, but it’s been their tradition that they’ve been doing for years. It’s been done even before Old Time Warner. Not only is it a tradition to the people but they are also loyal to it. â€Å"The black box is nearly falling apart... But the villagers are unwilling to replace it.†(Symbols The Black Box) Even the villagers knew that the box was hardly even a box. Their loyalty to the box was so great that they won’tShow MoreRelatedUse of Symbolism in The Lottery by Shirley Jackson1146 Words   |  5 PagesSymbolism. Symbolism is the use of object, name, or person to represent an idea. If a name is being use, a name such as autumn can represent the adulthood of a human. Creatures such as an Eagle, represents ‘Freedom’ and ‘America’. Even inanimate objects can represent ideas; the light bulb represents ideas that just sparked into a character’s head. In the short story, â€Å"The Lottery† by Shirley Jackson, a village has just entered the month of June, meaning that the lottery is to begin. When everyoneRead MoreIgnornance of Tradition in The Lottery, by Shirley Jackson1014 Words   |  5 Pagesstarted them or why they were enacted in the first place. The community, in the short story The Lottery by Shirley Jackson, is no different. The community members follow the tradition of the lottery without any consideration to its ramifications. Shirley Jacksons goal for writing The Lottery is to get the reader to question why certain things are done. She accomplishes this through her use of symbols, her description of the fear of change, and the portrayal of the dangers associated with blindlyRead MoreLiterary Elements in The Lottery, by Shirley Jackson1334 Words   |  6 Pagesshort story, â€Å"The Lottery,† by Shirley Jackson communicates this theme by showing how the villagers participate in a lottery every year. In life, there are people who follow tradition because the have to, or they are used to following without question. The author, Shirley Jackson was born on December 14, 1916 in San Francisco, California. In 1937, Shirley Jackson attended Syracuse University where she began to write short stories. She was famous for the short story, â€Å"The Lottery,† and her best sellerRead MoreSymbolism in The Lottery, by Shirley Jackson Essay example1173 Words   |  5 PagesWhen most people play the lottery today, they think about having wealth. Generally, people who win are happy about it whether they win one dollar or a million. The lottery in our society has grown to support education and it is often worth several million dollars. Usually, the winner of the lottery gains a lot of recognition for the money they win. But what would happen if there was a small town where people held a yearly lottery in which the â€Å"winner† was the member of the town who was not sacrificedRead More Summary On The Allegory Of Shirley Jacksons The Lottery871 Words   |  4 Pages Shirley Jackson’s story â€Å"The Lottery† serves as an allegory regarding humankinds inherent to be cruel and society’s ability to inure to violence. The author’s use of a third-person dramatic narrative combined with strong themes, symbols and irony clearly supports the lesson Jackson was trying to portray. Jackson’s short story shows how easy it is to be hostile when a group of villagers with a herd mentality blindly follow an outdated tradition and that evil knows no boundaries. JacksonRead MoreThe Lottery Literary Analysis1538 Words   |  7 Pageswarmth of a full-summer day; the flowers were blossoming profusely and the grass was richly green† (Jackson). In this first sentence of the The Lottery Shirley Jackson establishes a pleasant illusion, creating a sense of serenity. Jackson proceeds to mention that children begin to gather in the village, frolicing and conversing about school. The initial scene and satirically labeled title, The Lottery, provide a somewhat satisfying first impression to the reader. The introductory scene is eminent toRead MoreSymbols in The Lottery by Shirley Jackson 649 Words   |  3 PagesIn most peoples minds, the word â€Å"lottery† signifies huge winnings, but for the townspeople in the story â€Å"The Lottery† by Shirley Jackson the word brings forth fear and devastation. The lottery starts off as a seemingly innocent event which immediately turns into feared, mass chaos in the town. The symbols Jac kson incorporates into the story contribute to the fact that everything in this town must be replaced and that some things we must let go of to start fresh with. Although, having said that, peopleRead MoreThe Lottery, By Shirley Jackson And A Rose For Emily By William Faulkner960 Words   |  4 PagesThe Use of Symbolism in â€Å"The Lottery† by Shirley Jackson and â€Å"A Rose for Emily† by William Faulkner The use of symbolism is used in literature to enhance writing and add meaning to a story, this is evident in the two short stories â€Å"The Lottery† written by Shirley Jackson and â€Å"A Rose for Emily† written by William Faulkner. With the authors use of symbolism Jackson and Faulkner are able to add depth to their writing in a way that connects with the readers. By adding symbolism to the short storiesRead MoreThe Lottery By Shirley Jackson972 Words   |  4 Pagesâ€Å"The Lottery† by Shirley Jackson, is a short story about an annual lottery draw in a small New England town. The town’s people have performed the lottery for more than seventy years. Shirley Jackson gives â€Å"The Lottery† a whole different meaning . The lottery is used for a public stoning, opposing to the very first thing that approaches to a reader s mind when they think of the lottery; a big amount of money . The reader sees both literal and metaphorical meaning of the Sh irley Jackson’s short storyRead MoreSymbolizing the Ideas and Beliefs in The Lottery1167 Words   |  5 Pagescustoms and ideas. In â€Å"The Lottery† the people from the community are sacrificing in order for their crops to grow. Many lives are at risk and in fear despite the acceptance of their actions.Symbolism is something that represents ideas or qualities of an object. An example of this can be a dove which represents peace. In the short story The Lottery, it takes place in the late 40s early 50s. The whole story is a contradiction because you would think that having a lottery would be a good thing, but

