Negative Effects of Tv on Family Life Essays

Negative Effects of Tv on Family Life Essays Negative Effects of Tv on Family Life Essay Negative Effects of Tv on Family Life Essay Negative Effects of TV The television has many effects on family life and the individual, causing family bonds to unravel and the individual to become naive of their surroundings. The TV keeps one hooked for hours on end, causing family relationships to diminish and personal relationships to weaken. Not only does the TV seem to be a good alternative to conversations and interactions amongst one another, but it also helps to create a gap between the fictional world of TV and reality. Since the invention of the home television, it has become a crucial part in everyday household life. Children spend less time with family, because it is simply easier to sit down and be entertained by the TV. †The time spent next to it [the TV] exceeds the amount of time spent together with any other family member. † (Wattermann) Watching TV has a major effect on the way a child communicates with other family members and friends, distancing them from real-world situations and problems. Parents spend long hours working and want an effective suppressant for their children. Contemporary parents work a lot, but when they come back home they are not eager to spend time with their child†¦Ã¢â‚¬  (Wattermann) Even adults fall into the attraction of taking themselves out of their childs’ life, in order to relax or gain the free time they long desire. The effect the TV has on the family has been negative in comparison to the original intention of bringing the TV into t he home, back in the 1940s. The depiction of the family watching TV together has changed, and now with multiply TVs present in a home, the separation and disfunction of the family has increased. TV also has a negative effect on the individual, because it takes away from potential relationships and also promotes bad behavior and aggressions as seen on violent television shows. What is being watched on television has the potential to influencing negative behavior, within the child or even adult. In an article from the AAP or the American Association of Pediatrics, it was noted that, â€Å"Extensive research evidence indicates that media violence can contribute to aggressive behavior, desensitization to violence, nightmares, and fear of being harmed. † (Pediatrics Vol. 108 No. ) The violence seen on TV, can lead to violent acts later on. Individuals are affected by what they see on TV and can be influenced by the suggestive nature that is described in almost every TV program. â€Å"Even in G-rated, animated movies and DVDs, violence is common† (Boyse, RN). The TV violence has an effect on people and children of all ages, and even though some programs are education al and beneficial for the development and growth of the child, there are so many other programs going on at the same time that contradict the idea of â€Å"good TV†. Television watching also has a major impact on the self-image one has of themself. The TV paints a false image of what the normal and accepted person should look like. The person watching, therefore gets sucked into the mindset that they have to be like the well-toned models seen on tv, this creates many different problems. Insecurities within the individual flourish and they are constantly bombarded with images of how they should be, in order to fit into today’s society. While watching constant images of healthy women and men makes some people immediately jump off the couch and start their â€Å"cardio routine† some sit back and envy what they simply will never have. Ironically, this leads to eating disorders and obesity. â€Å"People, who spend hours and hours in front of the TV sets, are under very high risk of becoming overweight and obese. † (API Heathline) Either way, false advertisement of the way someone should be perceived has a negative effect on the viewer. In general, the content on TV impacts who were are and who we want to become in order to fit into society. Another factor involved in television watching, is the amount and the persistence of commercials. Commercials make up a majority of television air time, trying to influence people to spend time and resources on products and new inventions that will make you better fit into society. For example, food commercials are constantly influencing people to make new recipes or to go to the newest most delicious restaurant in town. Other commercials such as the shopping channel become appealing to the older audience who are alone and constantly craving new things. This leads to hording and other disorders, including the addiction of television watching in itself. Commercials and news articles also persuade people in terms of politics, economic issues, and social influences therefore inducting the one-way nature of the viewers. If people constantly go to the TV for current updates on news and other current events then it deters the need to communicate with one another and create the social relationships needed to have a cohesive balance in life. Another problem that arises with TV is the effect it has on one psychologically. Kids spend many hours in front of the TV, especially over long periods of isolation. Some adults can argue that the constant atching of television is the beginning of a new age of addiction. â€Å"Studies about negative effects of television addiction show the TV addicts’ people through its tranquilizing numbing affect, causing them to relax, become drowsy, and then desire to watch more TV. † (Parenting-Healthy-Children) Watching TV seems to have the same effects that habit- forming narcotics have on the indi vidual. When watching hours upon hours of TV, one is quickly relaxed and put into a state of obliviousness to the outside world, therefore having similar effects of mind altering drugs. TV watching has many effects on the viewer and can lead to many social and personal problems. Family relationships, individual self- consciousness, and violent/ inappropriate subject matter all lead to the conclusion that too much television can be harmful to our society. TV is readily available to every one of all ages, and the majority of the material is geared toward a more mature audience. Over time, TV has changed dramatically from mostly family-oriented TV programs to programs geared to different age groups, in order to attract different audiences. Children and TV: The Negative Effects of Television.   Children and TV: The Negative Effects of Television. N. p. , n. d. Web. 13 Feb. 2013. Media Violence.   Media Violence. N. p. , n. d. Web. 13 Feb. 2013. Bad Effects Of Watching Too Much TV | Academic Programs International a Health Line. Academic Programs International Health Line Bad Effects Of Watching Too Much TV Comments. N. p. , n. d. Web. 13 Feb. 2013. The Negative Effe cts of Television Addiction and Computer Addiction.   The Negative Effects of TelevisionAddiction and Computer Addiction. N. p. , n. d. Web. 13 Feb. 2013.

