DH Lawrence’s The Rocking Horse Winner Essay

Tormented family relationships stem from a number of occurrences. Jealousy, death, abuse, and many other factors can stress relationships to the point of demise. They can often originate from an individual’s character and personality, or further affect it. Much of Lawrence’s writing contains the common theme of tormented family relationships. This theme can be seen in the short story The Rocking-Horse Winner through: â€Å"the terrible mother† Hester, â€Å"the anti-wise man† Oscar Cresswell, and â€Å"the sacrificial scapegoat† Paul. Hester is portrayed as cold and shallow, accurately demonstrating the terrible mother archetype. Thus, she is a perfect example of the theme of tormented family relationships, present in the short story The Rocking-Horse Winner. When the authour describes what, â€Å"Everyone else said of her: ‘She is such a good mother. She adores her children.’ Only she knew herself and her children themselves this was not so† (Lawrence 19). Hester’s character is simply more concerned with wealth and her social image than her own children. She is very corrupted by society, and what society thinks of her. As a result of this, she neglects her children, and pays little attention to their needs. Hester proves to fit the terrible mother archetype, and this shows the present theme of tormented family relationships. Also, Hester’s brother, Oscar Cresswell, advances the theme of tormented relationships by portraying the â€Å"anti-old man† archetype. It is evident that jealousy and family issues are present based on Oscar’s relationships with both his nephew Paul, and his sister Hester. The authour explains, â€Å"The Uncle was delighted to find that his small nephew was posted with all the racing news† (Lawrence 22). Oscar inherited the family fortune, as Hester was left with her husband to depend on. Oscar does make an effort to help Hester’s financial situation, although he is also very concerned with wealth and social status, neglecting to realize the near trouble Paul is faced with. Oscar uses his nephew, by exploiting Paul’s â€Å"gift† for his own personal wealth, while Hester is struggling to meet her own desires. Oscar is portrayed as the opposite of a saviour, and more as a selfish man. This character archetype further proves the theme of tormented family relationships in the story. As well, Paul, Hester’s son and Oscar’s nephew, is the young protagonist, who is searching for â€Å"luck†, but proves to be the â€Å"sacrificial scapegoat†, further proving the present theme. Neglected by his own mother, Paul is desperately trying to get her approval and her love. This is shown in the short story when Paul asks, â€Å"Do you think I’m lucky mother? I knew Malabar, didn’t I? Over eighty thousand pounds! I call that lucky, don’t you mother† (Lawrence 33)? Even on Paul’s deathbed, he is desperately scrambling to finally get his mother’s approval. His luck ran out, and his quest as a hero was not fulfilled. Paul simply wanted to be enough for his mother. To finally prove himself, and win her love. His character can be classified as the â€Å"sacrificial scapegoat† archetype. Paul’s desperate attempt for his mother’s love proves the theme of tormented family relationships present in this story. Through the character archetypes of Hester, Paul, and Oscar Cresswell, the theme of tormented family relationships is proved to be shown in many aspects of the short story The Rocking-Horse Winner. Hester’s lack of care and compassion towards her children, Oscar’s greed, and Paul’s desperate attempt to prove himself to his mother, are only a few examples of this clear theme. This theme is not only present in the story, but in the lives of many. These tormented family relationships are often looked over, rather than interpreted as a part of an individual’s personality.

Reasoning Aptitude

Reasoning Aptitude Eric Gibbs BCom275 Sunday, March 31, 2013 Lisa Sanchez Reasoning Aptitude The reasoning career activity was a big help, I already knew that I was struggling in presentation and when I did this activity in my results it gave me a good amount of tips to help develop better presentation skills. I learned a lot from the tips they gave me I learned that before presenting my message, think of how I can communicate my genuine concern to the audience, and show them something in your presentation that clearly demonstrates my commitment to the message.I have to use appropriate body language to reinforce my spoken words, and ensure that the audience understands the importance of the message. Another good tip was to practice and rehearse important presentations in front of a mirror. If possible, I should gain access to a video or at least an audio tape recorder, and record my presentation. Play it back and make a note of areas that didn't come across so well and try again. Thi s tip is the most helpful of all the tips I have received. Learning from my tips, persuasive communication can help me be a better speaker in the career that I choose.The ability to persuade is crucial in the business world. On a day-to-day basis, I need it to convince employees to work toward company goals or to persuade colleagues or clients to consider your ideas and suggestions. If I can master the art of persuasion, I can not only win the support of others, but I also will be able to unify my team and encourage them to work together. Career Interests Profiler Based on what you told us, you are†¦ Download PDF Enterprising Enterprising occupations frequently involve starting up and carrying out projects.These occupations can involve leading people and making many decisions. Sometimes they require risk taking and often deal with business. Social Social occupations frequently involve working with, communicating with, and teaching people. These occupations often involve helping or providing service to others. Conventional Conventional occupations frequently involve following set procedures and routines. These occupations can include working with data and details more than with ideas. Usually there is a clear line of authority to follow. Competencies †¢ Strengths | | |Coping with Pressure |[pic] | |Following Instructions |[pic] | |Delivering Results |[pic] | |Adapting to Change |[pic] | |Organizing |[pic] | |Cooperating |[pic] |Work Culture Results Well resourced †¢ safe place to work †¢ comfortable, well-designed work place †¢ all the necessary resources to do high standard work Ethical †¢ emphasis on fairness †¢ active promotion of equal rights and justice for all †¢ the chance to contribute positively to society and make a difference to people's lives †¢ emphasis on social and environmental responsibility Supportive †¢ secure, stable environment †¢ clearly defined jobs, goals and expectations †¢ no conflicting demands †¢ considerate management †¢ focus on employee welfare †¢ lots of personal development and feedback †¢ lots of recognition and celebration of success †¢ fun place to work

How Is the Theme of Genocide Presented in Hotel Rwanda

The Official Oxford English dictionary defines genocide as the `deliberate killing of a very large number of people from a particular ethnic group or nation. ‘ It also is said as a holocaust. Holocaust is the great or complete devastation or destruction or any mass slaughter or reckless destruction of life and it is normally referred to the genocide of the Jews that happened during the period of 1939 to 1945. The two genocide we are focusing on are the genocide of the Jews during the second world war and the Rwandan genocide of the Tutsi's in 1994. Directed by Terry George in Hotel Rwanda and Mark Herman in The Boy in Stripe Pyjamas, they have a similarity between the films they are both rated a 12 year old. Instead of recreating the horrors of genocide in both films they use the naivety of a boy and the hope of survival to present the story mentally. The difference between the films is the fact that one is a fictional representation of a real event and another one is a true story recreated. The effect of this is to compare the feelings of someone who actually been through a genocide and someone who have not been through this. Hotel Rwanda was released in 2004 and is based on a true story about the genocide of the Tutsi's in 1994, it documents the life of Paul Rusesabagina during the period he housed over a thousand refugees in his hotel Hotel Mille Collines. Directed by Terry George who is also the co-write of the book and with Paul's help they manage to make the film as truthful as possible and changing fewer things as possible and they done this perfectly but also managed to avoid recreating the horror of the genocide and haunting the survivors again. Lasting only 100 days, over one million Tutsi's and Hutu's were brutally massacred. But despite the incoming fear of ever Tutsi being wiped out, Paul managed to save 1268 Hutu's and Tutsi's. Two recurrent themes jump out from the movie. First, that everything has a price. Paul Rusesabagina pays for his families and neighbours' freedom and life by bribing an army officer, even negotiating the price for each. He is able to purchase beer and scotch for the hotel from the distributor, as long as he is willing to pay the price demanded. He consistently bribes the army eneral for protection for the hotel's occupants from the armed militia. And when the bribes run out, so does the protection. The second major theme is one of self-reliance, or absence of external help. Throughout the movie it is repeated that the â€Å"West† refuses to help or does not value the Rwandans enough to intervene in the genocide. The West's refusal to intervene is seen when the UN peacekeeping force has orders to not use their weapons. It's seen in the size of the UN peacekeeping force, reduced to 260 men at the beginning of the genocide and civil war in 1994. In the movie this last reduction proved a false hope for the survivors holed up in the hotel. UN `reinforcements' arrive, only to evacuate many UN peacekeepers and foreign citizens from Rwanda and the hotel, respectively. There is also an episode where certain Rwandans who have foreign connections are granted visas to leave the country because of the intervention of their friends. The contrast of this action to the West's non-intervention is stark. â€Å"Who you know† becomes a factor in survival. The distributor where Paul purchases supplies is a member of the Hutu militia. But because he knows him and has had a business relationship with him for years, he's able (at a price) to still secure supplies for the hotel residents. The film started with a black screen, this is to make the viewers think of a certain way abut what happened in Rwanda in 1994. This is a story about good verses evil. An ominous African voice in heard, in real life, it was a Belgian broadcaster called George Ruggiu, clearly the broadcaster of RTLM a Hutu extremist propaganda, broadcasting 24 hours a day. The voice is saying the Tutsi's are `coachroaches'. The voice is black and cataclysm unfathomable, and the black screen underscores the evil darkness of Africa and the evil yet to come. The voice of terror returns throughout the film to haunt the innocent but terrified Tutsi's, the effect is to make the audience fear, to experience what the Tutsi's felt, the constant danger approaching. In the film, the good guys are the Tutsi's, the victims of genocide. They aren't he killers in the movie: they were never the killers. The Interahamwe were portrayed as the violent killers and were responsible for the slaughter of one million Rwandans. Formed by groups of young Hutu's, they together carried out the horrendous act. During the period of tension, before the genocide officially happened a lot of machetes were purchased from various places and prepared to wipe out the next generation of Tutsi's. Vice President of the Interahamwe was George Rutaganda, he paid HIV infected men to rape the women and children in order to ensure that the next generation cannot at all exist, despite the fact that it was the Hutu's destroying the Tutsi's, the President of the Interahamwe, Robert Kajuga, is a Tutsi and helped to wipe out his own people. Majority of the time we were looking at Paul's' perspective as the camera looks over his shoulder and present to us what he is seeing. The music at most of the scenes was terrifying and dangerous, it portrayed danger and threat inside it, but when the scene with the orphans, the song shows hope, terror yet mixed up with light, brightness, new and fresh, the song is called `A million Voices' but it is quickly abandoned when the French soldier said â€Å"No Rwandans† it starts to get gloomy, cold, miserable and rains heavily. This film gives you alot of hope, but the hope quickly distinguished and broken into little pieces their hope of life. This is to make the audience value life and learn to respect and look after it, but also gives peaks of tension throughout the film, and making your terrified, yet so wanting to see the ending. At the end of the film, when the guerilla force is shown the rebels of the Rwandan Patriotic Front (RPF) they are rescuers. They are disciplined and organised. They kept a tidy United Nations camp safety behind their lines. They don't kill nurses and charity workers or orphaned children, and in the film: they reconnect children to their families and gives them hope to live on. But the RPF were equally dehumanizing and vicious, but the film does not tell us this, both sides were fighting to wipe out their enemy, not to protect their kind. The theme of genocide is presented to you so it doesn't visually tell you the story they do that mentally. They paint you a picture throughout the film, the rapidly descending darkness and bloodshed, but of course the glimmer of hope remains above it, the hope is Paul Rusesabagina (Played by Don Cheadle). He shines like a angel, throughout the film over 1200 refugees relied on him, when they have no where to go, he harbours them, when they have nothing to eat, they trust him to bring food back from the Interahamwe camp, when they need to bribe for protection, they gave him all their money to bribe for protection and police. He protects them with his life, and they think he is a great hero. The Boy in Striped Pyjamas was released in 2008 and directed by Mark Herman and written by John Boyne. It is about the Jewish Holocaust in 1939 to 1945, and is portrayed through the eyes of a native 8 year old boy who had his childhood innocence destroyed. To make the audience believe that a 8 year old boy didn't know why Jews were bad and how they corrupted German citizens was difficult especially when everyone were taught how Jews were so bad in the 1940's. But eventually childhood innocence can really portray this film successfully. It isn't just the physical descriptions of the two homes that create contrast. The way characters behave and react to events also adds atmosphere. In his Berlin house, Bruno can see far and wide and likes what he sees. But when he arrived at his new home, the camera angle shot up, making the house look intimidating and gloomy, a place where he is trapped without friends, so eventually he picked up the courage and went exploring before meeting Schmuel. Bruno first met him when he when he was bored and went out exploring, then he found this electric fence and saw Schmuel sitting their on his own, his first impression of him was a mixture of happiness and weariness. He wanted to become friends with him, and thinks he's extremely lucky to be able to play with friends and participate in a game, their numbers on their `funny uniforms', but never will Bruno guess this is a concentration camp where people are brutally tortured and killed And his father is the commander of this camp. After a few meetings with Schmuel he finally realises he is a Jew, and his tutor taught him `Jews are the most horrible kind of people on earth, they corrupt our people and they are the culprit of making us lose the Great War† with this he was terrified of Schmuel, he quickly made up a excuse to go and was horrified of befriending a Jew, especially when he's grown up being taught Jews are the worst race ever, and blonde hair, blue eyes are the superior race. But after considering what he is being taught over again, he quickly forgets the difference between them two and became friends again. He asked about the place where the horrid smell came from, without realising it is a gas chamber, and nor did Schmuel know. During a regular release of German Propaganda film, Bruno happened to peek inside and view the video, after realising the supposingly good condition the camp was in he was extremely proud of his father, never did he know again that his father made the fake film, and is actually keeping the Jews weak and close to death before killing them. This shows he strongly believes in what he is shown, the naivety of the young boy. He soon forms a strong bond with Schmuel, they became good friends and that's what sent Bruno to his death. After Bruno died his father realises the terror and the pain of knowing a family member or own child being gassed to death, he finally saw the blood on his hands and regrets it. During the last bit, when the picture of the door to the gas chamber expands out, it plays sad and gloomy, dark and lifeless music, the music sounds like a heartbeat, but soon ends and with the never ending room where they put the pyjamas it shows us the amount of Jews they gassed. Both films featured alot of complex camera angles. For example, it pans into Bruno's face when he saw the camp which he thought was a farm, this is to show his confusion off why the camp is there; it also let us view his emotions displayed on his face. Another scene is when Lieutenant Kotler goes vivid at Schmeul for eating a cake, the camera is looking up to him to demonstrate Lieutenant Kotler's power and superiority over a little Jewish boy. This is to create utter fear and decreases our thoughts of a happy film. In Hotel Rwanda, some of the scenes that have this effect is the bit where Paul clambers out of the truck and is petrified to see the amount of bodies, the camera angle there stretches into his perspective and letting us see the countless amount of bodies; they also have dislocated arms and bodily parts and blood in them – the reason for this is to make us realise the horror and fear the reality of genocide. Another part in Hotel Rwanda is when a Hutu extremist climbs into the truck deporting Tutsi's away; they camera angle zooms in close to Paul's wife showing her fear and paralysed to do anything while being threatened by a machete. Although both these film portrayed a incredible sadness to them and a bit of blood, they are rated 12 because it doesn't actually show use anyone in the process of getting killed. Both of the ending is different from one and another. In The Boy in The Striped Pyjamas it ended with despair and hopeless but in Hotel Rwanda it ended with sadness yet hidden there is a spark of hope and happiness. At the beginning of Hotel Rwanda it start with a black screen and a voice of terror speaking, and in The boy in the Striped pyjamas it start with the theme of child's innocence, both films started and ended dramatically different, creating a contrast. In conclusion I think Hotel Rwanda left a more distinctive image with me, as the sadness and hope sticks in my mind especially after they created this effect of hope rising and quickly distinguishing alot of times over a short time. The scenes in Hotel Rwanda that stands out is firstly the scene where he saw the bodies piled across the road and the what's happening outside of the Hotel when they left to go to collect provisions.