The Vampire Diaries The Fury Chapter Thirteen Free Essays

string(30) " something leaped into focus\." â€Å"You think we’re supposed to-look inside?† Matt said. â€Å"I don’t know,† Elena said miserably. She didn’t want to see what was inside that tomb now any more than she had when Tyler had suggested opening it to vandalize it. We will write a custom essay sample on The Vampire Diaries: The Fury Chapter Thirteen or any similar topic only for you Order Now â€Å"Maybe we won’t be able to get it open,† she added. â€Å"Tyler and Dick couldn’t. It started to slide only when I leaned on it.† â€Å"Lean on it now; maybe there’s some sort of hidden spring mechanism,† Alaric suggested, and when Elena did, with no results, he said, â€Å"All right, let’s all get a grip, and brace ourselves-like this. Come on, now-â€Å" From his crouch, he looked up at Damon, who was standing motionless next to the tomb, looking faintly amused. â€Å"Excuse me,† Damon said, and Alaric stepped back, frowning. Damon and Stefan each gripped an end of the stone lid and lifted. The lid came away, making a grinding sound as Damon and Stefan slid it to the ground on one side of the tomb. Elena couldn’t bring herself to move closer. Instead, fighting nausea, she concentrated on Stefan’s expression. It would tell her what was to be found in there. Pictures crashed through her mind, of parchment-colored mummified bodies, of rotting corpses, of grinning skulls. If Stefan looked horrified or sickened, disgusted†¦ But as Stefan looked into the open tomb, his face registered only disconcerted surprise. Elena couldn’t stand it any longer. â€Å"What is it?† He gave her a crooked smile and said with a glance at Bonnie, â€Å"Come and see.† Elena inched up to the tomb and looked down. Then her head flew up, and she regarded Stefan in astonishment. â€Å"What is it?† â€Å"I don’t know,† he replied. He turned to Meredith and Alaric. â€Å"Does either of you have a flashlight? Or some rope?† After a look inside the stone box, they both headed for their cars. Elena remained where she was, staring down, straining her night vision. She still couldn’t believe it. The tomb was not a tomb, but a doorway. Now she understood why she had felt a cold wind blow from it when it had shifted beneath her hand that night. She was looking down into a kind of vault or cellar in the ground. She could see only one wall, the one that dropped straight down below her, and that one had iron rungs driven into the stone, like a ladder. â€Å"Here you go,† Meredith said to Stefan, returning. â€Å"Alaric’s got a flashlight, and here’s mine. And here’s the rope Elena put in my car when we went looking for you.† The narrow beam of Meredith’s flashlight swept the dark room below. â€Å"I can’t see very far inside, but it looks empty,† Stefan said. â€Å"I’ll go down first.† Bonnie hadn’t moved. She was still standing there with that utterly abstracted expression on her face, as if she saw nothing around her. Without a word, she swung a leg over the edge of the tomb, twisted, and began to descend. â€Å"Whoa,† said Stefan. He tucked the flashlight in his jacket pocket, put a hand on the tomb’s foot, and jumped. Elena had no time to enjoy Alaric’s expression; she leaned down and shouted, â€Å"Are you okay?† â€Å"Fine.† The flashlight winked at her from below. â€Å"Bonnie will be all right, too. The rungs go all the way down. Better bring the rope anyway.† Elena looked at Matt, who was closest. His blue eyes met hers with helplessness and a certain resignation, and he nodded. She took a deep breath and put a hand on the foot of the tomb as Stefan had. Another hand suddenly clamped on her wrist. â€Å"I’ve just thought of something,† Meredith said grimly. â€Å"What if Bonnie’s entity is the Other Power?† â€Å"I thought of that a long time ago,† Elena said. She patted Meredith’s hand, pried it off, and jumped. She stood up into Stefan’s supporting arm and looked around. â€Å"My God†¦Ã¢â‚¬  It was a strange place. The walls were faced with stone. They were smooth and almost polished-looking. Driven into them at intervals were iron candelabra, some of which had the remains of wax candles in them. Elena could not see the other end of the room, but the flashlight showed a wrought-iron gate quite close, like the gate in some churches used to screen off an altar. Bonnie was just reaching the bottom of the rung ladder. She waited silently while the others descended, first Matt, then Meredith, then Alaric with the other flashlight. Elena looked up. â€Å"Damon?† She could see his silhouette against the lighter black rectangle that was the tomb’s opening to the sky. â€Å"Well?† â€Å"Are you with us?† she asked. Not â€Å"Are you coming with us?† She knew he would understand the difference. She waited five heartbeats in the silence that followed. Six, seven, eight†¦ There was a rush of air, and Damon landed neatly. But he didn’t look at Elena. His eyes were oddly distant, and she could read nothing in his face. â€Å"It’s a crypt,† Alaric was saying in wonder, as his flashlight scythed through the darkness. â€Å"An underground chamber beneath a church, used as a burial place. They’re usually built under larger churches.† Bonnie walked straight up to the scrolled gate and placed one small white hand on it, opening it. It swung away from her. Bonnie walked straight up to the scrolled gate and placed one small white hand on it, opening it. It swung away from her. Bonnie stopped. This is it, thought Elena, her breath catching in her throat. Oh, my God, this is it; this is really it. She had the sudden intense sensation of being in the middle of a lucid dream, one where she knew she was dreaming but couldn’t change anything or wake up. Her muscles deadlocked. She could smell fear from the others, and she could feel the sharp edge of it from Stefan beside her. His flashlight skimmed over objects beyond Bonnie, but at first Elena’s eyes could make no sense of them. She saw angles, planes, contours, and then something leaped into focus. You read "The Vampire Diaries: The Fury Chapter Thirteen" in category "Essay examples" A dead-white face, hanging grotesquely sideways †¦ The scream never got out of her throat. It was only a statue, and the features were familiar. They were the same as on the lid of the tomb above. This tomb was the twin of the one they had come through. Except that this one had been ravaged, the stone lid broken in two and flung against the wall of the crypt. Something was scattered about the floor like fragile ivory sticks. Bits of marble, Elena told her brain desperately; it’s only marble, bits of marble. They were human bones, splintered and crushed. Bonnie turned around. Her heart-shaped face swung as if those fixed blank eyes were surveying the group. She ended directly facing Elena. Then, with a shudder, she stumbled and pitched violently forward like a marionette whose strings have been cut. Elena barely caught her, half falling herself. â€Å"Bonnie? Bonnie?† The brown eyes that looked up at her, dilated and disoriented, were Bonnie’s own frightened eyes. â€Å"But what happened?† Elena demanded. â€Å"Where did it go?† â€Å"I am here.† Above the plundered tomb, a hazy light was showing. No, not a light, Elena thought. She was sensing it with her eyes, but it was not light in the normal spectrum. This was something stranger than infrared or ultraviolet, something human senses had not been built to see. It was being revealed to her, forced on her brain, by some outside Power. â€Å"The Other Power,† she whispered, her blood freezing. â€Å"No, Elena.† The voice was not sound, in the same way that the vision was not light. It was quiet as star shine, and sad. It reminded her of something. â€Å"I’ve been waiting for you,† Honoria Fell’s voice said softly. â€Å"Here I can speak to you at last in my own form, and not through Bonnie’s lips. Listen to me. Your time is short, and the danger is very great.† Elena found her tongue. â€Å"But what is this room? Why did you bring us here?† â€Å"You asked me to. I couldn’t show you until you asked. This is your battleground.† â€Å"I don’t understand.† â€Å"This crypt was built for me by the people of Fell’s Church. A resting place for my body. A secret place for one who had secret powers in life. Like Bonnie, I knew things no one else could know. I saw things no one else could see.† â€Å"You were psychic,† Bonnie whispered huskily. â€Å"In those days, they called it witchery. But I never used my powers for harm, and when I died they built me this monument so that my husband and I could lie in peace. But then, after many years, our peace was disturbed.† The eldritch light ebbed and flowed, Honoria’s form wavering. â€Å"Another Power came to Fell’s Church, full of hatred and destruction. It defiled my resting place and scattered my bones. It made its home here. It went out to work evil against my town. I woke. â€Å"I have tried to warn you against it from the beginning, Elena. It lives here below the graveyard. It has been waiting for you, watching you. Sometimes in the form of an owl-â€Å" An owl. Elena’s mind raced ahead. An owl, like the owl she had seen nesting in the belfry of the church. Like the owl that had been in the barn, like the owl in the black locust tree by her house. White owl†¦ hunting bird†¦ flesh eater†¦ she thought. And then she remembered great white wings that seemed to stretch to the horizon on either side. A great bird made of mist or snow, coming after her, focused on her, full of bloodlust and animal hate†¦ â€Å"No!† she cried, memory engulfing her. She felt Stefan’s hands on her shoulders, his fingers digging in almost painfully. It brought her back to reality. Honoria Fell was still speaking. â€Å"And you, Stefan, it has been watching you. It hated you before it hated Elena. It has been tormenting you and playing with you like a cat with a mouse. It hates those you love. It is full of poisoned love itself.† Elena looked involuntarily behind her. She saw Meredith, Alaric, and Matt standing frozen. Bonnie and Stefan were next to her. But Damon†¦ where was Damon? â€Å"The Snow Dance!† Meredith said sharply. â€Å"Yes. And this time they will kill until the last of them is killed.† â€Å"We have to warn those people,† Matt said. â€Å"Everyone at that dance-â€Å" â€Å"You will never be safe until the mind that controls them is destroyed. The killing will go on. You must destroy the Power that hates; that is why I have brought you here.† There was another flux in the light; it seemed to be receding. â€Å"You have the courage, if you can find it. Be strong. This is the only help I can give you.† â€Å"Wait-please-† Elena began. The voice continued relentlessly, taking no heed of her. â€Å"Bonnie, you have a choice. Your secret powers are a responsibility. They are also a gift, and one that can be taken away. Do you choose to relinquish them?† â€Å"I-† Bonnie shook her head, frightened. â€Å"I don’t know. I need time†¦Ã¢â‚¬  â€Å"There is no time. Choose.† The light was dwindling, caving in on itself. Bonnie’s eyes were bewildered and uncertain as she searched Elena’s face for help. â€Å"It’s your choice,† Elena whispered. â€Å"You have to decide for yourself.† Slowly, the uncertainty left Bonnie’s face, and she nodded. She stood away from Elena, without support, turning back to the light. â€Å"I’ll keep them,† she said huskily. â€Å"I’ll deal with them somehow. My grandmother did.† There was a flicker of something like amusement from the light. â€Å"You’ve chosen wisely. May you use them as well. This is the last time I will speak to you.† â€Å"But-â€Å" â€Å"I have earned my rest. The fight is yours.† And the glow faded, like the last embers of a dying fire. With it gone, Elena could feel the pressure all around her. Something was going to happen. Some crushing force was coming toward them, or hanging over them. â€Å"Stefan-â€Å" Stefan felt it too; she could tell. â€Å"Come on,† Bonnie said, her voice panicked. â€Å"We have to get out of here.† â€Å"We have to get to the dance,† Matt gasped. His face was white. â€Å"We have to help them-â€Å" â€Å"Fire,† cried Bonnie, looking startled, as if the thought had just come to her. â€Å"Fire won’t kill them, but it will hold them off-â€Å" â€Å"Alaric.† Stefan spoke with the ring of command. â€Å"You go back. Take the others; do what you can. I’ll stay-â€Å" â€Å"I think we all should leave!† Alaric shouted. He had to shout to be heard over the deafening noise surrounding them. His weaving flashlight showed Elena something she hadn’t noticed before. In the wall next to her was a gaping hole, as if the stone facing had been ripped away. And beyond was a tunnel into the raw earth, black and endless. Where does it go? Elena wondered, but the thought was lost among the tumult of her fear. White owl†¦ hunting bird†¦ flesh eater†¦ crow, she thought, and suddenly she knew with blinding clarity what she was afraid of. â€Å"Where’s Damon?† she screamed, dragging Stefan around as she turned, looking. â€Å"Where’s Damon?† â€Å"Get out!† cried Bonnie, her voice shrill with terror. She threw herself toward the gate just as the sound split the darkness. It was a snarl, but not a dog’s snarl. It could never be mistaken for that. It was so much deeper, heavier, more resonant. It was a huge sound, and it reeked of the jungle, of the hunting bloodlust. It reverberated in Elena’s chest, jarred her bones. It paralyzed her. The sound came again, hungry and savage, but somehow almost lazy. That confident. And with it came heavy footfalls from the tunnel. Bonnie was trying to scream, making only a thin whistling sound. In the blackness of the tunnel, something was coming. A shape that moved with a rangy feline swing. Elena recognized the snarl now. It was the sound of the largest of the hunting cats, larger than a lion. The tiger’s eyes showed yellow as it reached the end of the tunnel. And then everything happened at once. Elena felt Stefan try to pull her backward to get her out of the way. But her own petrified muscles were a hindrance to him, and she knew that it was too late. The tiger’s leap was grace itself, powerful muscles launching it into the air. In that instant, she saw it as if caught in the light of a flashbulb, and her mind noted the lean shining flanks and the supple backbone. But her voice screamed out on its own. â€Å"Damon, no!† It was only as the black wolf sprang out of the darkness to meet it that she realized the tiger was white. The great cat’s rush was thrown off by the wolf, and Elena felt Stefan wrench her out of the way, pulling her sideways to safety. Her muscles had melted like snowflakes, and she yielded numbly as he put her against the wall. The lid of the tomb was between her and the snarling white shape now, but the gate was on the other side of the fight. It was an impossible match. The black wolf, vicious and aggressive though it might be, didn’t stand a chance. One swipe of the tiger’s huge claws laid the wolf’s shoulder open to the bone. Its jaws snarled open as it tried to get a bone-cracking grip on the wolf’s neck. But then Stefan was there, training the blaze of the flashlight into the cat’s eyes, thrusting the wounded wolf out of the way. Elena wished she could scream, wished she could do something to release this rushing ache inside her. She didn’t understand; she didn’t understand anything. Stefan was in danger. But she couldn’t move. â€Å"Get out!† Stefan was shouting to the others. â€Å"Do it now; get out!† Faster than any human, he darted out of the way of a white paw, keeping the light in the tiger’s eyes. Meredith was on the other side of the gate now. Matt was half carrying and half dragging Bonnie. Alaric was through. The tiger lunged and the gate crashed shut. Stefan fell to the side, slipping as he tried to scramble up again. â€Å"We won’t leave you-† Alaric cried. â€Å"Go!† shouted Stefan. â€Å"Get to the dance; do what you can! Go!† The wolf was attacking again, despite the bleeding wounds in its head, and its shoulder where muscle and tendon lay exposed and shining. The tiger fought back. The animal sounds rose to a volume that Elena couldn’t stand. Meredith and the others were gone; Alaric’s flashlight had disappeared. â€Å"Stefan!† she screamed, seeing him poised to jump into the fight again. If he died, she would die, too. And if she had to die, she wanted it to be with him. The paralysis left her, and she stumbled toward him, sobbing, reaching out to clutch him tightly. She felt his arm around her as he held her with his body between her and the noise and violence. But she was stubborn, as stubborn as he was. She twisted, and then they faced it together. The wolf was down. It was lying on its back, and although its fur was too dark to show the blood, a red pool gathered beneath it. The white cat stood above it, jaws gaping inches from the vulnerable black throat. But the death-dealing bite to the neck didn’t come. Instead the tiger raised its head to look at Stefan and Elena. But the death-dealing bite to the neck didn’t come. Instead the tiger raised its head to look at Stefan and Elena. The whiskers were straight and slender, like silver wires. Its fur was pure white, striped with faint marks like unburnished gold. White and gold, she thought, remembering the owl in the barn. And that stirred another memory†¦ of something she’d seen†¦ or something she’d heard about†¦ With a heavy swipe, the cat sent the flashlight flying out of Stefan’s hand. Elena heard him hiss in pain, but she could no longer see anything in the blackness. Where there was no light at all, even a hunter was blind. Clinging to him, she waited for the pain of the killing blow. But suddenly her head was reeling; it was full of gray and spinning fog and she couldn’t hold on to Stefan. She couldn’t think; she couldn’t speak. The floor seemed to be dropping away from her. Dimly, she realized that Power was being used against her, that it was overwhelming her mind. She felt Stefan’s body giving, slumping, falling away from her, and she could no longer resist the fog. She fell forever and never knew when she hit the ground. How to cite The Vampire Diaries: The Fury Chapter Thirteen, Essay examples