Van Doesburg and the International Avante

Van Doesburg and the International Avante Introduction The Tate Exhibit, by assembling international works and works in many media, demonstrates, to the less enthusiastic, the exhibit designer’s message that the Avante-Garde was a legitimate and wide ranging movement, and one which reverberates in its effects even today. Styles such as Neo-Plasticism, are Elementarism are examined, but the most colorful is Dada.Advertising We will write a custom essay sample on Van Doesburg and the International Avante-Garde: Constructing a New World specifically for you for only $16.05 $11/page Learn More Dadaism elicits different responses from different viewers, from the trivial, irritating, or enraging, to the profoundly liberating, and has done so since it was launched on the world. Given its anti-establishment history, and the continuing debate over whether it is really art, its glorification at the Tate is ironic. The Tate show can help demonstrate Dada’s impact on today’s design and our definitions of art. Some examples from real life include: the teaching of art to kids, stained glass in contemporary sacred spaces, home furnishings, music teaching and making. A sampling of the styles the show features includes De Stijl, Dadaism, Elementarism, and Neo-Plasticism. The multi-national selection of artists range from the biggies such as Arp and Mondrian, and obscure ones as well, with a strong Dutch presence and funding support. The media displayed are wide ranging, and reflect the intention of the Avant-Garde’s proponents to overturn old art norms and make art and design accessible to the masses. Works are arranged such that the orthogonals and diagonals are sited at either end, and artists, crafts, and disciplines affected by the Avante-Garde are on display in between. Van Doesburg’s drawings of exploded architectural detail are missing from the exhibit. Photos of the artists enrich our understanding of the human background to the art. Merchandise in th e stores is well-displayed and offers customers a chance to wear their intellectual bona fides on their blouse. The Tate has offered a selection of lectures and other fora for viewer education. The arrangement of the exhibit helps to make the point that the Avant-Garde was more than artistic crankiness or mental disorder. Conclusion: The ongoing debate over whether the works of the Avante-Garde are really art is not by any means resolved. However, the ideas of the Avante-Garde certainly liberated the making of art to our benefit today.Advertising Looking for essay on architecture? Let's see if we can help you! Get your first paper with 15% OFF Learn More The design ideas we see around us are deeply affected by their work. The exhibit reveals the international scope of the Avante-Garde, and highlights the connections between the Avante-Garde and what we see around us on a regular basis. Van Doesburg’s legacy is worth remembering. This Section is not Par t of the Assigned Project The following is the list of questions originally posed by the instructor for consideration, not an essay. This is set up as a checklist to allow the customer to reassure themselves that all the questions have been addressed, and to facilitate communication across the language barrier with the customer. Since the topic is an art exhibit, and secondary sources are not exhaustive, many of these answers are inferences rather than based on direct personal observation, which would have been the ideal way of responding to the questions Who organized the exhibition? Vicente Toldi, Tate Director Who curated it? Gladys Fabre, independent curator Who sponsored it? Tate Patrons, Tate International Council, The Van Doesburg Exhibition Supporters Group, The Embassy of the Kingdom of the Netherlands, Dedalus Foundation, Inc, Mondriaan Foundation, Prince Bernhard Cultural Foundation (Straver Foundation), SNS Reaal Fond Who designed it? Vicente Toldi, presumably, since no other person is mentioned. Who is it intended audience? Possibly anyone who may not have thought very much about the impact of the Avante-Garde, or who is not an avid art fan is the target. What are the aims of the exhibition? Based on the artists and works chosen; the aim is to display works not often seen, to display works by lesser known artists, and to show a wide range of media that were affected by the ideas of the Avante-Garde. What is its central argument? You can see evidence of how these artists succeeded in overturning much of what went before when you look around you at design, art, and art instruction today, and see their influence. What current debates or topical issues does the exhibition engage with? Is this stuff truly ART? What underlying assumptions are communicated by the choice of exhibits and form of display? The form of display seems to assume mostly non-disabled viewers assumes that people walking on their own two feet and looking with good vision are viewin g the works. It also assumes that the viewer has not seen previously ephemera and crafts from the same period, objects which reflect similar design ideas. Is it successful in terms of fulfilling the aims of the organizers? It has been well reviewed for the most part in terms of demonstrating why lesser known names in the Avante-Garde should be studied and remembered, and documenting the enduring influence of these ideas. What if anything is excluded from its central narrative? Not sure – maybe politics, but not sure, but one reviewer mentioned the absence of certain Van Doesburg architectural drawings. How is the exhibition organized (by theme, designer, chronologically, other)? Orthogonals are sited at one end and diagonals at the other, with other materials in between that were influenced by the artistic dialogue going on at the time. How are the artifacts contextualized (i.e., through info panels, labels, graphics, catalogue, etc.)? Not sure, but there seem to be labels wi th substantial information. There are lectures and talks as well, and a workshop for a hand-on project. Is the design of the exhibition appropriate for its subject matter? It sounds like it, but not sure. Does the Tate exhibit provide an educational experience, and how does it achieve this? Lectures, talks, hands-on projects, contribute to background education. Is there a shop specifically devoted to merchandise supporting the exhibition, and how much space does it occupy in relation to the exhibits? Yes, but not sure how much space is allocated – the interactive map did not seem to specify the shop footage. What kinds of products does the shop sell, and how are they merchandised? Typical, not terribly innovative; items meet the need for items to signal the consumer’s intellectual identity, or â€Å"brand†. End of explanatory notes to customer Outline Van Doesburg and the International Avante-Garde: Constructing a New World 1. Introduction: The Tate Exhibit, by assembling international works and works in many media, demonstrates, to the less enthusiastic, the exhibit designer’s message that the Avante-Garde was wide ranging and reverberates in its effects even today. 2. Background of Dadaism as a confusing off-shoot of the Avante-Garde a. The meaning of the word b. The reaction of the contemporary gallery visitors c. How Dada was viewed at the time d. Irony of an anti-establishment movement being displayed in Tate 3. The Tate show can help demonstrate Dada’s impact on today’s design and definition of art: examples a. Teaching of art to kids b. Stained glass c. Home furnishings d. Music making 4. Sampling of styles the show includes a. De Stijl b. Dadaism c. Elementarism d. Neo-Plasticism 5. Artists included a. Many works from off-shore b. Strong Dutch representation and sponsorship support 6. Media included a. Wide range of artistic disciplines b. Reflect the intention to make art accessible even to the oppressed 7. A rrangement of works a. Orthogonals and diagonals at either end b. Artists affected by these in display in between c. Crafts and disciplines affected on display in between d. Drawings of exploded architectural detail missing from exhibit e. Photos enrich understanding of the human background to the art Conclusion The ongoing debate over whether the works of the Avante-Garde are really art is not by any means resolved. However, the ideas of the Avante-Garde certainly liberated the making of art to our benefit today. The design ideas we see around us are deeply affected by their work. The exhibit reveals the international scope of the Avante-Garde, and highlights the connections between the Avante-Garde and what we see around us on a regular basis.Advertising We will write a custom essay sample on Van Doesburg and the International Avante-Garde: Constructing a New World specifically for you for only $16.05 $11/page Learn More The current exhibit at the Tate Mo dern brings a host of objects together from a variety of artists, countries, and media, and styles that fall under the general category of the Avante-Garde (Dadaism, Neo-Plasticism, Elementarism, Constructivism, and Art Concret). This impressive assemblage demonstrates the multi-national nature of the Avante-Garde in its time of inception. The exhibit also provides ample basis for considering (even by those who do not live and die by art ) the wide ranging and long lasting impact on the lives of people today of the ideas fermenting in the first decades of the 20th century, even the chaotic and self-negating ideas of Dadaism. Dada is a word that can be understood differently, depending on one’s role, and where one is standing. To a proud papa, it is, he hopes, the first word spoken by a beloved toddler. To a current music aficionado, it is the name of a band (dada home page). As pointed out by Tristan Tzara, a poet and essayist of the early 1900’, the word also describe s the tail of a holy cow, among the  « Kru Negroes  » (an archaic and now offensive term for an indigenous tribe in what is today called Liberia ), mother and a cube in Italian dialect, and a nurse and hobby horse in Russian, as well as in his native tongue, Romanian. However, Tzara declares in his Dada Manifesto 1918,  « The magic of a word – Dada – which has brought journalists to the gates of a world unforeseen, is of no importance to us.  »(Tzara, Dada Manifesto 1918). This paradoxical statement, and so many others, is typical of the deliberately confusing, transgressive, and challenging utterances of Tzara, ne Samuel Rosenstock, a key articulator of Dadaism. To current enthusiastic visitors to museums of modern art, the name Dada is shorthand for a sidebar to the Avante-Garde, art as goofball antic, art as thumb to nose, but also, art as something that might be easily mistaken for a bin to accommodate one’s litter, or an attractively mounted fire e xtinguisher. On the other hand, to those visitors who have been dragged along by their special art fan, Dada may very well be a reason they say they think that avant-garde art is a crock. Advertising Looking for essay on architecture? Let's see if we can help you! Get your first paper with 15% OFF Learn More Why, they ask plaintively, don’t we just bring our rubbish to the museum and leave it here in a neat pile – who would know the difference? What sort, they ask angrily, of prat would pay good money for such stuff? Doesn’t our kid draw something just as good? Where is the cafà ©, they ask in desperation, and, more importantly, how soon may we leave? These public reactions are not novel, nor, if we are to believe their own writings, would they necessarily have been unwelcome to the first promoters of the Dada movement. The Dadaists were in reaction against just about everything . In return, they were regarded with less than approval by their contemporaries, and they knew it, and made fun of this phenomenon. In light of how disparaged they were by the art world in the first decades of the 1900’s, and especially in light of how deeply they criticized the art establishment, they might be turning in their graves at the thought of the large current exhibit at th e Tate Modern (running through May). Or, perhaps, the thought might tickle them, especially the application of Theo Van Doesburg’s colorful geometries to towels, totes and magnets in the gift shop . If a Dadaist were resurrected today, he might gleefully pluck a tea towel from the gift shop and display it as art, not because of the pattern, but as an object chosen by him, placed out of its usual context as an article of clothing, titled with whatever whimsical thought occurred, put on display, and therefore constituting ART. There would certainly be ample precedent! The submission, without comment, of a fountain, to an art show, an act of artistic anarchy attributed to Marcel Duchamp, is practically legendary. But back to the weary, less than excited visitor, wondering why on earth they should be learning about this stuff. (The museum is indeed offering a lecture series, even for the deaf, curators’ talks, and an opportunity to create a hands-on project to help both the confused and the rapt). Why should he/ she be interested at all? Art historians, on one end of the interest spectrum, are the converted, the choir, to whom it is unnecessary to preach. In answer to this question, they can point to direct lines of influence from the Dadaism of the 1910s and 1920s to the Neo-Dadaism of the post-World War II period, and well known and important names like Robert Rauschenberg, and Jasper Johns (Craft), and, it could be asserted, Andy Warhol. In another direction, connections can be drawn to Surrealism (Craft 4), a movement with its own flock of current artistic offspring, particularly in film, and animation. However, at the other end of the spectrum of interest and expertise, even the uninitiated among us can identify Dada’s impact in our lives. A swift peek into the chaos and happily self-defined art creations being crafted from re-cycled materials at the nearest grammar school would offer an answer to that question . Also of interest would be a tour of a suburban modern church building . Or take a walk-through of the wall and floor coverings department of a home store . Finally, check out GarageBand, a piece of software that allows kids to assemble music from a file of pre-recorded sound samples (Garageband). All these cultural phenomena seem to be influenced by the ideas of Dadaism. The show at the Tate may, in light of this, assist those who would preferentially spend at least some of their Sunday afternoons watching Manchester United rather than getting sore feet at galleries, to draw meaningful connections between Dadaism and current trends and manifestations of the arts, and design. The current Tate Modern show, taking up half of the fourth level of the museum, does not merely cover Dadaism. It also encompasses the movement that was one of Van Doesburg’s numerous other artistic life pursuits: among them, the ultimate in geometric abstraction, wherein any reference to the human body or realism of any sor t was anathema. Van Doesburg’s ideas on this and other isms of the day were expressed in his editorship of De Stijl, a magazine as well as the name of a style, and through peripatetic lectures and conferences (Mawer). He and Piet Mondrian espoused simplifying art to a series of geometric elements. Even this was subject to disagreement: the two colleagues split off into Elementarism (diagonals allowed) and the horizontal and vertical axes of Dutch Neo-Plasticism, a rarified movement (orthogonal horizontals and verticals only) of which Mondrian eventually found himself the only votary; (Darwent). The show includes many works on loan from elsewhere. This means that many pieces have never been seen in the UK, especially those by Theodore Van Doesburg. There is a largely Dutch roster of sponsors , which may have helped in the acquisition of so many Van Doesburg pieces. Alternatively, perhaps the inclusion of these rarely-seen works was a cunning appeal to Dutch chauvinism for r ecruiting support from Dutch funders. This strong representation from other collections may be the reason so many of the 350 items are not imaged digitally for later, more leisurely examination. In any case, the range of countries represented certainly highlights the message forcefully that the Avante -Garde was an international movement, with plenty of cross pollination among artistic communities. The Tate’s director, Vicente Todolà ­, has made a point of mounting several previous exhibits focusing on other features of Modernism (The Tate Modern Museum), perhaps as a means of ensuring the development of a future visitor base. If an audience is not raised up in the knowledge and appreciate of the arts, they will not support the arts. Gladys Fabre, an independent curator, has brought together works in a variety of media and genres. She has assembled the big names in Dada, De Stijl, and the Avante- Garde: Piet Mondrian, Constantin Brancusi, Jean Arp; names that even the uninf ormed might recognize. She has included, as well, less well known artists whose work was influenced, or had an influence on, De Stijl, such as Francis Picabia, Lszlà ³ Moholy-Nagy, Gerrit Rietveld, Sophie Taeuber, and Kurt Schwitters. A full range of media are represented. They include traditional painting and drawings, and sculpture. This latter is defined, as in the case of the aluminum and wood robot-like Mechanical Dancing Figure, by the less familiar Vilmos Husz, or the chunky blue vaguely android figure Construction within a Sphere, by the equally under-exposed Georges Vantongerloo, by the whimsy of Dadaism. Ms. Fabre has also included less expected examples of designs that came out of the movement such as typeface, architectural interiors (for