Management of Information Technology. How can you improve Starbucks Essay

Management of Information Technology. How can you improve Starbucks with the use of IT (you have to use Porter's 5 and Porter's - Essay Example ... 5. Conclusion............................................................................................................... References EXECUTIVE SUMMARY Starbucks operates in a market environment where competitive rivalry is intensive and where differentiation of product offerings characterises market position. Starbucks is currently challenged by major competitors such as Costa and Pret-a-Manger that are each positioned differently depending on service conceptions and emphasis placed on satisfying customers. Starbucks currently utilises a premiumisation strategy, built on years of brand establishment and the ability of the business to express quality and human capital talent to make this business stand out from competition. In a market environment where changing consumer attitudes and lifestyles dictate the level of competitive responsiveness from key market players in this industry, the company must remain focused on the marketing function as the primary competitive advantages . Research into Starbucks identified many opportunities for where information technology could provide competitive advantages. These opportunities include linking technology to the marketing and branding functions, to improve human resources efficiency and training, and by opening lines of real-time communication with internal staff members and external supply chain partners. It is recommended that the business establish IT systems in areas of brand development, procurement, and for human capital development to achieve better market presence and brand reputation. How to improve Starbucks with IT 1. Introduction Starbucks is a global coffee company that has, in recent years, diversified its business strategies, procurement models, and market positioning in order to gain competitive advantages. Starbucks currently maintains 793 stores in the United Kingdom selling coffee beans, hot and cold beverages, snacks and sandwiches, as well as books, music, and a variety of Starbucks branded m erchandise offerings (Starbucks 2012). The company, in 2011, boasted revenues of approximately 14 billion USD, a significant accomplishment for a business that operates in very saturated competitive marketplaces and offers products that have reached their maturity against the product life cycle model. 2. Five Forces Analysis In the United Kingdom, Starbucks maintains very powerful competition with such major coffee houses as Costa and Pret-a-Manger. Costa, the second largest coffee house in the world, currently holds 37.6 percent of market share in this industry in the UK, backed by the notable cash and capital resources of its parent company Whitbread Plc. These main competitors continue to use their strong brand positioning to maintain consumer loyalty in key markets, representing significant competitive threats to Starbucks. Under Porter’s Five Forces model, there are several threats to maintaining current market leader position for this mature business model. The most sig nificant threat in this market is the degree of rivalry that exists between main competitors, associated with brand personality and associated promotions to gain consumer loyalty. Starbucks operates in an oligopoly, a market characterised by only a handful of major competitors and where competitive promotions and branding strategies influence competitive responses (Boyes and Melvin 2005). In this market, switching costs for consumers are very low, thus the intensity of competitive promo

Case Management in the Psychiatric ICU-The Clinical Governance Essay

Case Management in the Psychiatric ICU-The Clinical Governance Perspective - Essay Example The word Clinical Governance derives its roots from Corporate Governance, which aims at ensuring sound business and financial management. The term Governance therefore has significance in clinical practice since it addresses concerns about quality of health (Lazare 1987). Department of Health (1999) defines Clinical Governance as, "a framework through which NHS organisations are accountable for continuously improving the quality of their services and safe-guarding high standards of care by creating an environment in which excellence in clinical care will flourish". Clinical governance is aimed at improving the quality of clinical care at all levels of an organization by consolidating, codifying, and standardizing organizational policies and approaches, particularly clinical and corporate accountability (Scally & Donaldson, 1998). Clinical Governance is also explained as the ability to create an effective change in order to achieve improved quality of care. (O'Kelly,2003). It aims at ensuring that standards are adhered to and processes are mapped for continuous quality improvement Natalie Jones (2004). Its focus is on providing holistic care to patients and more than a structure, it is an ideology to be adopted and implemented by healthcare organizations. 1. There are seven key principles, commonly referred to as the seven pillars supporting Clinical Governance (Camden 2004;,South Leeds, 2005). These are explained below: 1. Clinical Audit: This refers to adherence of nationally set standards for clinical care by National Service Framework (NSF), and those set by the organization locally. Clinical audit also involves sharing information with others in the healthcare industry for benchmarking and exchange of best practices. Department of Health, Government of Western Autralia, n.d.) points out that "Clinical audit is the cyclical process of reviewing clinical performance, refining practice as a result and measuring the outcomes against agreed standards. Part of good clinical practice for generations, audit is practised at a number of levels, from regular morbidity and mortality reviews through to national studies. There are many successful examples of its application, such as the national audit of stroke, undertaken in the UK". 2. Clinical Effectiveness: Ensuring that patients get the right treatment is assurance of clinical effectiveness. This implies using evidence based medicine and keeping abreast with latest updates in medicine. 3. Patient and Public Involvement: Clinical governance emphasizes user participation. Patient's feedback to the service provided is an important precursor to quality improvement. 4. Risk Management : Optimum processes for service delivery is essential in minimizing risks to both patient and staff . Reporting of errors and lapses is a crucial step in risk management since it controls future errors. And though clinical governance places importance on robust systems to control lapses, it also recognizes that clinicians are human beings and can make errors. Recognizing the human element as an integral aspect of healthcare delivery gives great strength and wide acceptance to the concept of clinical governance. 5. Staffing and Staff Management: Encouraging teamwork and helping

Philosophy-Contemporary Ethical Theory2 Essay Example | Topics and Well Written Essays - 1750 words

Philosophy-Contemporary Ethical Theory2 - Essay Example In other words, ethical relativism implies that our moral values are not absolute as they keep on changing over time. This, to some extent, brings in a sort of moral chaos due to the disintegration of a uniform culture. Critics of ethical relativism often argue that ethics is subject to rational scrutiny and hence, moral values can be either correct or incorrect. But relativism is also very much attached to ethical values. Perhaps, what is best for us is to embrace both relativism and rationality while reasoning about the moral values of ethics. The theory of ethical relativism holds that our moral values have evolved and changed over time, and that we can reason about our moral values and others’ as well as universal moral principles. While explaining the conceptualization of ethical relativism, philosophers tend to differ on describing the terms of ‘ethics’ and ‘morals’. Ethics is more about questioning the Self â€Å"What should I do?†, in other words, it is about how to live a ‘good’ life, what is the ‘meaning’ of life, what is ‘good’ for us. Morals, as Toulminian philosophy supports, is somewhat concerned about social rules and norms, the societal authoritarian notes telling us what to do or not do. Moral values are the responsibilities imposed on us by the society. These are the duties every individual ‘ought’ to do as members of the society. Moral rules are based on public appraisals of behavior that direct people to engage in or refrain from certain kinds of self-regarding behavior or action. You may get praises or face criticism for such behavior according to the acceptance or denial of your social norms. In short, ethics is more of individual interests whereas morals is for everyone, as members of society. But these rules or moral values are not absolute prescriptions to be followed steadfastly. Instead, these are rules of thumb that are sensitive to particular situations (Lafollette 146).