Cooperative intelligent transport system - Myassignmenthelp.Com

Question: Discuss about theCooperative intelligent transport system. Answer: Transit management systems The transit management system is a particular coordination that provides accurate information related to the positioning and the satisfactions safety as well as the security of the commuters. The transit management system is fundamental in the increasing of the ridership, thus enhancing the operational efficiency and reducing the disruptions in the service. The passengers have the right to utilize this kind of information at home, work or a transportation center, with various technologies while commuting. These certain information are general information, maps, Scheduled information, operation information (Festag 2014). One significant example of the transit management system is the Automatic Vehicle Location (AVL) technology, which gives the facility of tracking down the vehicle in terms of vehicular tracking. The AVL system also facilitates the imparting of vital information concerning the real time or live positioning of a vehicle. This also includes the imparting of information t o the commuters to keep a check on the schedule dedication and location of the transit bound vehicles (Binjammaz, Al-Bayatti and Al-Hargan 2013). References Binjammaz, T., Al-Bayatti, A. and Al-Hargan, A., 2013, March. GPS integrity monitoring for an intelligent transport system. InPositioning Navigation and Communication (WPNC), 2013 10th Workshop on(pp. 1-6). IEEE. Festag, A., 2014. Cooperative intelligent transport systems standards in Europe.IEEE communications magazine,52(12), pp.166-172.

How to Write a Narrative Essay Complete Guide

Everyone has a story to tell. There are many experiences in life that we would like to put in words for others to relate to or to tell exhilarating tales of events that took place in our lives for others to read and experience with us. Narrative essays provide a platform to tell these stories and cement their existence because well, memory is a fragile thing. As you prepare to take your readers on this experiential journey with you, there are some aspects of these essays you may need to pay closer attention to. This text will guide you on how to provide the proper execution to your narrative and thereby attain the desired results. What Is a Narrative Essay? It is basically a story, written from a writer’s point of view that includes a sequence of events and experiences taking place, which highlight the writer’s beliefs, biases, likes and dislikes. Ever heard of the saying there are three sides to every story, ‘your side, my side and the truth’? Well, when it comes to narratives, you have the opportunity to share your side of the story. This comes with a freedom to express your views and feelings to engage your readers and spark some of their emotions depending on the type of story you tell. The detailing is accurate and uses verbs that are vivid and precise. Unlike Comparison and contrast essay, narratives only revolve around one motif that contributes towards the development of a theme that is built up in the paper. Awesome Tips on How to Write a Good Narrative When it comes to writing a good narrative, having content is simply not enough. Some critical factors come into play here to determine whether it will be a successful story that has all the aspects efficiently executed from the beginning of the story to the ending to the lessons if there are any. Here are a few guidelines to consider when writing a narrative: Prepare Preparation is important in everything. Get everything you need to write the narrative in order. Select the characters, the events and how they are to relate to each other, provide a setting for the story, and then write a simple draft for the narrative Clarity The basic understanding of a statement in a narrative is key in enjoying it. The language used should be simple enough for the readers to grasp on the first read. The use of complex words and syntax hinders clarity. Ideas should be clearly distributed between sentences and paragraphs Show, don’t tell. When writing a narrative, it is essential to know that your reader wants to have the experience with you. Sensory description brings the story alive for the reader and truly captures their imagination by appealing to their senses of touch, smell and even taste. You should be careful not to over-describe simple things such as your movement. Wondering How to Start a Narrative Essay? It is easy. Ensure that you: Engage your audience using ABDCE method Capturing and retaining the interest of readers should be given one of the highest priorities. Authors came up with ABDCE method for this which begins by providing the reader action because that is what sparks their curiosity, the providing a background to the readers about the characters and situations included so that they get the full effect of the story. Then, develop the story by describing the central chain of events, and when the development is at its peak, it reaches its climax which covers the most dramatic and crucial part of the story. Finally, give the ending that shows the aftermath of the events. Proofread your Essay This should be among one of the last things you do before submitting an essay. Check for any errors that you may have made unknowingly just to be safe and correct them. Stuck on How to Structure a Narrative Essay? Having a structure is what differentiates these essays from short stories. The narrative essay structure is divided into three main parts, the introduction, the body, and the conclusion. Linking the three to provide a story that flows and achieves its intended purpose is the goal of each writer and author. Within the three parts a writer is supposed to include the basic components of a narrative which are; Plot- a sequence of events that unfold Characters- The people in the story who make the story by their decisions and actions Conflict- The problem that the protagonist of the story needs to solve or overcome by the end of the story Theme- The message the narrative is trying to express either directly or indirectly. When structuring a narrative time is a major factor to pay attention to because it connects the events chronologically that way the reader can easily tell apart the beginning, the middle and the end. The use of certain transitional words for example now, since, before, then and meanwhile among others, keep the reader invested in the unraveling of the events of the story. Things to Include in Your Narrative Essay Introduction Paragraph The introduction paragraph is the beginning of your story. The first few sentences of the story usually include the hook, which grabs the attention of the reader early on. You can then provide a setting for the story, the scenery, the views, then introduce the characters of your story, not necessarily in this order. After this, you prepare the reader for the action to come in the body of the essay. Revamp Your Narrative Essay Body with These Tips The body contains most of the plot of the narrative essay. It is undoubtedly the largest part of any essay. The plot can be organized in different ways with the simplest being in chronological order. This is arranging your thoughts according to how the events occur in time. The first paragraph describes the first event, the second paragraph the second event and so on. As stated earlier keeping the reader hooked is important here. This can be met by capturing and retaining their curiosity through the events in order and providing a flawless transition of ideas between the paragraphs. The paragraphs of the essay body should show, using a lot of description in order to create a mental picture for the reader to enhance their experience.   Because the essays are mostly derived from personal experience, the writer is supposed to clearly describe the lessons learned from the events of the story. The depicted events should have a well-portrayed significance to the writer. Also in the body, some of the basic rules of essay writing still apply such as avoiding repetition, observing flow, and reviewing how the events are connected. Complete Your Article with an Incredible Narrative Essay Conclusion Every good story must have a sound ending. The conclusion to such essays is the final part. It functions to present a moral to the story based on the events in the story. The conclusion sums up the outcomes of all the activities in the introduction and body of the story and answers all the remaining questions in the readers mind by satisfying the curiosity carried throughout the paragraphs of the story. The conclusion should ensure that all the events and activities in the narrative are accounted for. Here, the writer can evaluate their overall experience and what the experience means to them. Also, you can state how the experience changed your life. Hire Our Expert Writers if Still Facing Difficulties Narrative articles are artistic and promote creativity by mastering the art of guiding the reader through your experience and having the freedom to reach deep into their emotions and make them feel what you want them to feel. Our best essay writers online can help you with your essay if you need professional assistance with that crucial paper.