example, the explosion of color blocks on the ceiling of the University Hall, in Amsterdam, or the rocking Aubette dance space from Strasbourg), and furniture designs (such as the sculpturally limpid but uncomfortable-appearing Gerrit Reitvald chair, and the modern-looking leather and metal chairs). There are also publications, posters (one mysterious one features the letters HELI), stained glass (such as the emblematic and endlessly copied windows for the De Lange house), music, and film (The Tate Modern Museum). This assemblage of objects from all along the spectrum from utilitarian objects to fine, arts, is reminiscent of the vertical integration of some consumer products and manufacturers (the Apple company is one example, Mattel’s Barbie range could be another) wherein products for all uses and levels of complexity are produced under one corporate umbrella and with a solitary design vision. The wealth and diversity of material demonstrates that the Avante-Garde was a thoroughgoing attempt – utilizing art and design to overturn everything that went before. Considering that in 1918 the world had just endured the soul-searing destruction of a global war, there was revolution abroad, influenza s talked the world, and women were still wearing corsets, there was plenty to complain about. The devotees of De Stijl felt that the earlier century’s efforts to portray reality in an increasingly abstracted fashion (Impressionism, Cubism, and Expressionism, for example) never quite broke free of the reality that persisted as the subject. Somehow, even the gradual uncoupling of painting and sculpture from strict realism came in for withering scorn from the Van Doesburg cabal (Tzara, Lecture on Dada, 1922, reprinted in Tristan Tzara: Biography, DADAism, and Poetry). The proponents of De Stijl wanted to bring the healing and uplifting benefits of liberated and accessible art and design to the oppressed and the deracinated (Darwent) . In our own era, entrepreneurs such as Terence Conran, and corporations such as IKEA have adopted the notion of good-design-for-all to great and profitable effect. The exhibit is arranged such that Mondrian’s orthogonal statements are at one e nd. These are largely color blocks, very familiar, unthreatening, in various sizes and proportions. They are so accustomed an idiom that one feels one has seen them before, even if the particular piece is clearly an import. Van Doesburg’s paintings in his Counter Proposal series are at the other end of the exhibit. These works, such as Simultaneous Counter-Composition, 1930, resemble Mondrians, but rotated by some 45 degrees, and sometimes disordered a bit. These paintings submit diagonals as an alternative to the grid (the â€Å"counter† proposal). They can remind the viewer of a close-up of the bathroom floor tiles, seen a bit too close for comfort during an episode of stomach upset. However, anyone who has ever installed floor coverings on the diagonal to stretch the visual space in a tiny room truly owes Van Doesburg a debt of gratitude for opening up a new direction and making the off-kilter seem like an inevitable option. These are serene paintings which add co lor and form without insisting on the viewer’s involvement, but they reward closer attention as well. The rooms in between bear testimony to the vast array of apparently unrelated design and craft specialties that De Stijl affected, and, by extension, the design ideas we see applied these days. As an example of lasting effect, the rationalized typography design that Van Doesburg innovated (letters fitting in a square, with no lower case letters), can be seen as enabling the development of machine readable typefaces today. The software called Wordle, which makes a graphic out of any block of text, highlighting words and phrases that repeat often, seems to be a direct descendant of Van Doesburg’s experiments with poster art (Feinberg). As an example of how De Stijl helped to break down boundaries between artistic disciplines, and the constraints of any one medium, the exhibit includes film clips animating Plasticist and Elementarist painting (Darwent). Simon Mawer of Th e Guardian faults the exhibit for not including drawings of collaborative architectural projects created with Cornelis van Eesteren. These sound fascinating: the drawings are exploded into three dimensions. Contemporary architects prize such drawings as the best and highest journeyman examples of their craft – it would indeed have been interesting to see how Van Doesburg handled this technique. The exhibit has been reviewed with differing responses. The impersonality of De Stijl leaves some viewers unmoved (Sooke). However, there is agreement that this is a welcome chance to see works that are not often brought together. There is also agreement that the inclusion of art and design that was influenced by ideas promulgated by Van Doesburg opens up that period to our view, and the wealth of photographs put a human face on this often austere art. The photos document the relationships that underpinned the life of these artists, especially their lovers and wives. It is interesting to learn, for example, that Nellie Van Doesburg participated in the performance art pieces that Kurt Schwitters and Van Doesburg mounted around Europe, and that Sophie Taueber was married to Jean Arp, and that they all collaborated on the design of Strasbourg’s Aubette building (Mawer). There has been an ongoing debate regarding the seriousness and validity of the Avante-Garde since it was born. The apparent simplicity and the lack of craft of some of its most famous products leave the impression that there is nothing going on artistically. This debate is not over. Viewers, especially hoi polloi are still asking whether this is really art. It is not clear that this exhibit will answer that question finally for everyone. However, the clever choices that have been made, and the co-location of works that are different in media but related in idea, help to make the point that the concepts of the Avante-Garde had an impact across Europe, and in many different fields. The specific s of the style of De Stijl (austerity, abstraction, the straight lines of the Bauhaus, on which Van Doesburg aimed to have an impact) may still not be to everyone’s taste. The merchandising of the exhibit, on the other hand, is readily accessible. An exit shop, that relatively new marketing method of extracting funds from visitor wallets, imprints the cheerful Van Doesburg diagonals on any flat, or near flat, surface (tea towels, totes, key tags, mugs, magnets, notebooks, bags), and offers books documenting the exhibit, displayed tastefully against a sober, receding, industrial gray background. This venue is supplemented by offerings in the main museum shop. In a decade when the identity of self is defined by the brands one carries or wears, perhaps toting one’s trainers and exercise kit in a Van Doesburg-emblazoned bag, or drinking one’s cocoa from a similarly decorated beaker seems a legitimate means of proclaiming one’s intellectual bent. â€Å"You should want to marry me (or hire me, or be friends with me) because I have slogged through this intellectually challenging exhibit â€Å", trumpets the merchandise. A much coveted related sales item is a set of Dadaist poetry generators: a pre-selected collection of individual words mounted on magnet backing whose arrangement ad libitum allows people to create their own Dada-style poem on their refrigerator door (Tzara, To Make A Dadist Poem, reprinted in Tristan Tzara: Biography, DADAism, and Poetry). Happily, the overturning of the 19th century insistence on an imitation of nature (which effectively excluded from the practice of art anyone who was not a good draftsperson), has spawned a whole new style of art teachers, whose young students joyously create something, anything; confident in their belief (directly attributable to Van Doesburg and his companions) that if they call it art, IT IS, by gosh, ART. Reflecting this same joyous anarchy, Catherine Craft notes that Robert Mot herwell, the essential biographer of the Avante-Garde, observed that Dada had given health and new life to painting in Europe (Craft 3-4). There is also a practical inheritance, e.g., typefaces which even a computer can read. The geographic distribution and inter-connectedness of the Avante-Garde are presented forcefully in the exhibit, and it is accessible both to the fan and the less than rapt. Van Doesburg well deserves this resurrection from oblivion. I. The catalogue of ideas, institutions, religions, and behaviors, to name a few, that Dada revolts against, is expressed here by Tristan Tzara: â€Å"The beginnings of Dada were not the beginnings of an art, but of a disgust. Disgust with the magnificence of philosophers who for 3ooo years have been explaining everything to us (what for? ), disgust with the pretensions of these artists-Gods-representatives-on-earth, disgust with passion and with real pathological wickedness where it was not worth the bother; disgust with a false form of domination and restriction *en masse*, that accentuates rather than appeases mans instinct of domination, disgust with all the catalogued categories, with the false prophets who are nothing but a front for the interests of money, pride, disease, disgust with the lieutenants of a mercantile art made to order according to a few infantile laws, disgust with the divorce of good and evil, the beautiful and the ugly (for why is it more estimable to be red rather than green, to the left rather than the right, to be large or small?). Disgust finally with the Jesuitical dialectic which can explain everything and fill peoples minds with oblique and obtuse ideas without any physiological basis or ethnic roots, all this by means of blinding artifice and ignoble charlatans promises. â€Å"(Tzara, Lecture on Dada, 1922, reprinted in Tristan Tzara: Biography, DADAism, and Poetry) (sic) II. This impatience with art as it used to be was verbalized by Tristan Tzara in the following almost l ucid quote: â€Å"We dont accept any theories. Weve had enough of the cubist and futurist academies: laboratories of formal ideas†¦ Cubism was born out of a simple manner of looking at objects: Cezanne painted a cup twenty centimetres lower than his eyes, the cubists look at it from above, others complicate its appearance by cutting a vertical section through it and soberly placing it to one side. (Im not forgetting the creators, nor the seminal reasons of unformed matter that they rendered definitive.) The futurist sees the same cup in movement, a succession of objects side by side, mischievously embellished by a few guide-lines. This doesnt stop the canvas being either a good or a bad painting destined to form an investment for intellectual capital. The new painter creates a world whose elements are also its means, a sober, definitive, irrefutable work. The new artist protests: he no longer paints (symbolic and illusionistic reproduction) but creates directly in stone, wood, iron, tin, rocks, or locomotive structures capable of being spun in all directions by the limpid wind of the momentary sensation. Every pictorial or plastic work is unnecessaryA painting is the art of making two lines, which have been geometrically observed to be parallel, meet on a canvas, before our eyes, in the reality of a world that has been transposed according to new conditions and possibilities. This world is neither specified nor defined in the work, it belongs, in its innumerable variations, to the spectator. For its creator it has neither cause nor theory. Order = disorder; ego = non?ego; affirmation = negation: the supreme radiations of an absolute art. Absolute in the purity of its cosmic and regulated chaos, eternal in that globule that is a second which has no duration, no breath, no light and no control. I appreciate an old work for its novelty. It is only contrast that links us to the past.(Tzara, Dada Does Not Mean Anything, reprinted in Tristan Tzara: Biography, DADAism, and Poetry) (sic) III. Tristan Tzara offered the following straightforward instruction, in poetic format. He could also have mentioned that choosing several different articles with different typefaces would add a certain decorative fillip to the randomly generated poem: To Make a Dadist Poem Take a newspaper. Take some scissors. Choose from this paper an article the length you want to make your poem. Cut out the article. Next carefully cut out each of the words that make up this article and put them all in a bag. Shake gently. Next take out each cutting one after the other. Copy conscientiously in the order in which they left the bag. The poem will resemble you. And there you are an infinitely original author of charming sensibility, even though unappreciated by the vulgar herd.† (Tzara, To Make A Dadist Poem, reprinted in Tristan Tzara: Biography, DADAism, and Poetry) (sic) Resources (Modern Dime Sized Coins of the World: Liberia) â€Å"I dont have to tell you that for the general public and for you, the refined public, a Dadaist is the equivalent of a leper. But that is only a manner of speaking. When these same people get close to us, they treat us with that remnant of elegance that comes from their old habit of belief in progress. At ten yards distance, hatred begins again. If you ask me why, I wont be able to tell you.† (Tzara, Lecture on Dada, 1922, reprinted in Tristan Tzara: Biography, DADAism, and Poetry) The size of gift shops has begun to rival exhibits in many museums; The Metropolitan has several and at least one off-site. This indicates just how tenuous are the traditional sources of support for museums’ operations, now seldom covered by admission sales. In an article assumed to be by Marcel Duchamp, the author defends the appropriateness for inclusion of a fountain in an art show, as follows: â€Å"He CHOSE it. He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view created a new thought for that object.†(Duchamp) This could be considered a summary statement of the criteria for Dadaist art. Observe how the teacher encourages the kids to call whatever they put together, whatever they create, whatever they assemble, ART. Look at the geometric stained glass which graces so many contemporary church windows; even decades after Van Doesburg and Mondrian are gone from the scene. Equally; the geometric Mondrianization of patterns is evident everywhere in home furnishings. Art is what you choose to call art; a Dada principle! It is hard not to imagine that a high fiber diet and some yoghurt, or an anti-depressant, might have soothed these anal-compulsive-seeming obsessions just as effectively. Tate Patrons, Tate International Council, The Van Doesburg Exhibition Supporters Group, The Embassy of the Kingdom of the Netherlands, Dedalus Foundation, Inc, Mondriaan Foundation, Prince Bernhard Cultural Foundation (Straver Founda tion), SNS Reaal Fond (The Tate Modern Museum). It should be noted that there was a distinct political (or sometimes anti-political) thread in the passions of the Avante-Garde, which did not always endear the movement to establishment institutions (Craft 3). Van Doesburg’s use of â€Å"solomite†, a building material made of straw, is a striking foreshadowing of the whole sustainability movement in home design today (Mawer). Bibliography Craft, Catherine. New York Dada? Looking Back After a Second World War, lecture given September 9, 2006. 2010. 10 March 2010 http://media.moma.org/audio/2006/pub_prog/spec_exhib/Dada/MOMA_RepresentingDadatalk.pdf. dada home page. 2010. 11 March 2010 http://dadatheband.com/. Darwent, Charles. Well-chosen works show how De Stijl – The Style – movement led to a revolution in European art that still resonates today: Van Doesburg the International Avant-Garde, Tate Modern, London. 2010. 11 March 2010 independent.co.uk/arts-en tertainment/art/reviews/van-doesburgthe-international-avantgarde-tate-modern-london-1891448.html. Duchamp, Marcel. Dissent and Disorder-Selected Essays on Dadaism. Harrison, C. and Wood,P. Art in Theory. Trans. Ralph Mannheim. London: Blackwell Publishing, 2002. 250-275. Feinberg, Jonathan. Wordle: Beautiful Word Clouds. 2010. 12 March 2010 wordle.net/. Garageband. 2010. 10 March 2010 apple.com/ilife/garageband/. Mawer, Simon. Theo van Doesburg: Forgotten artist of the avant garde. 23 January 2010. 11 March 2010 guardian.co.uk/artanddesign/2010/jan/23/theo-van-doesburg-avant-garde-tate. Modern Dime Sized Coins of the World: Liberia. 2010. 10 March 2010 http://dewardt.net/dimebook/Liberia.pdf. Sooke, Alastair. Tate Moderns new exhibition about the Dutch art movement De Stijl leaves Alastair Sooke feeling a little cold: Van Doesburg and the International Avant-Garde at Tate Modern, review. 11 March 2010. 11 March 2010 telegraph.co.uk/culture/culturecritics/alastairsooke/7130547/Van-Do esburg-and-the-International-Avant-Garde-at-Tate-Modern-review.html. Tzara, Tristan. Dada Does Not Mean Anything, reprinted in Tristan Tzara: Biography, DADAism, and Poetry. 2010. 11 March 2010 arthistoryarchive.com/arthistory/dada/Tristan-Tzara.html. Tzara, Tristan. Dada Manifesto 1918. Motherwell, Robert, and Arp, Jean. The Dada Painters and Poets. Trans. Ralph Mannheim. New York: Wittenborn, Schultz, 1970. 76-82. - . Lecture on Dada, 1922, reprinted in Tristan Tzara: Biography, DADAism, and Poetry. 2010. 10 March 2010 arthistoryarchive.com/arthistory/dada/Tristan-Tzara.html. - . To Make A Dadist Poem, reprinted in Tristan Tzara: Biography, DADAism, and Poetry. 2010. 11 March 2010 arthistoryarchive.com/arthistory/dada/Tristan-Tzara.html. Van Doesburg and the International Avant-Garde: About the Exhibition. 2010. 10 March 2010 tate.org.uk/modern/exhibitions/vandoesburg/default.shtm.