Critical Analysis Essay Example | Topics and Well Written Essays - 1000 words - 2

Critical Analysis - Essay Example disharmonious because in a democracy individual citizens have to make difficult political choices, with no guarantees that the choice is the correct solution. It is also disharmonious because the end results of public deliberations in any community on a controversial subject will differ, because of the autonomy that each individual enjoys in a democratic society. It is the perception of the author that disharmony in a democratic society will ebb only when there is mutual respect in the political choices made by the different individuals that make up the society. Quoting from Schumpeter 1943 p. 269, the author presents the understanding of democracy from the perspective of Schumpeter as â€Å"that institutional arrangement for arriving at political decisions in which individuals acquire the power to decide by means of a competitive struggle for peoples vote†. The author argues against this understanding of democracy. While pointing out to the strength of this understanding of democracy through its recognition of the basis of democracy in the competition for the votes of the people, the author derides its lack of projecting any value for the process of competing for the vote of the people. The author uses the example of the apartheid regime in South Africa and the rule of the Communist dictator Stalin to reinforce this argument. The author finds further support from Robert Dahl, 1989, who argues that such an understanding of democracy does not differentiate from autocracy. The author proposes that populist democracy as an understanding of is founded on the basis of â€Å"people ruling themselves as free and equal beings rather than being ruled by an external power or by a self-elected minority among themselves.† In other words the stress in populist democracy is on the will of the people. To this end then there are built in constraints to ensure that decisions in the democratic society reflect popular will. An example of this is in the rule of law, as against the

Cinematography in Bollywood and Hollywood Research Paper

Cinematography in Bollywood and Hollywood - Research Paper Example The research is aimed at comparing the cinematography techniques in Bollywood and Hollywood. The research will compare the various shooting methods used in the two film industries, especially in regards to the similarities and differences. This research is aimed at discovering the effect of the cinematography techniques on the final product of the film industry, which in turn provides the justification for the stiff competition in the industries. It is evident that the cinematography techniques used in film production goes a long way in affecting the culture of the final consumer. Quantitative research has indicated that culture in many countries is usually affected by the depictions in the movies, and this qualitative research will emphasize the effect of the cinematography techniques on the movie itself. Research Design As already stated, this research is a quantitative study that aims to compare the cinematography techniques of Bollywood and Hollywood. This comparative study will compare the techniques used by film directors to depict their movies, and thus affect the audience. The qualitative research design methodology that will be used is historical research design. In this process, two historical movies, one each from the Bollywood and Hollywood film production industry will be analyzed. As already stated, the research problem is the difference between the movies produced in Hollywood and those produced in Bollywood. The research will rely on inductive and logical reasoning to determine the differences between the two movie productions. After the identification of the research problem, the next step is the collection and evaluation of primary source data. The source data in this case will be the two movies being analyzed for the differences in cinematography styles. Scope and Sample The scope of research usually identified the areas that the researcher is trying to study and the expected conclusions, analyses and results. In this case, the broad research scope for this study is to find the differences and similarities between the two movie industries mentioned above. This research will focus on the cinematography styles used in the two industries, which will be a representative of the whole industry. As already stated in the research proposal, the research will focus on the following questions that will set out the scope of the paper. 1) What are the preferred shooting methods and techniques in Hollywood? 2) What are the preferred shooting and techniques in the Bollywood film Industry? 3) What are the effects of the shooting techniques and methods on the final products of the Bollywood films and Hollywood films? As already mentioned, the sample that will be used in this research is a cross-section of movies and films from the two movie industries. The movies will each be analyzed in terms of their cinematographic techniques and the effects of the techniques on the final product. Research Instruments Qualitative research based on hi storical or past events or procedures is usually evaluated differently from other kinds of research. As already stated, the two movies that will be analyzed will be analyzed in terms of their cinematography techniques. This means that the movies will be analyzed using inductive and logical reasoning. Since the research is historical, the two main techniques that will be used are external and internal criticism. This means that

What effect does socioeconomic status have on the voting behavior of Essay

What effect does socioeconomic status have on the voting behavior of blacks - Essay Example rent paper focuses on the examination of the possible effects of socioeconomic status on the development of a particular voting behavior by black people. The literature and the empirical research presented throughout this paper prove that the voting behavior of black people around the world can be influenced by a series of factors; socioeconomic status has been found to have a role in the development of specific voting decisions by black people. Of course, the dependence of voting behavior on specific social, political and financial factors cannot be doubted; however, it seems that this influence is stronger in the case of minorities or people with a specific racial background. Regarding the structure of the specific paper it should be noticed that a general presentation of the factors influenced the voting behavior of the public is used in order to introduce the issue under examination and explain the reasons for which the effects of the socioeconomic status on the voting behavior o f black people can have a long lasting effect. As already noticed above, the voting behavior of all people around the world is influenced by specific factors. The above phenomenon has been extensively studied in the literature and many different views have been stated. In accordance with Bass et al. (1998, online article) ‘it is important to consider the effect of residential mobility on registration and voting behavior; movers resemble stayers on motivational factors related to voting; the requirement that citizens must register anew after each change in residence constitutes a key stumbling block in the path of a trip to the polls (Squire, Wolfinger, Glass, 1987 in Bass et al., 1998, online article). In accordance with the above, the voting behavior of citizens can present different characteristics in accordance with the political and the social conditions of a particular era; in the same context, when specific factors are used in order to alternate the voting behavior of people

How Businesses in Puerto Rico Are Using Social Networks Essay Example for Free

How Businesses in Puerto Rico Are Using Social Networks Essay Social Media Gives Industrial Companies Competitive Advantage, Says Thomas Industrial Network Report March 29, 2012 New York, NY Industrial companies that hesitate to embrace social media, believing that competitors are not using these platforms, are in danger of losing business opportunities, according to recent research from Thomas Industrial Network. In fact, seven out of 10 small and midsize suppliers (68 percent) are already engaging with prospects through these channels, gaining a competitive advantage over those who have yet to start. More than 3,000 respondents to Thomas surveys say that they routinely use social media to market their products and services, generate leads, answer questions, conduct research, and gain new business. Thomas studied the behaviors of suppliers (i.e., manufacturers and distributors) through its Industrial Marketer survey, and buyers through its Industrial Purchasing Barometer (IPB). The research focused on their use of platforms such as LinkedIn, YouTube, Twitter, Facebook, industry forums, and blogs. The responses paint a picture of an industrial sector that has made social networking a mainstream business practice. Buyers regularly rely on social media to conduct research on companies, and to seek others opinions on particular suppliers. Indeed, 56 percent of buyers now recommend that all suppliers establish a social media presence if they want to do business with them. In response, suppliers are jumping onto the social media bandwagon to provide information on their offerings (41 percent), find new prospects (27 percent), and learn what customers have to say about their companies (20 percent). The industrial sector is awakening to the fact that social media isn t just a passing consumer fancy, but an essential part of any branding and marketing program, said Susan Orr, Senior Director, Strategic Marketing, Thomas Industrial Network. Savvy suppliers also understand that the most effective social media programs need constant care and feeding. To influence prospective buyers, suppliers need to continually update their social media content, and to be actively engaging in and initiating conversations. But for many industrial suppliers, dedicating the resources and having the in-house expertise to manage social media is a challenge. In response, Thomas Industrial Network recently launched a new, cost effective program to help them take advantage of this important new channel. The Social Media Program helps suppliers reach prospects who are seeking information and advice for their businesses through channels such as LinkedIn, Twitter, Blogs, Facebook and Google+. Thomas takes the work off their hands, handling everything from strategy sessions and goal setting, to writing and posting unique content for each company. We re thrilled to offer a turn-key and affordable program that leverages Thomas 115 years of experience bringing buyers and suppliers of industrial products and services together, said Phil Paranicas, Director of Digital Media, Thomas Industrial Network. We have made it easy for any supplier to participate in social networking, and to begin reaching and influencing those prospects who regularly use these platforms. For more information on Thomas Social Media Program, please contact Mr. Paranicas at 212- 629-2134 or [emailprotected] Thomas has also just published a new, free white paper, Why industrial businesses need to have a social media presence and how to get started, which includes additional results of its surveys, and provides social media best practices. To download a complimentary copy, please visit: http://promoteyourbusiness.thomasnet.com/white-papers/. 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Input Stage Internal Factor Evaluation Matrix Marketing Essay