Technology and Modern Society essays

Technology and Modern Society essays Technology is changing society as much as it's changing the world around us. People are surrounding themselves with all this technology and paying no mind to the world they are living in. Technology is always improving and it's only getting faster. There are positive and negative things that come with technology. The positive things that can be accomplished are that you can communicate with friends and find any type of information on the internet. The negative aspect of technology is that it affects our social well-being. The youth of today is mainly focused on technology that promotes instant gratification, whether cell phones, gaming systems, laptops, or MP3 players (DeLuca). Are these technological advancements a good thing for our society? Technology is more of a negative aspect of our society, it causes individuals to isolate themselves from reality. The advancement of technology has a negative impact on our social interactions because it separates us from the world around us. The world should be able to learn how to embrace technology without allowing it to negatively impact society (DeLuca). Individuals are disconnecting themselves from the real world. The internet allows people to interact with other people that they aren't able to communicate with in person. When the internet is being used for social interactions it gives people the wrong idea of the world around them. It allows them to think that they can only interact with people through there social networking websites instead of having an actual conversation with a classmate. There are millions of people that spend plenty of time on social networking websites. Most people use these websites to build character and because they are able to socialize through these websites. People tend to just sit at a computer staring at a monitor which creates imaginary friends that they most likely will not meet in person and prevents them from socializing in person. Others ...

Humana's low-cost Medicare drug plan is a way to lure seniors into its Essay

Humana's low-cost Medicare drug plan is a way to lure seniors into its managed care - Essay Example Humana Inc. with its new plan targets the seniors market, including low-income segment. The crux of the new strategy is the extremely low pricing for the drug-only policies. Proposed rates which are almost twice below the average, coupled with marketing agreement with the Wal-Mart stores, government subsidies and legislative support, should attract millions of new senior customers. This opportunity seems even more attractive given the projected decline in the market growth and increasing competition. Of course, simply lowering all the rates will decrease significantly company's margins. Therefore, the next stage of the marketing plan considers deploying the enroll-and-migrate strategy'' and putting emphasize on switching the attention of the newly acquired drug-only programs customers to the managed care programs. Sales personnel's effort would be directed at the promotion of these programs, which have higher rates and are much more lucrative for the Humana Inc. The author gives a brief dispassionate description of the Humana's management plans and provides the readers with corresponding figures where appropriate. However, the article contains several hints of the attitude expressed towards the plan. The heading contains the word "hook" with regard to the new low-price policy and the text develops the idea further. The means and ends of the upcoming measures are summarized in two brief sentences: â€Å"Their idea: offer dirt-cheap drug plans to grab millions of seniors. Then use the benefit as a stepping stone to a potentially richer market†. Undoubtedly, the article may attract some of the customers by informing them about the low-priced offering they might find appealing.

Write an essay in which you identify a person who has been a positive

Write an in which you identify a person who has been a positive influence in your life - Essay Example my strengths and good habits, through that she cured me to be a nice person as I don’t have a big family. My family comprises just one brother and my dad. So there is no one who knows me in person as Kristen. I first met her in my school class in the higher school and since then we are truly good friends. She helped me in my studies and in my personal life. She helped and assisted me in taking most important decision in my life. Whenever I was in problem, she was the first person to stand with me. I trust her a lot. In most cases in life I was wrong; she helped me in getting out of it, by directing me towards right option. She have always been with me in every walk of life, therefore she has a great impact on my life. She has helped me in many things, which I would have not been able to do it alone. I have a very high temper because of which mostly I put myself in trouble. She was the one who guided me to be kind and generous and I should try to be calm and happy always. I am a very polite and kind person in nature, therefore, some people did endeavor to make wrong use of my kindness, and she taught me that I should not let other people make wrong use of my care and friendship. She made me believe on my dreams and compelled me to have faith in those and struggle for it. She always encouraged me to study more and to have a profession. A friend is a person with whom we can share anything and in case of girls: best friend is the second person after mother with whom we share our secrets and relish our life to the fullest. She is a kind of person to whom every girl want to do friendship with, but her friends circle is very limited, in which I have a top priority, because she considers me her best friend. She is a very kind and helpful person. She has a short height, fair and thin hair. She is little skinny, same as me. We both friends are quite alike, which is a plus point of our friendship. She wears normal traditional Pakistani dress, but she looks very

Innovation, Assignment Example | Topics and Well Written Essays - 3500 words

Innovation, - Assignment Example In fact, obesity is now considered to be an epidemic such that it has alarmed public health officials and policy makers to consider some methods to reduce the high rates of obesity (Pool, 2000). As a note, obesity is measured using the body mass index (BMI) of a person. BMI is computed by dividing the body mass (in kilograms) by the square of that person's height (in meters); hence the BMI is given in units of kgs/m2. A person whose BMI is below 18.5 is considered underweight; a BMI between 18.5 to 25 is normal weight or optimal; a BMI above 25 up to 30 indicates the person is overweight, and finally, a BMI of above 30 is accepted as obese, while anyone with a BMI of over 30 is morbidly obese (or a condition of morbid obesity, which means there is now a real danger of physical complications and even death). The American Medical Association (AMA) had recently declared obesity as a disease by itself that is now so prevalent worldwide (The Boston Globe, 2013). More people are also findi ng it more convenient to drive their own motor vehicles to work or to go someplace rather than take the public transport system, like the bus or the metro rail system. Moreover, there are now more senior citizens driving their own cars due to increasing longevity from better health interventions; people who are sixty years and above are considered as senior citizens by the World Health Organization (WHO) as older adults (WHO, 2002). Considering all these, it is fair to expect a demand and people will buy this new gadget once introduced to the market. What has to happen – the number of driver-related road accidents are increasing every year due to a number of factors, such as reckless driving (teen-aged drivers ignorant of traffic laws and ignore safety in proper driving procedures), driving under the influence of alcohol or drugs (DUI), people who were drowsy or sleepy or worse, even fell asleep as they were driving, those who still drive despite being diagnosed with hyperten sion (high blood pressure) which can affect both their judgment and reflexes, and finally, people who suffered a stroke (heart attack) while driving such as those mentioned earlier (people who are at increased risk for strokes such as elderly drivers) or older adults in their sixties, seventies, and even in their eighties and nineties who still drive their own motor vehicles despite the increased risks for collisions and accidents. In the United States of America, which has one of the highest density of motor vehicles ownership, the number of accident statistics grouped by age brackets by the U.S. Department of Commerce showed the age group 25-34 years-old as having the highest rate of fatal accidents (19.8%), followed by the 35-44 years-old age bracket (17.6%), then next is the 45-54 years-old age group (16.7%), followed next by the 20-24 years-old age bracket (15.0%), and the youngest age group of 19 years-old and under (12.2%). For older drivers who belong to the 55-64 years-old age bracket, the accident rate per 100,000 licensed driver is 10.4%, followed by the next age group of 65-74 years old at 5.0%, and lastly, those who are 75 years old or above, at 3.3% (U.S. Department of Commerce, 2012); for these last three oldest age groups, their collective rate is at a cumulative 18.7% which is close to the