How sovereign nation bankruptcies differ from private company Essay

How sovereign nation bankruptcies differ from private company bankruptcies, and does a default on domestic debt differ from a default on foreign debt - Essay Example 86). Consider the way that the British defaulted on war debts to the Americans (Mead, 2002). Most of the industrialized nations have defaulted on debt. Spain defaulted thirteen times over four centuries! Indeed, â€Å"French finance minister Abbe Terray... even opined that governments should default at least once every hundred years†... (Reinhart and Rogoff, 2009, p. 87). This indicates two things about public debt. First of all: Default on public debt is nearly omnipresent. This is because the debtors in question are themselves likely to be permanent institutions, based on the logic of the European nation-state system, and are borrowing from other states, who are also permanent institutions. Yet the defaulting rate on private loans is nowhere near 100%. Second, enforcement of public debt is highly politicized and uneven. Britains war debts were excused; Germanys werent (Mead, 2002). Most private debt is treated relatively evenly: One is loaned money and one has to pay it back, no matter who one is. We can also see from this that this uneven enforcement can give countries an incentive to default that is not present in the domestic economy. It is hard to enforce across country lines. And, of course, the access to enforcement varies. If the US defaulted on a loan to China, they could use their military power to prevent enforcement. If Nigeria defaulted on a loan to the United States, the matter would be entirely different. Another difference is that, while private debt is based on an individual familys economic situations or the micro-economy of a region, public debt is often based on entire market institutions and trends ( Reinhart and Rogoff, 2009, p. 87-89). Capital inflows or growth often precede defaults, due to large amounts of debt being taken on due to the belief that â€Å"this time will be different†. Individual families or companies do not tend to behave this way. Countries do. Since 1800, public debt

The Value of Hosting Events as a Destination Development Strategy Assignment - 11

The Value of Hosting Events as a Destination Development Strategy - Assignment Example The business sector portion comprising of those people whom go to go to function, or the one to be inspired to go to event if it is hosted away from home. In the field of tourism, the expression "event" is utilised to portray the diverse classifications of events, a considerable lot of which may have singular recognizable viewpoints. It incorporates events from the Olympic Games as the uber-event to little events, for example, local festivals (Hall 2002). The request of occasions is to a great extent of a limited time apportioning and different in nature. In the occasions business today the sort of occasions can be requested by size and scale, and are typically done in a going with way. Be that as it may, events can likewise be ordered by reason and the inspiration driving either holding or going to the event, not to the specific area to which they have a place. Much attention will be paid to the value of hosting events as a strategy for developing destination. It is regularly put on the economic effect mostly in light of the way the coordinators of the occasion and government must meet spending arrangement targets and to legitimize the cost, and to some degree in light of the fact that these impacts are slightest requesting to study. Huge duty to the monetary impact assessment is a cost that happens after an occasion (Chalip 2005). Diverse methods can be used to study the monetary impacts of occasions. The paper will address the way that tourism can empower gathering pride as visitors visit the spot that is, as it ought to be. All around presented towns and all that much kept up workplaces for visitors offer them to feel some help with inviting and can add to the sentiment gathering pride.