Input Stage Internal Factor Evaluation Matrix Marketing Essay Key Strategic Factors Weights Ratings Weighted Scores Strengths Brand  Image 0.08 4 0.32 Growing  Sales 0.03 3 0.24 Market  Share 0.05 3 0.15 Distribution Channel 0.08 4 0.32 Product  Quality 0.07 3 0.21 Capacity 0.08 4 0.32 Innovation 0.04 3 0.12 Customer  Oriented 0.02 3 0.06 Qualified Work force 0.01 3 0.03 RD 0.05 4 0.20 Business without Interest 0.02 3 0.06 Exporting 0.06 4 0.09 Weaknesses Local  Company 0.05 1 0.05 Centralized Decisions 0.09 2 0.18 No Sales on Credit 0.06 2 0.12 High  Price 0.05 2 0.10 Uncertain  Economic Political Conditions 0.03 1 0.03 Market  Demand 0.05 2 0.1 Striker  Terms And Conditions 0.03 1 0.03 Promotion 0.05 2 0.1 Total 1 2.83 COMPETITIVE PROFILE MATRIX  (CPM) Critical Success Factors Weight Rating Score Rating Score Rating Score Research   Development 0.08 3 0.24 3 0.24 4 0.32 Advertisement 0.09 3 0.24 4 0.36 3 0.27 Financial  Position 0.09 3 0.27 3 0.27 3 0.27 Market  Share 0.07 2 0.14 4 0.28 3 0.21 Product  Quality 0.08 3 0.24 3 0.24 3 0.24 Price  Competitiveness 0.11 3 0.33 3 0.24 2 0.22 Management 0.10 3 0.30 4 0.40 3 0.30 Global  Expansion 0.08 3 0.24 4 0.32 3 0.24 Customer service 0.06 3 0.18 3 0.18 2 0.12 Network 0.09 3 0.27 4 0.36 3 0.27 Production  Capacity 0.07 2 0.14 3 0.21 4 0.28 Alliances 0.08 3 0.24 4 0.32 3 0.24 Total 1.0 2.76 3.51 2.98 EFE MATRIX AGRICULTURAL INDUSTRY OF PAKISTAN KEY EXTERNAL FACTORS WEIGHT RATING WEIGHTED OPPORTUNITIES tax exemption 0.07 2 0.14 energy incentives 0.08 2 0.16 water flow system 0.04 1 0.04 agricultural loans 0.06 3 0.18 surplus production of wheat 0.05 3 0.15 surplus production of rice 0.06 2 0.12 availability of natural resources 0.07 1 0.07 labour incentives 0.09 1 0.09 economies of scale 0.01 1 0.01 high demand of necessities 0.04 1 0.04 THREATS The conversion of arable land into non-agricultural uses 0.10 4 0.40 Water logging and salinity 0.09 2 0.18 Land erosion scenarios are the most disastrous of the present day crisis. 0.08 1 0.08 Land is fixed 0.04 3 0.12 Increasing population 0.01 1 0.01 Political system 0.03 2 0.06 Proposed new tax system 0.03 3 0.09 feudalism 0.02 1 0.02 Instability of economy 0.01 2 0.02 Low literacy rate 0.02 2 0.04 TOTAL: 1.00 2.75 REASONS: The IFE MATRIX for AFL is given above. Note that the strength for the company is Research and Development, Pakistan based and having a highest production capacity so got 4 rating. The major weaknesses are Price competitiveness customer service and planning for the future state of the AFL. The total weighted score of2. 76 indicate this large milk Production Company is above average in its overall internal strength. But its very close to average limit as well. So it really needs to improve its weaknesses and build its strength MATCHNG STAGE OF ENGRO FOODS LIMITED SWOT MATRIX STRENGTHS WEAKNESSES OF EFL STRENGTHS: Olpers is a  brand of  EFL. This means that consumers can relate their former image of EFL to Olpers.Engro is a well established brand name in Fertilizer, IT  and infrastructure business. The  brand is well known so customers will automatically have a  brand association with Olpers and see it as a premium quality product. ENGRO  is world renowned so it can easily attract foreign investors in backing it against other competitors such as Nestle. EFL can easily afford research and development costs for Olpers have in order to introduce new products. It can also distribute the brand through better channels because of its long term relationship with distributors in the agriculture sector. Engro has  been interacting with the farmers for fertilizers and has gained quite a good reputation over the years. It has led to a strong bond and long term relationship with the farmers who are willing to supply milk to the company.This is an added advantage and strength for the company because it will never  be short of milk production. The farmers also wont have to look elsewhere to sell their milk. EFL  only, has the third-generation  UHT  milk plant in the country. EFL  plant is the only plant in Pakistan that uses  Bactofuge technology to virtually eliminate  bacteria and ensure premium quality and hygiene. Other strengths of EFL are: Worldwide fame of  Engro. Efficient milk collection system. keeping high quality standards. Integrated distribution and warehousing facilities. Successful related diversification. Generic  brand name of  Olpers Large market share of  Engro innovative and chemicals. Having  Good reputation in the market  by strong  brand name i.e. Engro Industrial strengths for EFL are: Worldwide fame of  Engro. Efficient milk collection system. Keeping high quality standards. Integrated distribution and ware housing facilities. Generic  brand name of  Olpers large market share of  Engro innovative and chemicals. Having  Good reputation in the market by strong brand name i.e. Engro Strong  RD WEAKNESSES: Olwell ad which is  based on  Western life style,  EFL  brand management showed a man who put off his clothes  remain just in his undergarments, or half nude lady in a cat walk or men admiring the figures of a lady in mix  gender health club. In this ad they are creating associations with the brand through the stripes, which is a highlight of Olwell packaging. Half naked people have been shown with tattoos of the same stripes in order to show that they are loyal consumers of Olwell.  Also, the talent, situations and locations connects well with the ad to give Olwell a premium positioning. The brilliant marketing people at EFL failed to analyze is that the market they are targeted the ad on, is Pakistan, where practicing Muslims reside, who have strong religious beliefs. When making the ad, the brand managers were focused on, making an ad that should give the brand the most premium look and feel amongst the target consumers but on the other hand they were least bothered about the ethics, religious beliefs and cultural values. The company has not owned the color red like Nestle has a green  Milkpak;  Haleeb  has a  blue carton etc. This may create problems because when a consumer enters a grocery shop, then he/she might have problems in recalling the brand because there is no color association attached to Olpers .The company may need to find a suitable color in which to focus its upcoming marketing strategies. EFL  is not having its own dairy farms; it largely collects loose milk from farmers   gwalas through its 40  milk collection centers, which sometimes is of low quality and impure because they add vegetable oil to milk to get higher prices. EFL  is dependent upon  Tetra  Pak for the packaging of its entire dairy products. Tetra  Pak is the only option available to Olpers for packaging because it is having monopoly in the packaging sector in Pakistan. Due to this reason, TetraPak can charge them higher and it could increase the production costs. EFLs  34  out of  40 milk-collection centers are located in  Punjab, where as its only milk processing facility is situated near Sukkur(Sindh). It increases the milk collection  distribution costs; and also increases the chances of milk getting spoiled because of increased traveling time. It has  been more than a year now, when  EFL  launched its first dairy product,  Olpers  Milk on March  20,  2006. But  EFL ¶s  brand portfolio still consists of  just  3  products i.e. Olpers  Milk, Olwell  Milk and  Olpers  Cream. Whereas its competitors like Nestle and  Haleeb Foods have a much diversified line of dairy products. Industrial strengths of EFL are: Unable to compete in price sensitive segment of  UHT  milk market. Under  -utilization of the capacity. Unable to fulfill the demand of local powder milk market. Not yet ISO  certified. THREATS Our agricultural land is facing many threats and some of the major threats are: The conversion of arable land into non-agricultural uses Water logging and salinity Land erosion scenarios are the most disastrous of the present day crisis. The total land area of Pakistan is nearly 197 million acres, while the population growth rate is increasing annually. As our total land area is fixed, which cannot be increased, therefore, with rapidly expanding population pressure on it, it is also increasing quickly. As a result, our current and potential agricultural land is reducing and shrinking tremendously. It has been estimated that throughout the country, everyday approximately 500 acres (1 acre = 4,840 square yards) of farmland is taken out of agriculture by the expansion of settlements, roads, factories and many other non-agricultural activities. It is also predicted that if this trend continues then after every decade approximately a million acre or more of crop land would be taken out of agriculture in our country. Arable land is a basic and major resource for the production of human food. But it seems that the expansion of human population and human activities are reducing the availability of land, suitable for food production at an alarming rate. Expanding population demands more food on one side and devours agricultural land on the other side, which is a matter of great concern for everyone. Out of total land area, 80 million hectares, 21 million hectares is cultivable. Of the total cropped areas 16.2 million hectares (77%) is irrigated and 6.01 million hectares is rain-fed. The annual rainfall in Pakistan varies from less than 100 mm in Sindh to more than 750 mm in the foothills and northern mountains. About 60% of this rainfall occurs during monsoon. In spite of a number of drainage and salinity, menace control schemes being undertaken, the salinity and water logging problems positively persist and each year 40,000 hectares of irrigated land is lost to water logging and salinity. On the one hand, the nation needs more food to fulfill the demands of its increasing population while on the other hand, each year the cultivable commanded area (CCA) is decreasing due to this twin menace. Pakistan is quite outstanding country in the world with regard to its well-knit irrigation system which covers from upper parts of the country, down to the mouth of Indus in the south. Irrigated areas (nearly 16.0 million hectares) are generally limited to the Indus plain and river Indus and its tributaries are the main source of irrigation water of this 12.09 million hectares are canal irrigated 3.35 million hectares by tube wells and another 0.6 million hectares by other sources. Of the total area under irrigated agriculture, about 9.6 million hectares is arid, 3.8 million semi-arid and the remaining area is characterized by sub-humid. No doubt, irrigation system has increased agricultural production but on the other hand has created threats of salinity and water logging. The political system of Pakistan is not stable and the corruption in Pakistan also affects the agriculture sector. Government legal obligations have always been