Impact Of Barriers To Entry On Market Strategy

Impact Of Barriers To Entry On Market Strategy Purpose The purpose of this paper is to review previous research and to propose a model for the impact of barriers to entry on the market strategy of an entrant firm, where product/market scope and product differentiation are central strategy components. The paper asks, what is the impact of barriers on market strategies of entrants? Are early and late entrants affected in different ways? Design/methodology/approach A model and propositions are developed-based on a review of previous research. The model applies the contingency perspective and company cases exemplify the model. Findings It is proposed that a firm that enters a market late and faces extensive barriers would choose a broader product/market scope and differentiate its products to a larger extent than an early entrant. It is also proposed that incumbents market strategies indirectly affect the market strategy of an entrant firm as incumbents market strategies interact with barriers, and the effects are due to entry timing. Research limitations/implications The study contributes theoretically as it extends current knowledge of the impact of barriers to entry on strategy. Management of entrant firms are advised to strive for a fit between barriers and market strategy and consider the propositions. Originality/value The model and the propositions concern barrier effects on two key components of the nmrket strategy of an entrant firm: product/market scope and product differentiation. Another important value is that the model accounts for interactions between incumbent strategies and harriers to entry, and effects on the market strategy of an entrant firm. Keywords Market entry, Marketing strategy, Competitors Paper type Literature review Introduction Barriers to entry have been a popular field of research since the seminal work of Bain (1956). Barriers are obstacles preventing entrant firms from being established in a particular market (Porter, 1980). However, despite the practical and theoretical importance of the matter, we still have only limited understanding of the impact of barriers on the market strategy of an entrant firm. A deeper empirical exploration of the issue calls for a reliable model that clarifies expected relationships. An empirical example is the comprehensive work that takes place within the European Union in order to create unified rules for international competition and reduce the impact of barriers originating from government regulations. Industries such as telecommunications are subject to these unification processes (Pehrsson, 2001). A general aim is to encourage the establishment of both domestic competitors and competitors stemming from other countries (Karlsson, 1998). But what is the expected impact of barriers on market strategies of entrants? Are early and late entrants affected in different ways? In theoretical terms, we need further knowledge of a relation between conditions external to the firm and the firm strategy, and, therefore, application of the contingency perspective (Hambrick, 1983; Peteraf and Reed, 2007) is appropriate. The central view is that a fit between external conditions and firm strategy provides a basis for competitive advantage and high performance (Miller, 1996). According to the review by Peteraf and Reed (2007), an earlier central criticism of contingency theory was that contingency research was reductionist (Meyer et aL, 1993), and empirical models did not account for the impact of interactions among central elements. However, recent studies on internal alignment focus on interaction effects among firm attributes and impact on firm performance (Kauffman, 1993; Levinthal, 1997). Yet, we still have very limited knowledge of interactions among external conditions and the impact on firm strategy. This paper applies the contingency perspective and focuses on the impact of barriers to entry on the market strategy of early and late entrants. The purpose is to review previous research and to propose a model for the impact of barriers on strategy where product/market scope and product differentiation are central strategy components. The resulting model addresses external firm conditions and proposes direct effects of exogenous and endogenous barriers and indirect effects of incumbents market strategies. These constitute the frame for barriers that originate from incumbents behavior, and incumbent strategies assumingly interact with barriers to entry. Although, for example, the performance impact of barriers to entry has been widely investigated (Marsh, 1998), only a few studies have focused on the impact on the market strategy of entrant firms. Robinson and McI)ougall (2001) studied entrants and found that the negative performance effects of three barriers (scale effects, capital need, and product differentiation) were particularly important when the product/market scope was narrow. Further, Pehrsson (2001) observed that deregulation in the telecommunications industry caused adjustments of the product/market scope of market entrants. Finally, Han et a!. (2001) and Salavou et at. (2004) found that a need for capital stimulated the mnovativeness and product differentiation of entrants. We therefore need to continue to study the impact of barriers on the product/market scope and product differentiation of market entrants. More precisely, there is a lack of knowledge of direct and indirect barrier effects on entrants product/market scope and product differentiation. The fact that competitors may constitute a primary source of barriers has largely been neglected, and incumbents market strategies most probably indirectly affect the strategy of an entrant firm. Competitors are crucial here as they demonstrate certain market strategies and thereby create customer loyalties and other barriers (Porter, 1980). Also, the literature indicates that the effects are due to entry timing Karakaya and Stahl, 1989), and the effects on the strategy of an early entrant may not be the same as those for a late entrant. The paper is organized in this way: In Section 2, I review previous research on barriers to entry and the strategy impact of barriers; in Section 3, I present the model and propositions about relationships in the model; Section 4 presents illustrative company cases; conclusions and implications follow in Section 5. Literature review This section of the paper first presents important exogenous and endogenous barriers to entry that have been observed by scholars. The section then reviews previous studies on the impact of barriers on product/market scope and product differentiation, and the impact on entry timing. Important barriers to entry A barrier to entry can be categorized as either exogenous or endogenous (Shepherd, 1979). Exogenous barriers are those that are embedded in the underlying market conditions and, in principle, firms are not able to control exogenous barriers. On the contrary, endogenous barriers are created by the established firms through their market strategies and their competitive behavior and are thus based on incumbents reactions to new entrants efforts to become established. However, Gable ci a!. (1995) observed that frequently the barrier types are mutually reinforcing, and they may be difficult to interpret. Table I lists important barriers to entry that have been observed in the literature, with studies cited by author and publication date. As regards the exogenous barriers, incumbents cost advantages are considered important by several authors (Gable et al., 1995; Han et al., 2001). This barrier means that incumbents may possess absolute or variable cost advantages, forcing the entrant firm to achieve scale effects and low costs. Incumbents product differentiation (Pehrsson, 2004; Schlegelmilch and Ambos, 2004) is another important barrier as it creates loyalties and relations among buyers and established sellers, and accompanying obstacles for the entrant trying to access customers Gohansson and Elg, 2002). Furthermore, the extensive need for capital in order to be firmly established in a market is an important exogeneous barrier emphasized by many authors (flarrigan, 1981; Siegfried and Evans, 1994), and the importance is also valid for customers switching costs (Gruca and Sudharshan, 1995; Karakaya and Stahl, 1989). This barrier is due to the costs that any potential customer faces trying to switch from one supplier to another. For example, costs may be allocated to employee retraining or changes in product design. Available distribution channels might not be anticipated by the entrant firm, or they may be controlled by competitors, creating customer access obstacles (Han el al., 2001; Pehrsson, 2004). Other barriers may include incumbents brand loyalty Q Endogenous barriers are created by the competitive behavior of incumbent firms in accordance with their market strategies. Important endogenous barriers may originate from excess capacity. This is generally accompanied by increased advertising or promotional activity (Demsetz, 1982; Gable el aL, 1995) or pre-emptive pricing resulting in price competition (Guiltinnan and Gundlach, 1996; Simon, 2005). T A B L E It is thus appropriate to view endogenous barriers as established firms reaction to new entrants (Karakaya and Stahl, 1989; Yip, 1982). In fact, incumbents may deter the entry of new comers simply by creating expectations of fear for the incumbents post-entry reaction (Karakaya and Stahl, 1989). However, Gable et a!. (1995) found that exogenous and endogenous barriers are mutually reinforcing. They studied entry barriers in retailing and found that incumbents frequently increased advertising and sales promotion when reacting to market entrants. These measures enhanced the degree of product and service differentiation attributed to the incumbent, while the measures also provided a method for an existing retailer to increase the costs of entry to a potential competitor. The observed endogenous barriers of increased advertising and sales promotion thus reinforce the exogenous barriers of capital need and product differentiation. Further, a number of studies (Karakaya, 2002; Karakaya and Kerin, 2007; Karakaya and Stahl, 1989; Siegfried and Evans, 1994) have explored the relative importance of individual barriers. Karakaya (2002) examined the importance of 25 potential barriers to entry in industrial markets. The majority of the executives in the survey considered the most important barriers to be incumbents cost advantages and the need for capital to enter markets. The impact of barriers on strategy Researchers have studied the impact of barriers to entry on two strategy components, namely product/market scope (Bonardi, 1999; Delmas and Tokat, 2005; Haveman, 1993; Pehrsson, 2001, 2007; Robinson and McDougall, 2001), and product differentiation (Delmas ci at, 2007; Russo, 2001; Schlegelmilch and Ambos, 2004) including innovativeness (Han ci at, 2001; Salavou ci at, 2004). Table TI summarizes key findings of the studies of strategies of market entrants and incumbents. As regards product/market scope, Pehrsson (2007) studied perceptions of expansion barriers in 191 subsidiaries of incumbent Swedish manufacturing firms in Germany, the United States and the UK. I-Ic found that the impact of balTiers was due to the breadth of the product/market scope of the firms. Hence, obstacles to access customers affect performance in a negative way if the firm has a narrow product/market scope. One reason why the obstacles are not significant if the scope is broad may be that different customer types and delivered products in this context are associated with more degrees of freedom in choosing customers. Problems in accessing a certain customer type may thus be balanced against limited problems regarding other types. Robinson and McDougall (2001) established a similar pattern. They studied the moderating effect of product/market breadth on the relationship between entry barriers and performance of 115 new ventures. Three barriers were closely studied: economies of scale, capital need, and product differentiation, It was found that the negative effect of capital need on return Ofl sales was smaller for ventures pursuing a broad scope. Further, the negative effects of all barriers were smaller for broad-scope ventures as regards shareholder wealth. Government policy changes manifested by, for example, deregulation or other institutional changes stimulate adjustments of the product/market scope of incumbents (Bonardi, 1999; Delmas and Tokat, 2005; Haveman, 1993; Pehrsson, 2001). Haveman (1993) showed that many firms in the savings and loans industry had expanded into new areas as a result of deregulation. Further, Pehrsson (2001) found that choices of customers made by both incumbents and entrant firms followed deregulations in the British and Swedish telecommunications industries. As regards the product differentiation component of market strategy, Han el al. (2001) and Salavou et al. (2004) found that market entrants innovativeness reduced the impact of capital need. A finns innovativeness reflects its way of pursuing product differentiation relative to competitors (Kustin, 2004). The literature