Major Component Agencies of the Dhs Essay Example for Free

Major Component Agencies of the Dhs Essay This paper will discuss what are the major component agencies of DHS and their primary functions. Major Component Agencies of the DHS Major agencies of the Department of Homeland Security (DHS) are; The Directorate for National Protection and Programs, The Science and Technology Directorate, The Office of Health Affairs, The Federal Emergency Management Agency (FEMA), U. S. Customs and Border Protection (CBP), Immigration and Customs Enforcement (ICE), The Office of Investigations, The Office of Detention and Removal Operations, The Federal Protective Service, The Office of Intelligence, The Office of Intelligence and Analysis, The Office of Operations Coordination, The Domestic Nuclear Detection Office, The Transportation Administration (TSA), The Federal Law Enforcement Training Center (FLETC), The Citizenship and Immigration Services, The Coast Guard, and The Secret Service. Their Primary Functions The Directorate for National Protection and Programs has five divisions that work to advance the DHS’s risk-reduction mission. The primary development and research arm of the department belongs to the Science and Technology Directorate. The Office of Health Affairs coordinates all medical activities to ensure appropriate preparation for the response to incidents having medical significance. The Federal Emergency Management Agency (FEMA) manages federal response and recovery efforts following any national incident, administers the National Flood Insurance Program, and prepares the nation for hazards. The CBP prevents terrorists and their weapons from entering the United States. They are responsible for protecting U. S. borders, while simultaneously facilitating the flow of legitimate trade and travel. The largest investigative arm of DHS is ICE. They are responsible for identifying and shutting down vulnerabilities both in the nation’s borders and in economic, infrastructure security, and transportation. The Office of Investigations investigates a wide range of international and domestic activities that violate customs laws and immigration and threatens national security. The department who is ensures the departure from the United States of all illegal aliens through the fair enforcement of the nation’s immigration laws is the Office of Detention and Removal Operations. The Federal Protective Service is responsible for securing, ensuring a safe environment, and policing in which federal agencies can conduct their business at more than 8,800 federal facilities nationwide. Collecting, analyzing, and disseminating strategic and tactical intelligence data belongs to the Office of Intelligence. The Office of Intelligence and Analysis is responsible for using information and intelligence from multiple sources to identify and assess current and future threats to the U. S. The responsibility for monitoring the security of the U. S. on a daily basis and coordinating activities within the department and with governors, law enforcement partners, DHS advisors, and critical infrastructure operators in all fifty states and more than fifty major urban areas nationwide falls under the Office of Operations Coordination. The Domestic Nuclear Detection Office works to enhance the nuclear detection efforts of federal, tribal, states, territorial, and local governments and the private sector and to ensure a coordinated response to such threats. This department protects the nation’s transportation systems. In addition, agents also inspect air carrier operations to the United States, fly air marshal missions, assess security of airports overseas, and training overseas security personnel is TSA. The FLETC provides career–long training to law enforcement professionals to help them fulfill their responsibilities safely and proficiently. The Citizenship and Immigration Services is responsible for the administration of immigration and naturalization adjudication functions and the establishment of immigration service’s policies and priorities. This department is also consider a military department, which protects the public, the environment, and U. S. economic interests in the nation’s ports, along the coast, on international waters, on its waterways, or in any maritime region as required to support national security. Finally, we have the Secret Service who protects the president and other high-level officials and investigates counterfeiting and other financial crimes, identity theft, computer fraud, including financial institution fraud, and computer-based attacks on our nation’s financial, banking, and telecommunications infrastructure. Final Thoughts The Department of Homeland Security was activated in January 2003 from the Homeland Security Act of 2002 to help combat terrorism after the September 11 attacks on the United States. An outline is provided of what happened when the DHS was formed. Our lives in the United States as we knew it, has forever been changed since 9-1-1. We still have a long way to go to become more aware and secure, but it is not impossible. There are still many loopholes to tackle, red tape to cut, and the lack of proper equipment and training which still needs to be addressed on a continuous basis. On March 1, 2003, the DHS absorbed the Immigration and Naturalization Service and assumed its duties. By doing this, it divided the enforcement and services functions into two separate and new agencies: ICE and Citizenship and Immigration Services. The investigative divisions and intelligence gathering units of the INS and Customs Service were merged forming Homeland Security Investigations. Additionally, the border enforcement functions of the INS, including the U.S. Border Patrol, the U.S. Customs Service, and the Animal and Plant Health Inspection Service were consolidated into a new agency under DHS: U.S. Customs and Border Protection (Creation of DHS, n.d.). References Creation-department-homeland-security, n.d. Retrieved on 1215/2012 from http://www.dhs.gov/creation-department-homeland-security Peak, K. J., 2012. Policing America challenges and best practices. Retrieved on 12/15/2012 from Chapter Two, Pages 44-48.

Essay --

Violence The television media is so strong and important in today’s world that it is considered to be the most important aspect of a country’s infrastructure. It is widely believed that those countries that control the television media and other forms of mass media control the whole world as they have control over the power to express their own opinion as well as that of others. In today’s world wars are not only fought in the battlefields but also on the media. The one who is strongest and most efficient in this regard has the highest chance of victory. Though the military power and strategic planning of the leaders are more important as they play the key role, but when it comes to get the favor of the international community on your argument and to form a positive opinion about yourself, media is the most powerful tool. It also helps in keeping the morale of your own public and soldiers high and to create confusion and a situation of chaos among the people of your opponent. These were the strong and aggressive media campaigns during the Second World War and recently in the gulf war that contributed to a considerable level brought success to the U.S forces. The U.S media fully backed the policies of the government and followed the strategies defined by them. Realizing the importance of the media many of the other countries started giving attention in the development of this sector. â€Å"No one definition of terrorism has gained universal acceptance. For the purposes of this report, however, we have chosen the definition of terrorism contained in Title 22 of the United States Code, Section 2656f(d). That statute contains the following definitions: The term "terrorism" means premeditated, politically motivated violence perpetrated ag... ...nts to live. That was made for CNN, but the reporting was lousy, with incompetent people (beautiful people are not necessarily smart), who stated such inane things that it was confounding. Not ONE cried. In fact, I've seen several reporters in France on the border of smiling: ah, finally the Americans got struck! This is the essence of the so-called anti-globalization people. It was deserved as Americans pretend to rule the world, wasn't it? If you find that you feel anxious or stressed after watching a news program, if you feel you cannot turn off the television or partake in recreational activities, or if you have trouble sleeping, you may want to contemplate confining the amount and type of media coverage that you are viewing. Works Cited Definitions Patterns of Global Terrorism 2000 April 24, 2003, http://www.fattyboombatty.com/2000terrorismreport.htm