a threat for the running of agriculture industry. Inputs rates are increasing day by day, that means less and expensive seeds, pesticides and fertilizers. The trend of feudalism has been in our country for a long time, creating a lot of mismanagement in the federal and provincial level for the running of economy. Because of this the firms in the agricultural industry of Pakistan has been greatly affected. OPPORTUNITIES There is an opportunity for the economic growth to benefit more people only if the country rises: Enhancing Agricultural productivity Improves its system of general education to help millions of small farmers, those are decided to leave the agricultural industries because of poor productivity. Encourages labour incentives in agricultural industry. Improve economic condition in Pakistan by promoting the farmers and maintaining the system for improving agricultural methods. Clean energy and Climate Legislation Will Help: Pakistani Farmers need energy to grow crops and raise livestock, and to transport products to consumers. Farmers have been hurt by recent spikes in diesel and natural gas prices, and by jumps in the costs of inputs like fertilizer. As a result, there are serious concerns across the agricultural sector about the impacts of clean energy and climate legislation on production costs. There are more rooms for chemical industry (for more pesticides and fertilizer). There are three key factors affecting energy prices that will help farmers handle a small increase in both the short and the long term. First, farmers that take advantage of energy and climate bill incentives can quickly see big cost savings from even small improvements in energy efficiency. Farmers can take advantage of the legislations renewable energy incentives to reduce dependence on fossil fuel sand their volatile prices. The legislation will help stop speculation in energy markets, which will help stabilize fossil fuel prices. Increased Energy Efficiency Will Save Farmers Money, Energy and climate legislation will help farmers increase their energy efficiency, reducing their dependence on foreign oil and other fossil fuels. Technology has been advancing rapidly and use of new technology changes such as more efficient farm equipment and farming practice changes such as no-till agriculture. The Pakistan agricultural community is well positioned to benefit from passage of clean climate legislation. Farmers can protect themselves from cost increases through improved on-farm energy management and efficiency and develop new revenue streams through expanded markets for renewable energy. This will help our farmers continue to provide the food we all depend on. SWOT MATRIX FOR ENGRO FOODS. Strengths Weaknesses Worldwide fame of Engro. Unable to compete in price sensitive segment of UHT milk market. Efficient milk collection system. Under-utilization of the capacity. Keeping high quality standards. Unable to fulfill the demand of local powder milk market. Integrated distribution and warehousing facilities. Not yet ISO certified Generic brand name of Olpers Large market share of Engro innovative and chemicals. Having Good reputation in the marketby strongbrand name i.e. Engro Strong RD Opportunities SO Strategies WO Strategies Improving Economy Increase production of quality milk to cater the unsatisfied demand(S2,O2,O8) Population growth rate. As per the increase demand of the milk they should fulfill the demand as EFL have the ability to expand.(W3,O8). High urbanization rate. They should go in the product line of powdered milk. (S8,O2,O5) High literacy rate. They should make strong distribution system to cater to avail the full benefit of the growing market.(W3,O2 ) Flexible government policies They should increase their exports. for food industry. Have significant growth opportunities . May merge with other global businesses to eliminate competitors. They should cater the wide range of unsatisfied demandby improving their distribution networks(S4,O8)) Having Capable of expanding into other markets of the world They should adopt affective marketing strategies for the promotion of their product.(W2,O1) Threats ST Strategies WT Strategies High inflation rate. Invest more on the dairy product line as there is still a large chunk of the market which require modernization ( S6,T5) Low purchasing power. The co-ordination between different departments of EFL should be improved it will lessen the bureaucratic cost and increase the efficiency of the company. Decrease in GDP growth rate .Introduce new technology for assurance and better productivity (S4,T7) Increasing interest rates Decreasing investment Engro must get the ISO certification as to beat their competitors( W4,T8). Recessionary period in business cycle Competition with Nestle Competition with Nestle, Engro Foods and the new entrants Engro foods is currently facing increase in SalesTax SPACE MATRIX FOR ENGRO FOODS LIMITED SPACE matrix is a management tool used to analyze a company. It is used to determine what type of a strategy a company should undertake. Strategic Position Action Evaluation matrix or short a SPACE matrix is a strategic management tool that focuses on strategy formulation especially as related to the competitive position of an organization. SPACE matrix can be used as a basis for other analyses, such as the SWOT analysis, BCG matrix model, industry analysis, or assessing strategic alternatives (IE matrix). The SPACE matrix calculates the importance of each of these dimensions and places them on a Cartesian graph with X and Y coordinates. The following are a few model technical assumptions: By definition, the CA and IS values in the SPACE matrix are plotted on the X axis. -CA values can range from -1to -6. IS values can take +1to +6? -The FS and ES dimensions of the model are plotted on the Y axis. ES values can be between -1 and -6. FS values range from +1to +6 Conservative Aggressive FS 6 5 suggested strategy type 4 (3, 2.75) 3 2 1 CS 1 2 3 4 5 6 -6 -5 -4 -3 -2 -1 IS -1 -2 -3 -4 -5 -6 -7 Defensive ES Competitive Result: This particular  SPACE matrix  tells us that our company should pursue an  aggressive strategy. Our company has a strong competitive position it the market with rapid growth. It needs to use its internal strengths to develop a market penetration and market development strategy. This can include product development, integration with other companies, acquisition of competitors, and so on. BCG FOR EFL Relative market share in industry High Medium Low 1.0 0.5 0.0 ENGRO FOODS stars ? cash cows dogsHigh 10 Industry Sales Growth Medium 0 Rate Low -10 INTERNAL EXTERNAL (IE) MATRIX FOR ENGRO FOODS LIMMITED: The  Internal-External (IE)  matrix  is another strategic management tool used to analyze working conditions and strategic position of a business. The Internal External Matrix  or short IE matrix  is based on an analysis of internal and external business factors which are combined into one suggestive model. The  IE matrix  is a continuation of the  EFE matrix and  IFE matrix models. Strong =3.00 to 3.99 Average=2.00 to 2.99 Weak =1.00 to 1.99 Grow I And II Build III Hold IV ENGRO FOODS And V Maintain VI Harvest VII And VIII Harvest IX High=3.0 to 3.99 Medium = 2.0 to 2.99 Low= 1.0 to 1.99 1. Score from the  EFE matrix  =2.75-  this score is plotted on the y-  axis 2. Score from the IFE  matrix  =2.83-  plotted on the x-axis As blue lines indicate RESULT: This  IE matrix for  Engro  Foods tells us that our company should  hold and maintain  its position. The company should pursue strategies focused on increasing market penetration and product development. GRAND STRATEGY MATRIX FOR EFL: REPAID MARKET GROWTH RATE Quadrant I I Quadrant I ENGRO FOODS Weak competitive strong competitive Position Position Quadrant III Quadrant IV Slow market growth rate RESULTS: The grand strategic  Matrix for  EFL  is show that it lies in the first quadrant which recommend that for EFL  continued concentration on the current Market(market penetration and market development)and products(product development)is an appropriate strategy. DECISION STAGE QUANTITATIVE STRATEGIC PLANNING MATRIX OR A QSPM The Quantitative Strategic Planning Matrix or a QSPM approach attempts to objectively select the best strategy using input from other management techniques and some easy computation. In other words, the QSPM method uses inputs from stage1 analyses, matches them with results from stage2 analyses, and then decides objectively among alternative strategies. Stage 1 strategic management tools The first step in the overall strategic management analysis is used to identify key strategic factor. this can be done using, for example, the EFE matrix and IFE matrix. Stage 2 strategic management tools After we identify and analyze key strategic factors as inputs for QSPM, we can formulate the type of the strategy we would like to pursue.this can be done using the stage2 strategic management tools, for example the SWOT analysis(or TOWS ),SPACE matrix analysis, BCG matrix model, or the IE matrix model Stage 3 strategic management tools The stage 1 strategic management methods provided us with key strategic factors. Based on their analysis, we formulated possible strategies in stage2. Now, the task is to compare in QSPM alternative strategies and decide which one is the most suitable for our goals. The stage 2 strategic tools provide the needed information for setting up the Quantitative Strategic Planning Matrix QSPM. The QSPM method allows us to evaluate alternative strategies objectively. Conceptually, the QSPM in stage 3 determines the relative attractiveness of various strategies based on the extent to which key external and internal critical success factors are capitalized upon or improved.The relative attractiveness of each strategy is computed by determining the cumulative impact of each external and internal critical success factor QSPM of Engro Foods Based on strategies in the (IFE, EFE) and (BCG, SPACE, IE), company executives determined that Engro foods needs to pursue an aggressive strategy aimed at development of new products and further penetration of the market. They also identified that this strategy can be executed in two ways. One strategy is acquiring a competing company. The other Strategy is to expand internally. (Attractiveness Score: 1 = not acceptable; 2 = possibly acceptable; 3 =probably acceptable; 4 = most acceptable; 0 = not relevant Doing some easy calculations in the Quantitative Strategic Planning Matrix QSPM, we came to a conclusion that Expansion internally is a better option. This is given by the Sum Total Attractiveness Score figure. The expansion strategy yields higher score than the acquiring of competing company.The acquisition strategy has a score of 2. 75 in the QSPM shown above whereas the internal expansion strategy has a smaller score of 2. 78