also addresses changes in barriers to entry due to deregulation and their effects on rncuinbents differentiation Dehnas el aL, 2007; Russo, 2001; Schlegelmilch and Ambos, 2004). Delmas et a!. (2007) observed a variety of differentiation efforts in response to deregulation in the US electric utility industry, while Schlegelmilch and Ambos (2004) studied strategic options in such industries. In particular, Russo (2001) found that technology differentiation was a common effect of deregulation in the utility industry. Delmas et a!. (2007) advocate that, in fact, differentiation is common in industries that is subject to deregulation. The impact of barriers on entry timing Makadok (998) and Pehrsson (2004) underscore that the entry timing advantages of first- and early-movers seem to be resistant to erosion by the entry of additional competitors in a market. Once a new competitor has entered the market, it is difficult to match the performance of the incumbents due to extensive customer loyalties established previously. For the entrant firm this creates severe obstacles to customer access. Karakaya and Stahl (1989) studied the effects of barriers on the timing of market entry of 49 firms delivering industrial goods and consumer goods. The researchers particularly found that switching costs of potential customers is perceived as more important for late entry than early entry in both industrial goods and consumer goods markets. This finding supports the notion that late market entrants will face extensive obstacles to access customers due to previous loyalties between sellers and buyers. A model of the impact of entry barriers on strategy The model presented in this section proposes relationships between barriers to entry, incumbents market strategies and the market strategy of an entrant firm (Figure 1). The model applies the contingency perspective Hambrick, 1983; Peteraf and Reed, 2007) and proposes that an entrant firms market strategy is contingent on the external conditions of barriers to entry (P12 in Figure 1). It is also assumed that competitors constitute a main source of barriers; therefore, the model proposes indirect effects and interactions between incumbents market strategies and barriers (P3). Further, entry timing is important; the propositions suggest that strategies of early and late entrants differ. This section first defines the key concepts of the model and continues with motivations and presentations of the propositions. The concepts in the model The term barriers to entry stems from industrial organization literature and refers to obstacles that firms have to face when they try to establish themselves in a market (Porter, 1.980). Advantages of incumbent firms established earlier correspond to the extent to which the incumbents can raise their prices above a theoretical equilibrium without attracting other firms to enter the market (Bain, 1956). Barriers are exogenous or endogenous and are mutually reinforcing (see the literature review above). Entrant firms and incumbents demonstrate certain market strategies. Miller (1987) found that the dominant content components of strategy were product/market scope, product innovation, differentiation, and cost control. Product/market scope corresponds to the breadth of business activities and is manifested by the breadth of the range of product types and customer types. As product innovation is a way of differentiating the product in relation to competing products, I include innovation in product differentiation (Kustin, 2004). Further, as cost control is an ingredient of price, and customers are generally more concerned with prices than firm costs, prices are frequently subject to differentiation (Porter, 1980). rrherefore product differentiation in the model also includes pricing. However, product differentiation does not only refer to the physical product core. Usunier (1993) suggests that services linked to products such as after-sales services are central to differentiation, and Pehrsson (2006) further emphasizes flexibility attributes. Th attributes combine with other attributes in order to meet individual customer needs, and include, for example, solutions to customer problems and distribution features. Differentiating products in relation to products of competitors may thus give the firm competitive advantages. In essence, Porter (1980) convincingly argues that differentiation is a way of creating layers of insulation against competitive warfare and increases the odds of achieving high financial performance. Direct effects of barriers to entry Pehrsson (2007) and Robinson and McI)ougall (2001) found that the effects of barriers were less severe if the product/market scope of a market entrant was broad. Based on the findings, the researchers argue that product/market breadth of market entrants generally moderates the relationship between entry barriers and performance. Theoretically, a market entrant that has to face extensive barriers to entry would prefer a broad product/market scope. In that way, the entrant may be able to exploit the degrees of freedom that accompany the broad scope, and balance obstacles in accessing a certain customer type against obstacles relating to other types. However, research has shown that late market entrants tend to be exposed to more comprehensive barriers than early entrants (Makadok, 1998; Pehrsson, 2004). In particular, customer loyalties and customers switching costs (Karakaya and Stahl, 1989) constitute key competitive advantages of early entrants. A late market entrant would, therefore, theoretically have to face more severe obstacles in trying to access customers than would an early entrant: P1. A firm that enters a market late and has to face extensive barriers will chxse a broader product/market scope than an early entrant. In accordance with the results of Han el at (2001) and Salavou el at. (2004), market entrants frequently use product innovations to overcome market entry barriers. As innovativeness manifests product differentiation, it is logical to propose that a market entrant may use product differentiation in order to respond to barriers, and that comprehensive differentiation efforts follow extensive barriers. As a late entrant is theoretically exposed to more extensive barriers than an early entrant, this leads to the second proposition: P2. A firm that enters a market late and has to face extensive barriers will differentiate its products to a larger extent than an early entrant. Indirect effects of barriers to entry P1 and P2 do not pay attention to indirect effects, crucial interactions among barriers to entry and other important conditions external to the entrant firm. However, we can expect that barriers interact with incumbents market strategies. This expectation relies on the necessity of observing competitors as they pursue certain market strategies, and are able to create customer loyalties and other barriers (Porter, 1980). If we pay attention to incumbents, a strategy that promotes the development of brand loyalty, for example, focuses on a factor that create barriers (Krouse, 1984). Further, entry timing advantages of first- and early-movers (Makadok, 1998; Pehrsson, 2004) generally stem from the firms opportunities to penetrate potential customers, start to differentiate products, and develop customer relationships. If successful, the customer relationships and accompanying loyalties become effective barriers to competition. Theoretic-ally, late entrants therefore have difficulty matching the performance of the early entrants. We may therefore propose that the interaction affects early and late entrants in different ways: P3. Incumbents market strategies indirectly affect the market strategy of an entrant firm as incumbents market strategies interact with barriers to entry. The effects are different for early and late entrants. Illustrative cases Deregulation and unification of rules pertaining to firms operating telecommunications networks caused operators to reconsider their market strategies in Europe (Pehrsson, 2001). Unlike many other European countries, Sweden has never legalized a monopoly for the establishment of telecommunications networks or for the offering of services. However, Televerket (the Swedish public telecommunications administration) historically had a monopoly-like hold on many sectors of the market. This organization was converted in 1993 into a company group with a parent fIrm, Telia. As there are no regulations protecting Swedish interests or restricting foreign operators from establishing themselves in the country, many firms have entered the market. Any firm with a desire to enter the market will have to face the barrier of capital need in terms of the arrangement of infrastructure. For example, Tele2 entered the market early and addressed this need for capital by cooperating with the Swedish State Rail Administration. The background for Kinneviks establishment of Tele2 is that Kinnevik had gained experience from mobile telephony in the USA (NetCom Systems, 1994). Parallel with these activities, preparations began within traditional telecommunications for voice and data in the 1980s. A gateway for data traffic was opened in 1986, and in 1989 an agreement was concluded with the Swedish State Rail Administration for joint investments in a fiber optic network. Tele2 was formed in 1987 with the intention to offer stationary telephony primarily to households based on low prices. When the deregulation of the telecommunications market accelerated in 1993, Tele2 was able to act fast and reached second place after the incumbent, Telia. I)otcom l)ata Telecommunications entered the Swedish market late and had to face the extensive barriers caused by the dominance of the incumbent and early entrants. By the end of the 1990s, Dotcom was the only operator in the Swedish market with telecommunications operations that were not part of the original corporate core business Dotcom Data Telecommunications, 1995). The product/market scope was dominated by local data networks and included also stationary telephony, leased lines, office exchanges, extensive communications systems, support systems and so on. Middle-sized companies, large companies, and public administrations were the main target groups. In sum, the case of Dotcom Data Telecommunications illustrates P1. The firm was exposed to extensive barriers due to the firms late market entry and chose a broad product/market scope. In that way, the firm was able to exploit the degrees of freedom that accompanied the broad scope, and balance obstacles in accessing a certain customer type against obstacles regarding other types. Further, Dotcom Data Telecommunications tried to avoid price competition and, instead, strived for long-term customer relationships. As there were six phases of the delivery chain (analysis of needs, systems design, installation, education, service, and financing) there were many options to conduct product differentiation. A comparison with the limited low-price differentiation of Tele2 illustrates P2. However, in accordance with P3, both entrants had to face the barriers caused by the incumbents cTelias) strategy of keeping its market dominance and loyal customers. Conclusions and implications Despite the limitation that there may be more important external conditions beyond incumbents market strategies that interact with barriers to entry, we are now able to conclude the a firm that enters a market late and has to face extensive barriers probably would chxse a broader product/market scope and differentiate its products to a larger extent than an earlier entrant. Also, it is proposed that incumbents market strategies indirectly affect the market strategy of an entrant firm as incumbents market strategies interact with barriers, where the effects are due to entry timing. In sum, the model extends our knowledge as it accounts for the direct impact of barriers to entry on product/market scope and product differentiation, and specifies central conditions external to the entrant firm. Also, the model accounts for entry timing effects. In accordance with the contingency perspective management of entrant firms would be advised to strive for a fit between barriers to entry and market strategy and thereby bear in mind the proposals put forward in this paper. Of importance are not only direct effects of barriers on product/market scope and product differentiation, but also the way incumbent strategies interact with balTiers. It would also be advisable for each firm to evaluate the relative importance of barriers and acknowledge that a late entry is generally accompanied by more extensive barriers than an early entry. Further, as exogenous barriers and endogenous barriers are often mutually reinforcing, attention needs to be paid to combined effects. Further empirical research should be conducted in terms of applying the model developed in this paper. A suggestion for future research is to explore how management perceives barriers to entry, and how this perception contributes to the emergence and sustainability of competitive advantage. Also, it would be interesting to explore managerial knowledge of barriers in early and late phases of market entry.