Stefan’s Diaries: Origins Chapter 11

The mist rose up around my feet as I walked toward the willow tree. The sun was quickly setting, but I could still make out a shadowy figure nestled between the roots. I glanced again. It was Rosalyn, her party dress shimmering in the weak light. Bile rose in my throat. How could she be here? She was buried, her body six feet underground at the Mystic Falls cemetery. As I walked closer, steeling my courage and grasping the knife in my pocket, I noticed her lifeless eyes reflecting the verdant leaves above. Her dark curls stuck to her clammy forehead. And her neck wasn't torn out at all. Instead, her neck displayed only two neat little holes, the size of shodding nails. As if guided by an unseen hand, I fell to my knees next to her body. â€Å"I'm sorry,† I whispered, staring at the cracked earth below. Then I raised my eyes and froze in horror. Because it wasn't Rosalyn's body at all. It was Katherine's. A small smile curved her rosebud lips, as if she were simply dreaming. I fought the urge to scream. I would not let Katherine die! But as I reached toward her wounds, she sat straight up. Her visage morphed, her dark curls faded to blond, and her eyes glowed red. I started backward. â€Å"It's your fault!† The words cut through the still night, the tone hollow and otherworldly. The voice belonged neither to Katherine nor Rosalyn–but to a demon. I screamed, gripping my penknife and slicing it into the night air. The demon lunged forward and clutched my neck. It lowered its sharpened canines to my skin, and everything faded to black†¦. I woke up in a cold sweat, sitting upright. A crow cawed outside; in the distance, I could hear children playing. Sunbeams were dappled along my white bedspread, and a dinner tray was sitting on my desk. It was daylight. I was in my own bed. A dream. I remembered the funeral, the ride from the church, my exhaustion as I climbed the stairs to my bedroom. It had just been a dream, a product of too much emotion and stimulation today. A dream, I reminded myself again, willing my heart to stop pounding. I took a long gulp of water straight from the pitcher on the nightstand. My brain slowly stilled, but my heart continued to race and my hands still felt clammy. Because it wasn't a dream, or at least not like any dream I'd ever had before. It was as if demons were invading my mind, and I was no longer sure what was real or what thoughts to trust. I stood up, trying to shake off the nightmare, and wandered downstairs. I took the back steps so as not to cross paths with Cordelia in the kitchen. She'd been taking good care of me, just as when I had been a child in mourning for my mother, but something about her watchful gaze made me nervous. I knew she'd heard me call out for Katherine, and I fervently hoped she wasn't telling ta les to the servants. I walked into Father's study and glanced at his shelves, finding myself drawn yet again to the Shakespeare section. Saturday seemed like a lifetime ago. Still, the candle in the silver candlestick holder was exactly where Katherine and I had left it, and The Mysteries of Mystic Falls was still on the chair. If I closed my eyes, I could almost smell lemon. I shook that thought away and hastily picked out a volume of Macbeth, a play about jealousy and love and betrayal and death, which suited my mood perfectly. I forced myself to sit on the leather club chair and glance at the words, forced myself to turn the pages. Maybe that's what I needed in order to proceed with the rest of my life. If I just kept forcing myself to take action, maybe I'd finally get over the guilt and sadness and fear I'd been carrying with me since Rosalyn's death. Just then, I heard a knock on the door. â€Å"Father's not here,† I called, hoping whoever it was would go away. â€Å"Sir Stefan?† Alfred's voice called. â€Å"It's a visitor.† â€Å"No, thank you,† I replied. It was probably Sheriff Forbes again. He'd already come by four or five times, speaking to Damon and Father. So far I'd managed to beg off the visits. I couldn't stand the thought of telling him–telling anyone –where I'd been at the time of the attack. â€Å"The visitor is quite insistent,† Alfred called. â€Å"So are you,† I muttered under my breath as I strode to the door and opened it. â€Å"She's in the sitting room,† Alfred said, turning on his heel. â€Å"Wait!† I said. She. Could it be †¦ Katherine? My heart quickened despite itself. â€Å"Sir?† Alfred asked, mid-step. â€Å"I'll be there.† Frantically, I splashed water from the basin in the corner on my face and used my hands to smooth my hair back from my forehead. My eyes still looked hooded, and tiny vessels had broken, reddening the whites, but there was nothing more I could do to make me look, let alone feel, more like myself. I strode purposefully into the parlor. For an instant, my heart fell with disappointment. Instead of Katherine, sitting on the red velvet wingback chair in the corner was her maid, Emily. She had a chair in the corner was her maid, Emily. She had a basket of flowers on her lap and held a daisy to her nose, as if she didn't have a care in the world. â€Å"Hello,† I said formally, already trying to come up with a way to politely excuse myself. â€Å"Mr. Salvatore.† Emily stood up and half- curtseyed. She wore a simple white eyelet dress and bonnet, and her dark skin was smooth and unlined. â€Å"My mistress and I join you in your sorrows. She asked that I give you this,† she said, proffering the basket toward me. â€Å"Thank you,† I said, taking the basket. I absentmindedly put a sprig of lilac to my nose and inhaled. â€Å"I'd use these in your healing, rather than Cordelia's concoctions,† Emily said. â€Å"How did you know about that?† I wondered. â€Å"Servants talk. But I fear that whatever Cordelia's feeding you may be doing you more harm than good.† She plucked a few blossoms from the basket, twining them into a bouquet. â€Å"Daisies, magnolias, and bleeding heart will help you heal.† â€Å"And pansies for thoughts?† I asked, remembering a quote from Shakespeare's Hamlet. As soon as I said it, I realized it was a foolish statement. How would an uneducated servant girl possibly know what I was speaking of? But Emily simply smiled. â€Å"No pansies, although my mistress did mention your love of Shakespeare.† She reached into the basket and broke off a sprig of lilac, which she then pushed gently into my buttonhole. I held the basket up and inhaled. It smelled like flowers, but there was something else: the intoxicating aroma that I'd only experienced when I was near Katherine. I inhaled again, feeling the confusion and darkness of the past few days slowly fade. â€Å"I know everything's very strange right now,† Emily said, breaking my reverie. â€Å"But my mistress only wishes the best for you.† She nodded toward the couch, as if inviting me to sit down. Obediently, I sat and stared at her. She was remarkably beautiful and carried herself with a type of grace I'd never seen before. Her movements and manners were so deliberate that watching her was like watching a painting come to life. â€Å"She would like to see you,† Emily said after a moment. The second the words left her lips, I realized that could never be. As I sat there, in the daylight of the parlor, with another person rather than being lost in my own thoughts, everything clicked into focus. I was a widower, and my duty now was to mourn Rosalyn, not to mourn my schoolboy fantasy of love with Katherine. Besides, Katherine was a beautiful orphan with no friends or relations. It would never work–could never work. â€Å"I did see her. At Rosalyn's †¦ at the funeral,† I said stiffly. â€Å"That's hardly a social call,† Emily pointed out. â€Å"She'd like to see you. Somewhere private. When you're ready,† she added quickly. I knew what I had to say, what the only proper thing to say was, but the words were hard to form. â€Å"I will see, but in my current condition, I'm afraid I'm probably not in the best mood to go walking. Please send your mistress my regrets, although she will not want for company. I know my brother will go wherever she wishes,† I said, the words heavy on my tongue. â€Å"Y es. She is quite fond of Damon.† Emily gathered her skirts and stood up. I stood up as well and felt, even though I towered a head taller, that she was somehow more powerful than me. It was an odd yet not altogether unpleasant feeling. â€Å"But you can't argue with true love.† With that she swept out the door and across the grounds, the daisy in her hair scattering its petals into the wind.

How to Be a Good Headhunter

As headhunter, I earn my living by finding and evaluating job candidates for the benefit of my clients. After more than 5 years experiences in this job, now I understand what a good headhunter is and how to be. A good headhunter should be building a business based on reputation, relationships and trust — and on making a contribution to our professional community. You are in less of a rush, are more willing to take time to establish long term relationships, and seek to establish your credibility as much as to earn a buck. In order to be a good headhunter, you should have four features — knowledgeable, trustworthy, conscientious and effective. Knowledge As a good headhunter, you should share lots of knowledge and in doing so give candidates enough information to help them make a decision about whether they want to pursue the job (or recommend someone else). You should ask HR tons of valuable information about the company, about the job, the manager and his team, about why the job is open, and about the technology (if applicable), then share to candidates. You also should be able to tell candidates about the interview itself: how the manager evaluates candidates, how his team will be involved and how the selection process will play out. Most important, the good headhunter will be able to coach candidate in a way that will maximize candidates’ chances of winning an offer. Integrity As a trustworthy headhunter, you should be proud of your business and glad to talk about it, more over, you will demonstrate that you have good clients who respect you, and that you know the in's and out's of the industry you recruit in. Your success depends on clients’ and candidates’ trust, which means you should also reveal your trustworthiness by keeping your promises. You do call client or candidate when you promise to call; you do shortlist to client when you promise to. Conscientiousness As a good headhunter, you should try to locate and separate out the best qualified talent for your client company. You should never just ask for candidates resume without doing research by taking the time to ask candidates the tough, detailed questions that will reveal whether candidate fit the company, the manager, the job and the technology or not. Then write some objectively comments on their resume and shortlist to client. Effectiveness As a good headhunter, you should find the right candidate and fill the job in the shortest time. That's your business. To accomplish this, you will gain the respect of the client and candidate. And talking to just anyone isn't your job. Searching out the right candidates and talk with them, that will save your time and make your job efficient. It is obvious that a good headhunter should know client, position and candidate well, and try your best to right person to fill the right position. Meanwhile, you should also give the market information to HR and career suggestion to candidate. If you always do your job like that, success is not far away from you.