Point Of View In A Film Film Studies Essay

Point Of View In A Film Film Studies Essay Often many good animation films mesmerize the vital element of the film known as Point of View to allow a viewer to make important connections and seeing the world in certain way. How To Train Your Dragon uses its first act of point of view through the use of camera shots, the collage of friendship , the upper and lower shot cuts to get across the range of dragons that inhabit this world, including the one nobody has ever seen, the sinister Night Fury. Its a character (Hiccup) that has end of game boss tattooed across it from the moment its first mentioned. Hiccup instantly knew that dragons werent harmful to humans but only defend themselves as would a typical person had done in unease situation. Crammed with lively scenes and plenty of action, this rowdy tale is just right for fantasy fans or anyone with a spirit of adventure. The Point of View in a film is a vital element because similar to narrative it has connection with the literacy and visual arts. Point of View as defined by Corrigan is as the vantage point from which a story is presented, something is seen and, by implication, the way the point of view determines what you see (49). So it makes sense that there would be a sudden surge of movies from this point of view because it so connects to peoples experience. Anything that calls for a level of naturalism and voyeurism can absolutely be filmed in this style. The face to face of the Hiccups and night fury for the first time, the way the intense scene the camera presented, the closeness among the sounds of approaching danger, the alert generated when the night fury first abandoned by the hiccups, the closeness of facial gestures on both the characters ultimately not only created a suspense but a general attraction to the shot. The short and long term camera angle around the eyes of night fury as he see the hiccups for the first time made a statement pertaining as if an unknown person was looking doubtful and vicious. With a dragons eye view, the viewers fly through gorgeous wrinkly rock formations that rise from the sea. As mentioned in the A Short Guide to Writing about Film by Corrigan, the camera can take the actions to the higher level bringing subjective and objective perspectives so that what is shown is not confined to any one persons perspective (49). In Viking culture, theres nothing more disloyal or perilous than consorting with the enemy- especially when its a dragon. But Hiccup discovers that maybe the dragons fear the humans as much as they fear them. Will Hiccup finally become the man his father wants him to be by slaying a dragon, or will he honor his newfound friendship with Toothless deliberately done by the camera work? A different kind of simplicity works, to equally satisfying effect, in the scenes that refer most directly to the films title. When Hiccup first meets Toothless, a type of dragon especially feared by the Vikings of Berk, the animal is hurt and scared. As noted in the middle of the movie, the camera mainly focuses more on the actions of hiccups and the objective actions between him and night fury to build a concept of the film. The camera gives close shots of night flurries first outburst and then love with the hiccups thus making the entire scene vibrant with the sounds, realism, and voyeurism what a norm al viewer would have asked from a good film. As viewer notes hiccup in a scene where he goes to explore the place the night furry fall, the camera makes the scene more vibrant than anything to create a stage of exploration, a new settings and tone of the shot. The dragons, not surprisingly, are the main visual attraction and come in various shapes and sizes with clever names like the two-headed Hideous Zippleback, or the Monstrous. The most fearsome and illusive of all is the Night Fury basically, a fire-breathing stealth bomber in black scales. As he further to the point where he notices the impaired dragon, the close of up shots, a complete silence, and along with the direct sound, the camera ultimately changes the position of sniper, to be exact the view of the people. It takes the audience through the entire scene as creating fear, a fear that any typical human would have gone through at the moment when he or she has seen something vicious, out of frontier, and moreover compell ing to defeat. The camera slowly builds a tense situation, close shots at the face of the hiccups to pertain the sweating of a normal person, and none the less to show cause and effect. The broken tree truck in half, the impact of the fall of night furry on the ground, the long muddy slide made by the fall, recalls in viewers mind that the dragon must be something dangerous and so powerful that his fall slashed a tree in half and made a drag in the dirt. This scene represent as if the viewer were walking through the process of finding the dragon. This is another factor of point of view that as viewers watch the particular scene they might feel that they are seeing another character through the eyes of Hiccups, and that character of course is the viewer himself (49) This film doesnt excite straight away, but when it starts to warm up, youre left with a moral tale and a fun animated kids film. Hiccup is a pretty rubbish viking. His lame Viking-ness is made much worse by the fact that his dad, Stoick (Gerard Butler) is the daddy of all Vikings and chief dragon slayer. When Hiccup downs one of the toughest dragons of all no-one in the village believes him. That is until he feeds, tickles, tames and flies the beast leading to the blurring of the line between human and dragon. Gone are the ironic one-liners, replaced by some genuinely funny jestings. From when Hiccup first encounters Toothless and all the following dragon/human interaction that follows, the jokes are straight from the Pixar more than words handbook. As for the flight scenes, its really not too far off the majesty of other animations, comprehensive and soaring over seas and forests. The viewers will believe a dragon can fly. As for the mild danger that adorns the movie scenes theres n othing particularly mild about it. Toothless may have huge, pensive eyes and tiny retractable teeth but some of the other beasts are enough to get the viewer scared. The camera angles around the Night Fury physical appearance make his look so aggressive and enormous in size but in fact the dragon is merely a small compared to other dragons. When the true foe rears its scaly head, the camera affect will surely make children and adults alike quivering in their glasses. Hiccups world is turned upside down when he encounters a dragon that challenges him and his fellow Vikings to see the world from an entirely different point of view. Although the viewer might feel stranded from the actual element but fire-breathing dragons, medieval projectile weaponry and dragon dive-bombing provide edge-of-seat suspense. The action sequences are well-balanced with humorous and poignant scenes from the emotional life Hiccup so the subjective and objective perspectives stay alive and viewers get the mix of all kind of emotions. Regardless, Hiccup ventures out into battle and downs a mysterious Night Fury dragon with his invention, but cant bring himself to kill it. The scene that makes Hiccup realize that there is a hope of consideration that dragons are likeable, and the camera switches back and forth to the actions of both to make a scene of curiously. In the process, Hiccup finds a kindred spirit and gets to know the secret life of dragons (it turns out that theyre far from nightmarish beasts, despite being snuggle-toothed and bug-eyed). A scene that would make a twist or force the viewer to think, Will he! Will he! Kill the dragon or not. Beside that scene the viewers doesnt get to see that much interaction between both of them, especially when Hiccup and Astrid were taken by the Night Furry to the dragon world. The overall view and standpoint after the in progress of the movies changes as to something solemn. Instead, Hiccup and the dragon, whom he names Toothless, begin a friendship that would open up both their worlds as the vigilant boy learns that his people have misjudged the species. But even as the two each take flight in their own way, they find that they must fight the destructive ignorance plaguing their world. Through the use of point of view in the film, the viewers get to experience the abnormal yet adventurous and realistic scenes in the film. The camera help generate the scenes that viewers perceive would have experience themselves thus making the film more enthusiastic, blastic, and more over the complete scene of something fresh off the bucket. The notion of significance or urgency immensely is shattered all throughout the entire film scenes. Several examples but more truly the love of Hiccups for Astird is visible through the friendship of hiccup and the night fury. Since she hasnt seen the coolest dragon and noticed the hiccups have controlled the deadly one, it has opened a path for a girl to trust someone who is capable of dealing with vicious dragons. Hiccup spends much of the film flustered and frustrated. But with a voice that is both geeky and vulnerable, Hiccup ultimately winds up attracting our sympathy and love. The bond between both the hiccup and dragon are can be pertai ned as ultimately, a boy and his dog, only the dog is played by a massive black dragon named Toothless. Both characters are shown openly taking risk of their own safety to protect the other, and their connection is all the more affecting because its wordless. The viewers ultimately feel that Toothless, like the rest of the dragons, is not anthropomorphized or attribution of human motivation, characteristics, or behavior to inanimate objects, animals, or natural phenomena. Unlike the creatures in other Animation films, Toothless doesnt speak or crack wise, make pop-culture references, or dance to songs by Smash-mouth. This film hits on point of view such as diversity and acceptance and is mixed in with the humor and spunk of Viking teenage anguish. Hiccup does a fantastic job as voice talent for the adventurous character and his love interest, Astrid a tomboy out to be the best Viking girl displays comic relief throughout the film. Other than that the film ends in much the same way i t begun, but it has a more positive outlook and the perspective constantly changes as the scenes progress. I dont think it was a good enough way to resolve the issue. The story builds up this climax, but it felt more like a cop-out. Hiccup gets banished, losing his father, and then in an instant hes forgiven. The different views the audience see makes them feel like Hiccups personality and his interactions with the dragons and the different personalities of the Vikings are the basis for the humour in the story, versus humour that is more satire or topical. An animated like Zero to Hero, where the title character is a awkward misfit who, after accidentally wreaking chaos on his own village, must undergo training in order to attain his true potential, the same goes for this film. From the beginning to the end of the film, the viewers feel as if theres a camera room where one can walk around with a little monitor and see the set and the characters in virtual space. Viewer can change the lenses and do tracking shots through a virtual world. Its peculiar, but its instructive in terms of finding camera angles and lens lengths. Somehow walking around with a camera on a virtual set is like shooting live action on the fly. The close up shots and the wide ranges shots of the characters help both the voice actors all provide great performances that always keep pace with both the humor and the range of the characters emotions. Like most movies Its the kind of generational divide you can see repeated throughout history.   It is where the clash ha s been established by the older, its the younger generation who be trained that the only way to bring peace is to reexamine the nature of the conflict and then try to resolve it non-violently.   Violence perpetuates violence.   These lessons of courageous kindness and violence-begets violence may seem corny, but Dragon makes it work.   The lessons are subtext that kids will pick up on by seeing how the characters behave and that adults should appreciate because it makes the film more than the sugar cereal of most animated films. From the eye-catching, hillside Viking settlement to the peaceful mountain lake where Hiccup carefully nurtures his relationship with Toothless, the films design elements known as Point of View bring the viewers into the lives of these dragon-blighted people conjuring up vivid pictures of what that place in history might have looked like. The inhabitants may be modern and the situations a bit fantastical, but the realistic approach to perspectives makes for a more livable film.

Family Values and Frankenstein :: Frankenstein essays

Family Values and Frankenstein My greatest memories are of my mother making pear pies, my father letting me help to fix the bathroom sink, and sitting down to dinner together. We don't always get along or support each other when we need it most, but I consider myself lucky to have two parents who love me and try to give me what I need to survive in this world. While my family is not perfect I appreciate what I do have in comparison to the monster in Mary Shelley's Frankenstein. With no father, mother, love, or acceptance, the monster is cast out into a world which judges him on his hideous appearance. He has no one to learn from or look to for advice, like I and most other American children do. Times have changed since our parents were children and families today face different challenges than those of a decade or two ago. Over the past few decades the concept of family has been revolutionized. A "traditional" family no longer consists of two parents of the opposite sex in which the father is the "breadwinner," and the mother stays at home to raise the children. Today's family is as diverse as the world it must exist in. The important thing about today's family is that success does not just happen; a strong family takes effort. The "secret" to attaining a strong family, according to the 1985 book Secrets of Strong Families, by Nick Stinnett and John Defrain, involves commitment, appreciation, communication, time, spiritual wellness, and coping ability (14). While this seems like a six-step program, it makes a lot of sense. The family must come first in family, thus, commitment. Sexual fidelity, traditions, and sacrifice make a family stronger by creating close ties with the family members (Defrain and Stinnett 21-39). Appreciation involves the children doing the dishes every once in a while, surprising your wife with flowers, or a trip to McDonalds. Communication is key in any type of relationship, especialy in a family. No one wants to be alone in this world, and communication helps to build a sense of belonging and solve problems (Defrain and Stinnett 62-63). Spending "quality" time together is important for a family.

Sylvia Plath Essay -- Sylvia Plath Biography Biographies Essays

Sylvia Plath was a gifted writer, poet and verbal artist whose personal anguish and torment visibly manifested itself in her work. Much of her angst stems from her warped relationship with her father. Other factors that influenced her works were her strained views of human sexuality, her sado-masochistic tendencies, self-hatred and her traditional upbringing. She was labeled as a confessional poet and biographical and historical material is absolutely necessary to understand her work. Syliva Plath was born on 27, 1963, in Boston, Massachusetts to Otto Emil Plath and Aurelia Schober. Otto Plath was a professor of biology and German at Boston University. He was of German descent and had emigrated from Grabow when he was fifteen. Her mother was a first generation American; she was born in Boston to Austrian parents. Their common Germanic background indirectly led to their meeting in 1929. Aurelia Schober took a German class taught by Otto Plath. Aurelia was working on a master’s degree in English and German at Bosto n University. Otto Plath was guided by his principles of discipline. Their background was one major source of for Sylvia’s poetic imagery. Sylvia’s brother, Warren, was born on April 27, 1935. After Warren’s birth, the family moved to Winthrop, Massachusetts just east of Boston. Otto’s health began to fail shortly after Warren’s birth. He thought he had cancer as a friend of his, with similar symptoms, had recently lost a battle with lung cancer. â€Å"He refused to seek medical care due to the lack of a cure or effective treatment at that time. In 1940 after suffering ill health for years, Otto was forced to see a doctor for an infection in his foot. The doctor diagnosed the illness Otto has been suffering from as not cancer, but diabetes- -and not do advanced that it threatened his life. Otto’s leg had to be removed in October after he developed gangrene, and he spent the rest of his days in the hospital rapidly declining.† (Nuerotic Poets) Otto Plath died on the night of November 5, 1940. Her fathers’s death scarred her permanently; theirs was an extraordinarily close relationship. In 1942, Aurelia moved the family to Wellesley so that she could return to work despite her own health problems to support her family. Sylvia began writing when she was only five years old. Her first publication was a short couplet she wrote when she was eigh... ...hould be able to control and manipulate experiences even the most terrifying, like madness, being tortured, this sort of experience, and one should be able to manipulate these experiences with an informed and intelligent mind†¦.† (Uroff 37) Plath’s work is valuable for its ability to reach today’s reader, because of its concern with the real problems of our culture. In this age of gender conflicts, broken families, and economic inequities, Plath’s forthright language speaks loudly about the anger of being both betrayed and powerless. She was hailed as literary symbol of the women’s rights movement and a feminist writer of great significance. Sylvia Plath began by creating art that imitated life, but ended when life imitated art. Works Cited Butscher, Edward, ed. with and introduction. Sylvia Plath: the woman and the work. New York: Dodd, Mead, 1977. Plath, Sylvia. The Journals of Sylvia Plath. Ed. Ted Hughes and Frances McCullough. New York: Ballantine Books, 1982. Sylvia Plath. Ed. Brenda C Mondragon. n.d. Web. 18 May 2015. http://www.neuroticpoets.com/plath/ Uroff, Margaret Dickie. Sylvia Plath and Ted Hughes. Urbana: University of Illinois Press, 1979.