Essay --

The 1960s was one of the most eventful and perhaps the most troublesome decade in India’s post-Independence era. This decade saw major events like the two wars – one each with China and Pakistan, the annexation of Goa, the deaths of Nehru and Shastri, the Bihar famine,the abolition of privy purses etc. Near the end of the decade, the then prime minister of India, Indira Gandhi, took another major policy decision -- the bank nationalisation. In 1969 the Government of India decided to nationalise 14 major private commercial banks. Bank nationalisation was not a new concept for India as in 1955 the Imperial Bank of India was nationalised and renamed as State bank of India (SBI). In 1959 seven subsidiaries of SBI were formed by nationalising seven state banks. But it was the 1969 nationalisation that caused maximum impact on political and economic spectrum so much so that even Jayaprakash Narayan called this step as ‘a masterstroke in political sagacity’. Decision to nationalise the banks, which has both political and economic undertones, has to be analysed by considering the then prevailing conditions. After centuries of foreign rule and economic exploitation, the independant India had just started its march towards socio-economic development with a dream of creating equitable society by alleviating the widespread poverty. India had adopted the path of planned economic development which envisaged social i.e. governmental control over the means of production. First two plans laid stress on creating heavy industries which would serve as base of economic development. From third plan major emphasis was given on agricultural development with the aim of achiving self-sufficiency in food production and thus tackle the grave issue of ... ... like Uttar Pradesh, Bihar, Orissa etc. After nationalisation the professional management made way for public maganemet which caused lower efficiency. As social welfare took precedance over profits many banks started suffering heavy losses. The political interference in daily administration of banks increased which led to rampant corruption. Although the banking habits in rural areas improved significantly menace of illigal moneylenders could not be curbed in large parts of India. In conclusion, it has be accepted that despite all the demerits the nationalisation of banks was a major step in towards the creation of equitable society. Public sector banks later went on to become catalyst in success of green revolution. In an agrarian economy, bringing banking system under public control was a major shot in the arm for the socialist government of Indira Gandhi.

Factors That Influence College Students of Dela Salle Lipa in Choosing Communication Program

Factors that influence College students of Dela Salle Lipa in choosing Communication Program By Lester Garcia and Joselle Segismundo of Dela Salle Lipa Abstract: * There are factors that influence a student in choosing a communication program. * There is a dilemma on which course to take. A bright future is considered. * Student’s age, gender, income, hobbies and interests are considered. Introduction * DLSU Lipa has been offering AB Communication since 2002 like Broadcasting, Journalism, PR, Film, etc. This study aims to: * Know the demographic profile of respondents * Factors that influence the first year respondents * Their expectations RRL * Reynolds (personal interest) * Baumerster (values) * Taylor (gender differences) Theoretical framework Human action approach model Conceptual Framework Man: student -> Choice B: AB Comm. ->Enroll in AB Comm. -> Working in comm. related field Methodology * Descriptive method * 51 respondents (2 sections) * 1st year AB comm. tudents (2010-2011) * Survey questionnaire conducted in classroom Discussion of Data * The comm. course is female dominated. 80. 39% of respondents are female. * 29. 41% 17 years old * 100,000-300,000php annual income * Hobbies: 62. 75% editing pictures, 58. 82% watching news, 52. 915 watching mainstream TV and film * 45% have good English skills, 39. 22% skilled in lay-outing, 37. 25% good writing skills * Want to be: 1. Layout designer 2. Writers 3. Photographers Summary Course choice is influenced by many factors like p ersonal interest, abilities, educational background, future employment and future plans Conclusion * The industry is dominated by women * Their first years are fit to the course because they have background. Recommendation: * Entice men to enroll in AB Comm. * Students should assess themselves * Institution should offer career orientation * There should be job opportunities for graduates * Parents should guide in the decision making * High school curriculum should be reviewed because it’s a place where students develop