Smu I Year Hrm Exam Notes Essay Example

Smu I Year Hrm Exam Notes Essay Example Smu I Year Hrm Exam Notes Essay Smu I Year Hrm Exam Notes Essay Explain the objectives and process of HRP? Human resource planning or manpower planning is essentially the predetermine process of getting the right number of qualified people into the right job at the right time. In Other Words Human resource planning is a process by which an organization should move from its current manpower position to its desired manpower position.Through planning, management strikes to have the right number and right kinds of people, at the right places, at the right time, doing things which result in both the organization and the individual receiving maximum long-run benefit. Process of HRP: 1. Assessing Human Resources The assessment of HR begins with environmental analysis, under which the external (PEST) and internal (objectives, resources and structure) are analyzed to assess the currently available HR inventory level. 2. Demand Forecasting HR forecasting is the process of estimating demand for and supply of HR in an organization.Demand forecasting is a process of determining future needs for HR in terms of quantity and quality. 3. Supply Forecasting Supply is another side of human resource assessment. It is concerned with the estimation of supply of manpower given the analysis of current resource and future availability of human resource in the organization. 4. Matching Demand and Supply It is another step of human resource planning. It is concerned with bringing the forecast of future demand and supply of HR. The matching process refers to bring demand and supply in an equilibrium position so that shortages and over staffing position will be solved. . Action Plan It is the last phase of human resource planning which is concerned with surplus and shortages of human resource. Under it, the HR plan is executed through the designation of different HR activities. The major activities which are required to execute the HR plan are recruitment, selection, placement, training and development, socialization etc. Objectives of HRP: 1. To recruit and maintain the HR of requisite quantity and quality. 2. To predict the employee turnover and make the arrangements for minimizing turnover and filing up of consequent vacancies. 3.To meet the requirements of the programs of expansion, diversification etc. 4. To anticipate the impact of technology on work, existing employees and future human resource requirements. 5. To progress the knowledge, skill, standards, ability and discipline etc. 6. To appraise the surplus or shortage of human resources and take actions accordingly. 7. To maintain pleasant industrial relations by maintaining optimum level and structure of human resource. 8. To minimize imbalances caused due to non-availability of human resources of right kind, right number in right time and right place. . To make the best use of its human resources; and 10. To estimate the cost of human resources. Q2. What are the factors affecting recruitment? What are the sources of recruitment? Definition of Recruitment: The process of finding and hiring the best-qualified candidate (from within or outside of an organization) for a job opening, in a timely and cost effective manner. The recruitment process includes analyzing the requirements of a job, attracting employees to that job, screening and selecting applicants, hiring, and integrating the new employee to the organization.The recruitment function of the organizations is affected and governed by a mix of various internal and external forces. The internal forces or factors are the factors that can be controlled by the organization. And the external factors are those factors which cannot be controlled by the organization. The internal and external forces affecting recruitment function of an organization are: Internal Factors 1. Size of the organization Recruitment process is affected by the size of the organization to a large extent. Experience suggests that larger organizations recruits more candidates than small ones. . Recruiting Policy The recruitment policy of the firm also affects the recruitment process. This policy is concerned with candidates from outside the organization, whereas others want to recruit from internal sources. 3. Image of the organization Image or goodwill of the organization also affects the recruitment. Organizations having good image can attract potential and competent candidates to a large extent. 4. Image of job Jobs having good image in terms of better remuneration, working condition, promotion, career development opportunities etc. an attract the potential and qualified candidates to a large extent. External Factors 1. Demographic factors A demography is the study of human population in terms of age, sex, occupation, religion, composition, ethnicity etc. The demographic factors have profound influence on recruitment process. 2. Labor market Labor market constitutes the force of demand and supply of labor of particular importance. For instance, if demand for a particular skill is high relative to its supply, the recruitment process evolves more efforts. Contrary to it, if supply is more than demand, the recruitment process will be easier. . Unemployment situations Unemployment rate of particular area is yet another influencing factor of recruitment process. If the unemployment rate is high, the recruitment process will be simpler and vice versa. 4. Social and political environment The forces of social and political environment also influence recruitment policy. For instance, the change in government can have a direct impact upon recruitment policy of the company due to change in government rules and regulations. Sources of Recruitment The different sources of recruitment are classified into two categories, viz.Internal: sources of recruitment are from within the organization. External: sources of recruitment are from outside the organization. Internal Sources 1. Promotions Promotion means to give a higher position, status, salary and responsibility to the employee. So, the vacancy can be filled by promoting a suitable candidate from the same organization. 2. Transfers Transfer means a change in the place of employment without any change in the position, status, salary and responsibility of the employee. 3. Internal Advertisements Here, the vacancy is advertised within the organization.The existing employees are asked to apply for the vacancy. External Sources 1. Public Advertisements The Personnel department of a company advertises the vacancy in newspapers, the internet, etc. This advertisement gives information about the company, the job and the required qualities of the candidate. 2. Campus Recruitment The organization conducts interviews in the campuses of Management institutes and Engineering Colleges. Final year students, whore soon to get graduate, are interviewed. Suitable candidates are selected by the organization based on their academic record, communication skills, intelligence, etc. . Recommendations The organization may also recruit candidates based on the recommendations received from existing managers or from sister companies. Q3. What are the main objectives of training? Explain on-the job and off the job training? Training is a learning process that involves the acquisition of knowledge, sharpening of skills, concepts, rules, or changing of attitudes and behaviors to enhance the performance of employees whereas development is the act of improving by expanding or enlarging or refining and future growth. Objective of Training To impart basic knowledge and skill to new entrants required for intelligent performance of definite task in order to induct them without much loss of time. To assist employees to function more effectively by exposure of latest concepts information and techniques and development of skills required in specific fields including production, purchase, marketing, logistics, information technology etc. To broaden minds of supervisors. Sometimes, narrowness of outlook may arise in supervisors because of specialization. In order to correct this narrowness they are provided with opportunities and interchange of experience. To build second line of competent employees and enable them to occupy more responsible positions as situation emerge. To prepare employees to undertake different jobs in order to enable redeployment and maintain flexibility in workforce so that ever changing environment of market can be met and downturns can be managed without losing experienced employees. To provide employees job satisfaction, training enables an employee to use their skill, knowledge and ability to fullest extent and thus experience job satisfaction and gain monetary benefits from enhanced productivity. To improve knowledge, skills, efficiency of employees to obtain maximum individual development. To fulfill goals of organization by securing optimum co-operation and contribution from the employees. On the Job-Training On-the-job training is training that takes place while employees are actually working. It means that skills can be gained while trainees are carrying out their jobs. This benefits both employees and the business. Employees learn in the real work environment and gain experience dealing with the tasks and challenges that they will meet during a normal working day. The business enefits by ensuring that the training is specific to the job. It also does not have to meet the additional costs of providing off-the-job training or losing working time. Methods of providing on-the-job training Coaching – An experienced member of staff will help trainees learn skills and processes through providing instructions or demonstrations (or both). Mentoring – Each trainee is allocated to an established member of staff who acts as a guide and helper. A mentor usually offers more personal support than a coach, although the terms mentor’ and coach’ are often used interchangeably. Job rotation – This is where members of staff rotate roles or tasks so that they gain experience of a full range of jobs. Sitting next to Nellie’ – This describes the process of working alongside a colleague to observe and learn the skills needed for a particular process. Off the Job-Training Off-the-job training is provided away from the immediate workplace. This might be at a specialist training center or at a college or at a company’s own premises. This type of training can be particularly useful for developing transferable skills that can be used in many different parts of the business.It may be used, for example, to train employees in the use of new equipment and new methods or to bring them up to date with changes in the law. Methods of providing off-the-job training Lecture In lecture method trainers used to communicate with spoken words which they want the trainees to learn, it is primarily one way communication of learned capabilities from trai ner to audience. Audio Visual Techniques Audio visual instruction includes overheads, slides and video. Video can be used for improving communication skills and customer service skills, it can also illustrate how procedures can be followed. Simulations It represents real life situations regarding trainees decisions resulting in outcomes that reflects what would happen if they were on the job. Simulations allow trainees to see impact of their decisions in an artificial, risk free environment. Case Studies This method involves studying cases from all perspectives, analyzing the various options available to the company for solving problems or address issues and arriving at most suitable answers. Q4. Define performance management. Write a brief note on 360 degree appraisal?Performance Management Performance management is the process of creating a work environment or setting in which people are enabled to perform to the best of their abilities. Performance management is a whole work system that begins when a job is defined as needed. It ends when an employee leaves your organization. Many writers and consultants are using the term performance management as a substitution for the traditional appraisal system. I encourage you to think of the term in this broader work system context.Meaning of 360 Degree Appraisal An appraisal made by top management, immediate superior, peers, subordinates, self and customers is called 360 Degree Appraisal. Here, the performance of the employee or manager is evaluated by six parties, including himself. So, he gets a feedback of his performance from everyone around him. This method is very reliable because evaluation is done by many different parties. These parties are in the best position to evaluate the employee or manager because they are continuously interacting and working with him.This method is mostly used to evaluate the performance of the employees. However, it is also used to evaluate other qualities such as talents, behavior, values, ethical standards, tempers, loyalty, etc. Six Parties in 360 Degree Appraisal Top Management Immediate Superior Peers / Co-workers Subordinates Self-Appraisal Customers 360 degree feedback appraisal The 360 degree feedback appraisal systems collect information from a variety of people with whom the employee has frequent contact.The evaluation asks each participant questions about the employee’s behavior across a broad array of job related competencies. Its confidential nature and broad perspective make this appraisal tool more credible to many employees than traditional performance appraisal systems. Significance The performance evaluations utilize multiple anonymous sources to obtain honest feedback regarding an employee’s performance. The anonymous nature and multiple sources make the final findings harder to ignore.If an employee receives the same or similar feedback from the multiple sources, he cannot simply brush it off as an anomaly. Criteria Assessed The 360 degree appraisal process assesses the skills, behavior and knowledge of the employee, usually a manager. More specifically, the survey questions on knowledge assess how well the employee knows his job, the company and the industry in general. The skills portion evaluates the employee’s time management and organization skills, communication skills, specific job competencies and customer satisfaction. TrainingParticipants in the evaluation process should receive training regarding the interpretation of survey questions, the importance of confidentiality and the importance of complete honesty in ratings. Proper training of evaluators is critical to the success and validity of the 360 degree appraisal system. Planning Employees must view the performance appraisal process as credible and valid for the results to have any positive impact on their future performance. Warning The 360 degree feedback performance appraisal process works best when survey questions are customized to the company using it.Human resources can purchase pre-made, generic questions, but these often do not collect information relevant to that company’s specific operations. Q5. What is meant by job analysis? Explain its purpose and methods? Job Analysis Job analysis is the process of analyzing jobs. It is very broad concept. Therefore Before describing the meaning and nature of the job analysis, it is important to discuss about the meaning of the job. Job- job is the bundle of related task. For example, inspecting resume of a job seeker is a task. The whole lot of tasks relating to recruitment constitutes job.Job Analysis- it is the process of collecting job related information. Such information helps in the preparation of job description and job specification. There are two outcomes of job analysis: Job description Job specification Job Description- it indicates what all a job involves. For example, job title, location, job summary, duties machine, tools, equipment’s, material and forms used, supervision given and received and working conditions. Job Specification- the capabilities that the job holder should possess form part of job specification.For example, education, training, experience, judgment, initiative, physical effort, physical skills, communication skills and emotional characteristics. Purpose of Job Analysis Job Analysis plays an important role in recruitment and selection, job evaluation, job designing, deciding compensation and benefits packages, performance appraisal, analyzing training and development needs, assessing the worth of a job and increasing personnel as well as organizational productivity. Recruitment and Selection: Job Analysis helps in determining what kind of person is required to perform a particular job.It points out the educational qualifications, level of experience and technical, physical, emotional and personal skills required to carry out a job in desired fashion. The objective is to fit a right person at a right place. Performance Analysis: Job analysis is done to check if goals and objectives of a particular job are met or not. It helps in deciding the performance standards, evaluation criteria and individual’s output. On this basis, the overall performance of an employee is measured and he or she is appraised accordingly. Training and Development: Job Analysis can be used to assess the training and development needs of employees. The difference between the expected and actual output determines the level of training that need to be imparted to employees. It also helps in deciding the training content, tools and equipment’s to be used to conduct training and methods of training. Compensation Management: Of course, job analysis plays a vital role in deciding the pay packages and extra perks and benefits and fixed and variable incentives of employees.After all, the pay package depends on the position, job title and duties and responsibilities involved in a job Job Designing and Redesigning: The main purpose of job analysis is to streamline the human efforts and get the best possible output. It helps in designing, redesigning, enriching, evaluating and also cutting back and adding the extra responsibilities in a particular job. This is done to enhance the employee satisfaction while increasing the human output. Job Analysis Methods Most Common Methods of Job Analysis are: Observation Method: A job analyst observes an employee and records all his performed and non-performed task, fulfilled and un-fulfilled responsibilities and duties, methods, ways and skills used by him or her to perform various duties and his or her mental or emotional ability to handle challenges and risks. However, it seems one of the easiest methods to analyze a specific job but truth is that it is the most difficult one. Why? Let’s Discover. It is due to the fact that every person has his own way of observing things.Different people think different and interpret the findings in different ways. Therefore, the process may involve personal biasness or likes and dislikes and may not produce genuine results. This error can be avoided by proper training of job analyst or whoever will be conducting the job analysis process. This particular method includes three techniques: direct observation, Work Methods Analysis and Critical Incident Technique. The first method includes direct observation and recording of behavior of an employee in different situations.The second involves the study of time and motion and is specially used for assembly-line or factory workers. The third one is about identifying the work behaviors that result in performance. Interview Method: In this method, an employee is interviewed so that he or she comes up with their own working styles, problems faced by them, use of particular skills and techniques while performing their job and insecurities and fears about their careers. This method helps interviewer know what exactly an employee thinks about his or her own job and responsibilities involved in it.It involves analysis of job by employee himself. In order to generate honest and true feedback or collect genuine data, questions asked during the interview should be carefully decided. And to avoid errors, it is always good to interview more than one individual to get a pool of responses. Then it can be generalized and used for the whole group. Questionnaire Method: Another commonly used job analysis method is getting the questionnaires filled from employees, their superiors and managers. However, this method also suffers from personal biasness.A great care should be takes while framing questions for different grades of employees. Q6. What are the benefits and objectives of employee welfare measures? Employee welfare means anything done for intellectional physical moral and economic betterment of the workers, whether by employers, by Government or by other agencies, over and above what is laid down by law, or what is normally expected on the part of the contracted benefits for which workers may have bargained. Following features of employee welfare can be identified:Employee welfare is a comprehensive term including various services, facilities and amenities provided to employees for their betterment. Welfare measures are in addition to regular wages and other economic benefits available to employees under legal provisions and collective bargaining. Welfare measures may be provided not only by employers but by the government, trade unions and other agencies too. The basic purpose of employee welfare is to improve the lot of the working class and thereby make a worker a good employee and a happy citizen.Employee welfare is an essential part of social welfare. It involves adjustment of an employee’s work life and family life to the community or social life. Employee welfare measures are also known as fringe benefits and services. Benefits of Employee Welfare Compliance As a business owner, you are required by law to provide certain benefits for the welfare of your employees. You have to match the Social Security taxes your employees pay and obtain a workers compensation insurance policy. If ou terminate an employee, you have to provide Consolidated Omnibus Budget Reconciliation Act (COBRA) funds to extend his health insurance. Recruitment and Retention The benefits an employee receives from his employer for his welfare are often a significant reason why he decides to accept a job offer. As such, providing employee benefits allows you to compete with other businesses to recruit and retain qualify employees. If other employers offer better benefits, good employees may choose to go there. Employees Well-BeingBy providing a plan thats good for employees welfare, you show them that you value them. This can help make them feel welcome and happy in your company, motivating them to work harder. If your health plan has wellness coverage and preventative care, employees are more likely to stay healthy, cutting down on absenteeism and sick days. Company Image Providing a good employee welfare plan reflects well on your business, building a good company image. It may even earn you some press coverage, giving you free publicity to improve awareness among potential customers.This may boost your sales and increase your profits. Objectives of Employee Welfare Production One of the primary concerns of employee welfare promotion is to create happy employees. However, this type of objective has a greater purpose and is not always due to the benevolence of the employer. Instead, good employers both genuinely care for their employees and do so because they know that a happy employee is one that will be productive and do his job correctly. In careers ike sales where production is essential to making money, employers who promote employee welfare know that employees will make more money for themselves and for the company. Loyalty Another reason to promote the well-being of an employee is that it can improve employee loyalty. In the long run, employees who are taken care of by their employers are less likely to jump ship and change companies or careers. Even in situations where it might be possible to make more money with a different company, the employee who feels accepted and needed by their employer may not even consider other job offers when they come along.Organizational Improvement Because employee welfare deals specifically with the well-being of employees, employee welfare programs adopted by employers are more effective when the wants and wishes of employees are taken into consideration. In organizations where employees are well-cared for and employees are asked to provide suggestions as to how to better improve the company, employees feel as if they play an important role in the improvement of the organization. HealthHealth promotion is another major objective of most employee welfare programs. Prior to the rise of labor unions in the United States, most employees did not have health insurance or any type of programs to promote preventative health measures. However, the health of an employee is integral to the success of a company. Employees who are happy and healthy show up to work every day and do their jobs correctly, whereas those that are in poor health and have no means to change the situation will miss work and slow production.