Broadcasting Quality

Broadcasting organizations exist basically to communicate to people. Whether radio or TV stations are Government, Commercial or Private, whether programmes are spoken word, music, commercials or community announcements, in all cases the message needs to get through. The emphasis in programmes must always be on quality, both content and sound. Staff engaged in program presentation need to be conscious of making the broadcasting system seem to be transparent to the audience. Listeners and viewers should only be aware of the actual program and not the ‘nuts and bolts' of the radio and / or TV station.In order to ensure High Quality Broadcasting, a Broadcaster or Broadcasting company should by all means be instrumental in enhancing our understanding of the world – To inform its audiences and arm them with a better understanding of the world through news, information and analysis of current events and ideas. It is a function which comes hand in hand with the Stimulation of kn owledge and learning, since the content should be of capable of stimulating its viewer’s interest in the knowledge of arts, sciences, history and other topics through content that is accessible to its projected recipients and can easily encourage informal learning.Representing diversity and alternative viewpoints is by all means also a component of responsible quality broadcasting. It is one its main purpose to make people aware of different cultures and alternative viewpoints, by showing programmes that reflect the lives of other people and other communities. One of the major influences affecting broadcasting would be the existing Socio-Economic factors. Economic components have long played a key role in public policy toward broadcasting, not only where private commercial systems dominate but also where there is a public funding mechanism.Major national public service broadcasters are large programme production industries that collectively represent a substantial capital and operating investment. Many of them have had commercial support, and no matter how â€Å"non-commercial† the production distribution-reception process, it is usually closely associated with (and profits from) a substantial private, profit-oriented industry that manufactures receiving sets and electronic equipment.But broadcasting’s direct contribution to the gross national product has been modest, especially when compared to most societies† major sources of economic activity (Blumler, 2000; 26). In the field of digital television broadcasting, North America has been some years ahead of the rest of the world in its faith in what could be done with very powerful image compression systems. The open decision–making process which has taken place in the United States for advanced television (ATV) is a considerable achievement, and a great credit to the many individuals involved.In Europe, considerable expertise has been accumulated in image compression and digit al modulation, but a range of factors and circumstances have influenced the profile given, until recently, to studies of digital terrestrial television broadcasting. These have included pessimism that the planning environment in Europe would allow the development of digital high definition terrestrial television with reasonable coverage, and pessimism that sufficiently attractive picture quality could be achieved with the bit–rates that are possible in terrestrial networks.Today there is clear recognition in Europe that we must pursue quality digital television broadcasting, that we should be undaunted with the problems, and that we should explore the potential solutions, this is because the prize for success w ill be considerable. An international committee, the European Launching Group (ELG), has been established to try to coordinate the various projects which are developing digital terrestrial television broadcasting, or indeed related systems, in Europe.This committee has a technical subcommittee, the Working Group on Digital Television Broadcasting (WGDTB). The WGDTB has examined the aims of the current collaborative projects, and their timescales, and looked at the potential uses of digital television broadcasting. They arrived, at the end of 1992, at a work plan, intended to make it possible for Europe to achieve common standards for digital television broadcasting within the next few years (Altschull, 1984, p 112).European centered on the development of modulation systems appropriate for digital terrestrial television centered on the development of modulation systems for 20 GHz digital satellite television centered on the development of digital HDTV satellite point–to–point systems developing all aspects of digital terrestrial television developing all aspects of digital terrestrial television developing base band coding systems continuing studies of terrestrial and satellite planning, requirements and testing present article will outline some features of this plan, and give the background to the conclusions reached (Anand, 1993, p 156-210).What the WGDTB has done is to develop a first scenario which needs now to be taken up by experimental work. A fundamental limitation on the quality and ruggedness of terrestrial television services will be the terrestrial channel capacity. In Europe, the VHF/UHF broadcast television bands use either 7or 8 MHz channels. The working assumption has been that the system should have a bandwidth of about 7. 5 MHz. The prospect of using more than one channel in a contiguous way for a single broad-cast service seem remote, and the prospects of obtaining new frequency allocations with a wider channel spacing, even more so.Given a 7. 5 MHz channel, it seems that the upper bound on gross bit rate is likely to be about 30 M bit/s. The first task the WGDTB undertook was to evaluate the options which seemed most likely to be attractive and saleable to the European consumer in the next c entury, in the light of what could be seen, or predicted, as general trends in society (Anand, 1993, p 156). There is no doubt that the quality expectations of viewers are rising, and that the long–term future of television lies with HDTV. Nevertheless, the Group was also conscious that viewing habits are changing as society evolves.Therefore, when setting system goals there are dimensions other than quality which need to be taken into account (Briggs, 1999, p 145). It is not sufficient to ask what the public may want, we also need to ask when and where they will want it. Furthermore, the practical large flat–screen HDTV display, for many years regarded as the key to HDTV acceptability in the domestic environment, seems nearly as far away as ever. One underlying trend in society is toward individual activity, rather than group activity. A second element to consider is mobility.Essentially sound–radio has migrated from a group experience in the home, to a nearâ⠂¬â€œindividual activity in the car. We could reasonably ask if some of the same evolution will apply to television to any degree, orate least whether television will also have to cope with a mobile environment. There seemed to be four options, essentially linked to different viewing environments, which were worthy of most attention. The options are as follows:– HDTV (high definition television), which offers services to viewers with very large screen receivers, using fixed roof–top aerials.– EDTV (extended definition television), which offers services to viewers with medium to large screen receivers using fixed roof–top aerials. – SDTV (standard definition television), which offers services to viewers with portable televisions using set–top aerials. and LDTV (limited definition television), which offers services to viewers with small screen receivers using whip/stub aerials in a mobile situation (e. g. in acre). In order to translate these concepts to practical sys-teems, it is necessary to decide what is meant pre-cicely by the quality in each case, and what is meant precisely by each of the receiving environments.Picture quality is difficult to quantify in absolute terms, because it is the net effect of a series of factors such as resolution, sharpness, noise, artifacts, etc. It is by no means only related to the scanning standard. The picture quality that is achieved will also be related to the source quality, the sophistication of the compression algorithm, and the bit rate used. The receiving environment can be defined some-what more easily. It is related to the bit–error distribution in which the system is required to work. In other words, it is associated with the ruggedness necessary to achieve impairment–free pictures of the intended quality.As a first assumption in the WGDTB, the roof–top environment is considered to be associated with a spectral efficiency of 4 bits/s/Hz. The portable e nvironment is considered to need 1–2 bits/s/Hz, and the mobile environment is considered to need 1 bit/s/Hz. 2. REVIEW OF RELATED LITERATURE A. The Dimensions of Picture Quality Color Television was initially conceptualized in the 1950’s. Back then, a single color picture requires three images, specifically red, green, and blue (RGB) for light emitting devices such as cathode ray tubes (CRT).This would require a 30 MHz bandwidth to provide the desired picture rate, starting from the full progressive scan picture. To reduce the bandwidth to 15 MHz for an analog RGB system, an interlace is used. Within a studio the signals are carried on three separate cables at 5 MHz or more bandwidth each, a fundamental compression scheme used in color television is to translate the three color signals into the color-difference domain where the picture is represented by a luminance (equivalent to the earlier monochrome) picture and two color difference pictures, R-Y and B-Y.Another nam e for this system is YUV, Y for luminance and U, V for the two color difference signals. Again using the limitations of the human visual system, in this case less color than luminance visual acuity, the bandwidth of the color difference signals is reduced by 50% for a total YUV bandwidth requirement of 10 MHz. Today, YUV signals are used in both analog and digital forms and have very little visible degradation compared to interlaced RGB video. Both forms are known as component video with YUV being used for most applications.Nowadays, there are two reasons to compress television video signals, practical limitations of processing speed (bandwidth) and cost of transmission or storage resulting from the required bandwidth. Today, the availability of high speed semiconductors and integrated circuits make the latter reason most important in nearly all applications. Virtually all video compression methods utilize the limitations of the human visual system to remove the less visible picture information that might otherwise be present.As broadcast television was being developed, display rates of 50 or 60 pictures per second were considered necessary. Discussing Quality Broadcasting and its future would not be complete without discussing the past and present of Broadcasting. Cathode-ray tube, also known as CRT’s is the technology used in most televisions and computer display screens. A CRT works by moving an electron beam back and forth across the back of the screen. Each time the beam makes a pass across the screen, it lights up phosphor dots on the inside of the glass tube, thereby illuminating the active portions of the screen.By drawing many such lines from the top to the bottom of the screen, it creates an entire screenful of images. The technology used for the display is also a critical part of the quality equation, and all broadcasters currently suffer from a lack of flat panel monitors which can be used to check that picture quality is perfect before it l eaves the studio. The reason is because display are no longer made using ‘CRTs', which had many disadvantages, but could be made as very high precision instruments when needed.This is not so easy with today's flat panel display. An analysis of the options available for a common multiplex is currently being made. There seem to be a number of potential candidates for a common multiplex, and particular attention unfocussed on the MPEG proposals and the DAB system. A unique system for DAB and Devisees particularly attractive. a. ) HDTV Nowadays, we have different prototypes of devices which we use to enhance broadcast information quality with.One of these numerous devices would be what we call HDTV which is also known as High-Definition Television. This is basically a new television prototype that provides much better resolution and resonance than current televisions based on the NTSC standard. HDTV is a type of Digital Television (DTV) broadcast, and is considered to be the best quality DTV format available. Types of HDTV displays include direct-view, plasma, rear screen, and front screen projection. HDTV requires an HDTV tuner to view and the most detailed HDTV format is 1080i.HDTV is a digital TV broadcasting format where the broadcast transmits widescreen pictures with more detail and quality than found in a standard analog television, or other digital television formats. High definition television is defined rather loosely by the International Telecommunication Union (ITU) as a system which has about twice the horizontal and vertical definition of conventional television. This still leaves open the amount of noise or artifacts that are permitted, and which affect the picture quality just as much as definition.In Europe, Asia, South America and across other parts of the world the PAL system is adopted by each state, and often with some unique characteristic, such as the location of the sound carrier. This means for protecting sovereign borders has made f or complications in program exchange, though presumably has not impacted the set sales in any of the regions. Further-more, there is a relatively wide range of definitions available within the term â€Å"conventional television†. In addition, interlaced systems have a triangular vertical–temporal response, so it is difficult to know where the concept of â€Å"twice resolution† applies (Anand, 1993, p 210).To pin down HDTV, we have to look at the combined effect of all the quality factors on the picture; and, to some extent, make up new rules. It is apparent that the NTSC standard sets the limits today in television quality. The NTSC system is a composite system, meaning the color or chrominance information is embedded in the luminace information. In over-the-air and