Analytical Consideration in Filmmaking

Analytical Consideration in Filmmaking Free Online Research Papers Filmmaking is a collaborative effort with several elements that are worthy of analytical consideration. The success of a film is dependent upon telling a story that is cohesive and interesting through the use of cinematic elements, talented actors, and a host of other factors that affect the films quality. The ability to analyze these elements by the audience can enhance and deepen their viewing experience. Paying attention to the details of a film along with the nuances that occur between actors during their interactions with one another adds further dimension to what would have otherwise been a simple, flat story line. Some of the criteria that a quality film should meet according to the standards of an educated film critic would include believable settings, actors, and dialogue. The film sequences would be cohesive and logical and the costumes would be relevant to the setting and time period. Perhaps there would be a moral to the story, but this is not necessary if the intent of the film is to entertain or frighten. Motivational movies are great; who does not like to be uplifted from time to time? In essence, when analyzing or reviewing a film, there are many elements one should be aware of. Accurate and effective film analysis is dependent upon some knowledge of the film making industry as well as its cinematography aspects. Background knowledge of the movies producer will also aid the film critic in arriving at more accurate conclusions about the films message and purpose. There are many reasons for which films are made. Some films are meant to be entertaining and uplifting, like The Secret Garden (1994) that inspired young girls to trust and explore their nurturing nature. Other films are looking to thrill audiences by frighten their sox off. Alfred Hitchcock was one such director as he produced films like Psycho (1960). Still, there are those who choose their films based upon the message it contains about social, personal, or relational issues. Such films might include Schindler’s List (1993) that dramatically detailed the abuse and uncontested genocide of millions of Jews. Similarly, One Flew Over the Cuckoo’s Nest (1975) brought to light the plight of the mentally ill. Because there are many reasons producers make a film, one must be aware of why the movie was made when considering the accuracy of what was portrayed. Whatever the reason one chooses to view a movie, their viewing pleasure can be increased through an education of the filmmaking process. One must also contend with whatever preconceived ideas one has about a film. Whether these ideas originate from its genre, its actors, or even its producer, the ability to develop a more objective attitude towards movies will open the field for broader experiences. â€Å"As students of film, once we have gathered facts, decided what movies to see, and attempted to clear our minds of preconceptions, then what? We should begin to deepen our perceptions† (Boggs Petrie, 2008, p. 17). The more one becomes experienced in analyzing film, the more one can become open to the perceptions and opinions of others. After all, a film is the collaborative expression of the screen writer, producer, actors, as well as the entire film crew. These expressions can be detected within the cinematography and the elements of its visual style. These elements include color, space, focus, depth of field, camera angles, point of view, composition, movement, aspect ratios, lighting, and atmosphere. The quality usage of each of these elements contributes to the overall feel and quality of the film. Color can be used to facilitate atmosphere, harmony, irony, leitmotifs, mood, as well as symbolism and expressionism. In Rebel Without a Cause (1955) the red jacket is used to convey the rebellious nature of Jim (James Dean), the red lipstick that later transitions to pink signifies the way Judy’s (Natalie Wood) father makes her feel like a harlot, and the one red sock worn by ‘Plato’ (Sal Mineo) demonstrates his confusion about relationships. The use of color is and important element used in films as a form of communicating further, deeper meaning to the audience. The portrayal of space, focus, and depth of field enhances the picture quality as well as informative content of what is viewed by the audience. The use of depth of field as well as deep focus by producer Orson Wells in the film Citizen Kane (1941) enhanced several of its scenes. The shot of Kane (Orson Wells) walking down the mirrored hallway allows us to simultaneously view several images emphasizing the irony of the lonely position he now finds himself in. It is the viewer’s awareness of these elements that adds to the meaning and feel of a film. As indicated by Boggs and Petrie, the objective camera simply conveys the actions of the characters without implying emotion or feelings. Other elements that are used in order to more effectively add dimension and meaning to the story are camera angles, point of view, and composition. In Rebel Without a Cause the opening scene is a composition of the films three central characters. Each character is introduced to the audience at the police department as each one has been brought there for unrelated reasons. While the audience is allowed to view more than one of these characters at a time, they are not necessarily aware of one another. This objective point of view indicates the ultimate interconnectedness of these young people. The use of different camera angles can be used to symbolize meanings within shots or scenes. When viewing a scene from a low angle shot the size and importance of the subject can be emphasized (Boggs Petrie, 2008). This visual element helps to enhance the films message through added dimension. After Kane’s electoral defeat in Citizen Kane, the low angle shots help to emphasize his fall from self-perceived importance to lowliness. Camera angles are to cinematographers as body language is to conversationalists. The ability to discern the usage and meaning of movement, aspect ratios, and lighting throughout a films presentation can also add meaning and quality when viewing films. Many directors make great use of movement in their films in order to capture and maintain the attention of its viewers. â€Å"The eye is †¦drawn to an object in motion, and a moving object can divert our attention from a static one† (Boggs Petrie, 2008, p. 135). This element is used in Rebel Without a Cause when Jim (James Dean) exits his position from the bushes when he goes to find ‘Plato’ (Sal Mineo) before the police do. As Jim comes out of the bushes, they continue to shake which keeps our attention focused on the spot into which Judy (Natalie Wood) enters. This was a masterful use of movement within a film. Aspect ratios are utilized when considering what viewable information needs to be presented in order to tell the complete story. Standard screen allows an edited version of the story to be told, thereby focusing the viewers’ attention on the information most pertinent to the scene. Conversely, â€Å"Cinemascope and Panavision can contribute significantly to the effectiveness of horror or suspense films† (Boggs Petrie, p. 93). An informed viewer will notice the black areas above and beneath the picture when Cinemascope is being used. This helps to eliminate the dead screen, allowing the viewer to become more aware of the subject matter in between. Nicholas Ray’s Rebel Without a Cause was filmed using Cinemascope with an aspect ratio of 2.55:1, allowing for more focused, dramatic, and spatial subject content. A wide array of information is available to the viewer, such as the shot of Jim and Judy as they lay in the veranda with ‘Plato’ on the floor at their side. The audience is able to piece together the visual information in order to gain the understanding that Ray intended them to be portrayed as a ‘nuclear’ family. Each of them felt rejected and misunderstood by their own family, creating the idea that they would choose one another as family was facilitated by the use of visual elements. The often tilted camera angle also suggested the confused state these kids were living in. Additionally, the audience must be convinced of the credibility of what they are seeing and these cinematic elements can be effectively used to create the illusion of truth. Another element available for manipulation by filmmakers is the use of lighting. Effective use of lights and lighting within a film can alter, enhance, or change the mood from scene to scene or shot to shot. For instance, during the scene in Rebel Without a Cause when Judy returns home after her boyfriend is killed in ‘chickie run’, the light that is on her is sharp and bright, illustrating her isolation and loneliness when compared to the soft, diffused lighting in her parent’s bedroom. Illustrating a point or mood through manipulation of lighting is an excellent way to add dimension to a film. Constructing the correct atmosphere is essential in achieving a successful film. Nicholas Ray conducted personal research into the lives of teens in order to portray with accuracy the atmosphere in which they lived. The atmosphere that is portrayed in the film is that of confused, lonely kids acting out in rebellion or desperation in order to get the attention they desperately desired from both their parents and one another. This tense and dramatically charged atmosphere is perhaps at times more symbolic of how teens feel towards adults rather than how they behave towards one another. Regardless, Ray’s portrayal of the volatility teens feel is portrayed brilliantly when ‘Plato’ begins his emotional rampage when he believes Jim and Judy have abandoned him like his parents did. This added much to the dramatic element and emotional connotation to the film. The atmospheric presentation in Casablanca (1942) was made memorable with aperture framing through the use of objects and shadows in the composition of many of its shots (Neilson, 2002). These frames served as symbolic meaning as well as elements used to focus the viewers’ attention. The arched doorways in Rick’s (Humphrey Bogart) symbolized both the confinement of some of the patrons as well as foreshadowing the ultimate fate of others. They also served to focus the viewers’ attention on the subject matter within the frames. Along with the cinematic and visual elements of a film, the narrative must be analyzed in order to fully understand what it is the director is attempting to convey. Nicholas Ray makes use of mise-en-scene in Rebel Without a Cause. The story begins in the middle of the action; much of the story has already occurred and the audience is made aware of these events through the dialogue within the police station. Additionally, the theme is revealed as the teens recount their actions. The express need for open, honest communication between teens and their parents is expressed as the current emotional state of the three is made known. Ray’s clever use of expository dialogue here allows the audience to become aware of information needed to understand the actions of the main characters. Although this film has a linear chronology, the narrative through dialogue provides much of the needed background information. The montage of parents calling the police station concerning their children was rather expressive of the fact that sadly, it took drastic measures to evoke their parents concern for them. This was an important element of the film that was perhaps intended to inform parents that their children desire to have a relationship with them. It was the actors in this film that made this desire believable. The skill of the actors is paramount in convincing the audience of the believability of a film. Boggs and Petrie defines action acting as, â€Å"demand[ing] skill in facial reactions and body language, physical strength, and coordination but little subtlety or depth in communicating emotions or thoughts† (2008, p. G-1). While the acting in Rebel Without a Cause was outstanding, it did have its weak moments. During the action scene in which Jim (James Dean) was engaged in a knife fight with Buzz (Corey Allen) was not one of Dean’s most convincing moments. This fact lends credibility to the claim made by Boggs and Petrie that action acting demands the use of well choreographed body language. Moreover, the chemistry between actors adds an extra visually charging element to a film. When Judy approaches Jim before the start of chickie run, the audience could sense the chemistry between these two young, beautiful actors. Romanticism is an element that is not always present between leading actors, but when it is there you know it. While the actor must submit to the director and to the camera, he must have the ability to remain natural and believable. â€Å"Actors must also possess the intelligence, imagination, sensitivity, and insight into human nature necessary to fully understand the characters they play-their inner thoughts, motivations, and emotions† (Boggs Petrie, 2008, p. 320). They must maintain control of their emotions as well as body language while keeping an objective perspective of the role they are playing. Sal Mineo gave a compelling display of acting as â€Å"Plato†. His facial expressions were as audible as his dialogue and body language. One could feel the desperation with which he sought someone to love and be loved. The emotion with which he acted seemed as real as any actor would have been capable of. The scenes in which he played a part were elevated as far as the acting was concerned; the performances of both Dean and Wood were also emotionally charged. Along with the acting and cinematic elements, the use of sound and music are important tools used in the making of quality films. â€Å"The two most general and basic functions of the musical score are to create structural rhythms and to stimulate emotional responses, both of which greatly enhance and reinforce the effect of the image† (Boggs Petrie, p. 292). The musical score for Rebel Without a Cause was written by Leonard Rosenman. An effective musical score maintains an accurate reflection of the films emotional patterns as well as its actions from sequence to sequence. The film begins with orchestral music as James Dean’s character, Jim, is drunk on the ground playing with a toy monkey. Rosenman also makes use of musical scores that were remixed for use in Rebel Without a Cause. Throughout the film, the musical score, as well as sound effects, serve to cue the audience to the magnitude of what is happening or is about to happen. This musical score is not overpowering, but one is certainly aware of its presence. Some have criticized this musical score as being over scored, but many more were well pleased with the effect it had on the feel of the film. In conclusion, film reviewing is not for everyone. Many feel that dissecting the elements of a film detract from the overall enjoyment of it. Others have the opinion that having cinematic knowledge helps one gain even more viewing pleasure from the film they view. While both have valid points, it is important to note that it is the cinematic knowledge that increases the spectrum of movies one would consider viewing by perpetuating a more open minded public. This open mindedness is what allows one to objectively identify and interpret the meaning of cinematic elements. References Boggs, J. M., Petrie, D. W. (2008). The art of watching films (7th ed.). New York: McGraw-Hill Companies, Inc. Neilson, J. I. (December, 2002). On visual design and staging in Casablanca. Retrieved February 28, 2008, from Point of View Web site: http://pov.imv.au.dk/Issue_14/section_1/artc10A.html Research Papers on Analytical Consideration in FilmmakingWhere Wild and West MeetIncorporating Risk and Uncertainty Factor in CapitalRelationship between Media Coverage and Social andThree Concepts of PsychodynamicStandardized TestingThe Project Managment Office SystemInfluences of Socio-Economic Status of Married MalesEffects of Television Violence on ChildrenResearch Process Part OneOpen Architechture a white paper