cable transmission there are frequently micro reflections produced, which deliver somewhat delayed second or third harmonic images (which are commonly referred to as ghosting).Only so many scanning l ines, so much bandwidth is in the standard. There is also the inclusion of interlace scanning, producing aliasing artifacts, interline noise (often called â€Å"twitter†), and dot crawl which is undeniably the factor which makes perfected separation by way of comb filtering of color and luminance information very expensive, thus color smearing results in most modestly priced sets without this device included. The accumulation of artifacts from the traditional NTSC standard has placed a practicalsize limit of the television image since most consumers perceive an increase in size as a â€Å"cause† of the artifacts, rather than merely the exposing of them. While filtering techniques have improved, the cross color and dot crawl artifacts, there remains the unalterable fact that the total amount of picture information in the broadcast standard has a specific limit. When deciding on a required picture quality we have to bear in mind the target viewing distance, and the need to ask, responsibly, for no more than is necessary.Digital compression systems all work in a similar way. The information content of the source picture varies from scene to scene. The system reproduces the content of the input picture essentially intact, until the point is reached where the transmission bit–rate will be exceeded if nothing is done. At this point, a series of approximations are made to parts of the scene. The output scene can thus have (apparently) added noise or loss of resolution, to an extent depending on the original scene content.For any practical system there will always be scenes which are reproduced perfectly, and others which are impaired. The system designer’s intention is to make the impairments occur as infrequently as possible, and be as unobtrusive as possible. The main approach examined by the WGDTB to specify the quality needed is termed the â€Å"scene–content failure characteristic†. This is a logical and scientific metho d, but it is also relatively ex-pensive to use.The basic element to be specified is the proportion of total programmed time which should be free of artifacts. â€Å"Freedom from artifacts† is considered to be associated with a minimum mean score of 12% in a double–stimulus continuous–quality scale (DSCQS) subjective evaluation. This is somewhat arbitrary figure, but much experience shows it to be a good rule of thumb for virtual transparency. The challenges are then, first, to decide what constitutes a sensible proportion of time for which impairment free pictures should be demanded.The second challenge is to assemble statistical evidence about the relative occurrence of different kinds of scene content, so that it can be verified that the requirements are met. In choosing the proportion of time for which impairment–free pictures could be expected, we can look to the other â€Å"statistical† domain of picture quality, which is the propagation failu re characteristic, used as a planning criterion. For example, in broadcasting satellite systems (BSS), quality is required to be maintained for a defined percentage of the worst month of the year.If this kind of guide-line is acceptable for satellite systems, would it also be acceptable for terrestrial television broad-casting? Unfortunately, the answer is â€Å"not quite†. In satellite broadcasting, the â€Å"outage time† is used up in rain–fades, which occur over a period of, say, half–an–hour. The quantization–noise artifacts that are introduced by digital coding will probably be more spaced out than this, and their effects will therefore be less severe on the viewers overall perception of quality (this is sometimes called the â€Å"forgiveness effect†).However, it may be appropriate to adopt a value similar to that for the BSS as a starting point for fixing the scene content failure characteristic requirement (Anand, 1993, p 210). The WGDTB has tentatively begun by taking 99. 7% transparency as the requirement for the dig-ital terrestrial HDTV service. Coupled with this, it is assumed that the reference quality is a1250/50/2:1 HDTV studio signal, with 1440 samples/line. We do not yet have a catalogue of HDTV picture sequences and their places on a code â€Å"criticality table†, but we do have some experience from for-mar 4:2:2 code studies (Altschull, 1984, p 112).These suggest that to achieve the target transparency, the code would need to pass, unimpaired, almost all the test pictures so far devised, including the second most–stringent CCIR sequence â€Å"mobile and calendar†(critical, but even so only in the area of 80%–90%criticality). The quality target is very high, and may not be achievable at the available bit–rate. But it certainly is worth aiming high at the start. It is known from past experience that HDTV source and display equipment quality will improve, and a system which will last well into the next century would be valuable.The next key question is â€Å"what quality can be achieved with 20–30 M bit/s? † Initial tests may be possible in autumn 1993 with the HD–DIVINE system, and these would probably provide first clues. b. ) EDTV The second quality level to be discussed is termed EDTV. EDTV is a common name for a particular subset of the DTV (Digital Television) standards, but On a large display screen only. It is also known as Enhanced Definition Television or extended definition television. EDTV is considered to be specifically a part of the HDTV format but does not fall near the quality and performance of HDTV.EDTV as a whole can only simulate HDTV viewing quality. However, The EDTV prototype offers more technological advancements over the SDTV unit. EDTV operates as 480p (where 480 represents the vertical resolution and p represents progressive scan). To take advantage of the said 480p standard, video source th at outputs that signal (i. e. a DVD player) must be used and the display must be able to read the 480p input signal. As an additional feature an EDTV unit also offers the benefits of Dolby digital surround soundThis is not a particularly appropriate name, because the scanning standard for the system would be the normal625–line system. The level is included because large–screen HDTV receivers, which have an HDTV dot pitch, will be very unwieldy and very expensive for many years to come. An EDTV level would fulfill a need for a lower–cost and lighter receiver. Having probably a screen size less than about 30 inches, it would not be dramatically inferior to an HDTV display in perceived quality. There may also be living rooms which are not large enough to take a true HDTV receiver.The source format for EDTV is assumed to be a signal conforming to CCIR Recommendation 601, with 720 samples per line and a 16:9 aspect ratio (Starks, 1993, p 196). The codes transparency required, in terms of the percentage of program time unimpaired, would be roughly the same as for the HDTV level (al-though in this case with respect to the 4:2:2source). The best information available at the present time is that in order to achieve this level of transparency, a bit–rate of about 9–11 M bit/s is probably needed for a motion–compensated hybrid DCT system.c. ) SDTV The third quality level considered is SDTV,. Short for Standard Definition Television it is a type of digital television operation method which is able to transmit and produce images which are of a higher quality than standard analog broadcast. While SDTV does not reach near the quality of HDTV, it is definitely superior over traditional analog television. SDTV is typically a 480i signal – where 480 represents the vertical resolution and i represents interlaced. Digital cable and digital satellite programming is widely available in SDTV format.This is specifically intended to mat ch the quality needs of portable receivers. On small–to–medium screen sizes, even today’s PAL/SECAM quality is very good. Thus, for the SDTV level, a system which has a625–line scanning format is needed, but some artifacts can also be accepted, as is the case for both PAL and SECAM. The kinds of artifacts associated with PAL/SECAM and a digital motion–compensated hybrid DCT system will be different, but it is believed that in order to achieve, globally, about the same over-all quality, a data rate of about 5–6 M bit/s is needed. d. ) LDTVThe fourth quality level is LDTV, limited definition television. This is intended to match the needs of very small screen receivers, which might be used in cars, and now being incorporated to mobile phones as well. The quality requirements of this level would be about the same as the MPEG 1 codes or about VHS level. Specifying the quality requirements, and evaluating the systems in terms of their sceneâ€⠀œcontent failure characteristics will be a major technical challenge, principally because of the need to establish how often scenes of a particular type of content are likely to occur.There may be alternative simpler approaches which will also help to understand and quantify the systems’ behavior. Another potential quality evaluation criterion, which the WGDTB has been asked to consider, is associated with the concept of â€Å"quality space†. Our perception of the picture quality of a given system is directly influenced by the viewing distance. The further from the screen, or the narrower the viewing angle, the less discriminating we are in terms of resolution or artifacts.One way, therefore, to see the various quality levels, is by imagining that there is a â€Å"quality space†, which is a graphical representation of picture quality–versus–viewing distance. For the picture quality axis, we use the same axis as for DSCQS evaluations (Andersen, 199 0, 291). There are five contiguous and equal intervals characterized by the quality descriptors: excellent, good, fair, poor, and bad. Similarly, It was specified by the EDTV system as one for which the results of assessments must fall in the excellent band at 4H.SDTV systems are those for which the results must fall in the excellent band at6H, and an LDTV system as one for which the results must fall in the excellent band at 8H. This seems a relatively clear means of defining and distinguishing between the quality levels, but experimental work remains to be done to establish its viability in practice. DISCUSSION A. Impact of Source quality Another interesting dimension to this question of picture quality concerns the impact of source quality on final picture quality under high compression.Compression systems may show a characteristic such that it could be considered (in a simplified way) that their characteristics of quality–versus–bit–rate have two regions. A Camcorder video compression device was recently developed to function effectively in a variety of applications and which could effectively address the need for high-resolution surveillance image recording. The said device is able to simultaneously encode two separate streaming images — full size and quarter size — with robust compression and high quality.The creator of the device, Showlei Associates has announced that its CamCoder video compression device will dramatically lower the cost, power consumption and size for the compression of high-definition streaming images. The IC also contains internal logic for user-programmable motion detection and watermark insertion, as well as on-board memory. High definition compression systems, as available today, do not perform as well as predictions made several years ago, with the exception of the newly created device – but the next years should bring maturity and allow more complexity in equipment.E It is a common conse nsus that the full benefits for broadcasters of the new advanced compression systems would be achieved eventually. However as of the present time inventors are still finding a way to get pass one of the quality defects of digital broadcasting today, this problem is the lack of synchronization between vision and sound. Achieving this may even become more difficult with more advanced codes. This still needs to be carefully evaluated by all broadcasters to find any loopholes in the said device. ConclusionThe Quality of Broadcasting is by all means generated by a combination of both responsible dissemination of information and state of the art broadcasting equipment. The way in which information is disseminated and retained by the audiences would first and foremost be the determining factor as to effectiveness of the broadcasting being done. The content plays a very important role in keeping the interest of the audience and it should be discerned that without a substantially good topic, even the most advanced equipment to disseminate information would not be a factor at all.It is in this context that commitments must soon be made and it is to be of utmost importance that all administrations and organizations which will be affected by technological changes should be able to share in the accumulated understanding of the factors involved with a view to taking carefully considered decisions. To assist in this process, the ITU/BR has convened a Workshop Tomorrow’s television – Thaw IDER picture, with the support of the European Broadcasting Union and the Asia–Pacific Broad-casting Union.It aims to bring together the expertise necessary for a common understanding of the issues and, to allow a balanced representation of all contending systems, the Workshop is being held away from the main centers of study, in New Zealand. BIBLIOGRAPHY Altschull, J. H. 1984. Agents of Power: The Role of News Media in Human Affairs. New York: Longman, p 112 Anand, A. 1 993. â€Å"Introduction,† 1-24 in Women's Feature Service (ed. ), The Power to Change: Women in the Third World Redefine their Environment. New Jersey: Zed Books, p 156-210 Andersen,P. A. & M. W. Lustig & J. F. Andersen. 1990.â€Å"Changes in Latitude, Changes in Attitude:The Relationship between Climate and Interpersonal Communication Predispositions,† Communication Quarterly, v38 (1990): 291-311. Blumler, J. G. (2000). Public service broadcasting in multi-channel conditions: Functions and funding. In S. Barnett (Ed. ), Funding the BBC†s future (pp. 26-41). London: BFI Publishing, p 521-540 Briggs, A. (1999). History of broadcasting in the United Kingdom: Vol. 1. The birth of broadcasting. Oxford, England: Oxford University Press, p 124-145 Starks, M. (1993). 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