Top 5 Script Editing Tips From a Screenwriters Perspective

Top 5 Script Editing Tips From a Screenwriters Perspective THE END. Those two words, full of the promise of a nearly completed project, can be some of the most attractive words on the page for a screenwriter. You take a breath and close your laptop (or turn off your typewriter) and inhale a sigh of relief. The work youve been laboring over is finally finished. Now what?Lets look at what needs to happen after the first draft is completed in the screenplay editing process.Photo by Pereanu Sebastian on Unsplash1. Take a break between writing and editingWriting and editing are two different processes. Writing is an act of creation, imagination, and artistic endeavor, using predominantly right-brain activity. Editing is an act of sequencing, culling, logic, and grammar correction, using predominantly left-brain activity. In that sense, it is nearly impossible to do both at once.This is why you should take a break between writing your screenplay and editing it. Once written, allow your screenplay to sit for awhile while you take a break. Allow you r mind to reset itself from the right-brain activity that was required during the script writing phase before you endeavor to edit the screenplay in primarily left-brain mode.Another thing that happens over the course of a break like this is you are able to revisit your screenplay with a fresh perspective. After taking a short break, youll likely see things that you missed while writing the screenplay, or holes in the story that need to be filled with an additional scene or more dialog. And its not just screenwriters who are encouraged to take a break like this between the writing and editing processes- all writers should do it. The time in between will give your mind the mental break needed for the extreme focus needed during the editing phase.2. Replace unnecessary dialog with visual storytellingAnton Chekhov, Russian playwright and short-story writer, said it best when he wrote, Dont tell me the moon is shining; show me the glint of light on broken glass. American journalist, nov elist, and short-story writer Ernest Hemingway corroborated Chekovs advice when he wrote, Show the readers everything, tell them nothing.One common mistake that new screenwriters (and writers, in general) make is to tell rather than show. In doing so, they might use dialogue to explain moments in the plot that would be more powerful when seen rather than when heard (or described by one of the characters).If your screenplay is dialogue heavy as a stylistic choice, thats one thing. However, allowing this indulgence in conversation can drag a script down into a talkative, boring mess if you arent careful.The natural inclination among many new and aspiring screenwriters is to let their characters talk and talk as much as they want. This stems from the fact that when you watch a movie it can seem like this is all it is: characters talking. Moving a plot forward through dialogue is simply unrealistic- thats not how life happens.This is especially true in film, which is a visual medium. Un derstanding this, as you edit your screenplay, look for instances in which dialogue is used to advance the narrative when something visual would do a better job.Photo by Jakob Owens on Unsplash3. Know the universal format and use it faithfullyIf you use screenplay writing software such as Final Draft, Movie Magic Screenwriter, Movie Outline or Montage, you wont need to worry about the formatting required for your screenplay. In fact, it is highly recommended that you use one of these programs instead of attempting to format your script on Microsoft Word.However, if you dont have access to any of these programs, youll need to ensure that your screenplay is formatted correctly before submitting it to production companies, contests, or other agencies.Here are the basic requirements, as discussed on Screenwriting.io. Your screenplay should have:12-point Courier font1.5-inch left margin1-inch right margin (between .5 inches and 1.25 inches), ragged1-inch top and bottom marginsApproximate ly 55 lines per page, regardless of paper size (top and bottom margins adjusted accordingly). This does not include the page number, or spaces after it.Dialogue speaker names (in all caps) 3.7 inches from left side of page (2.2 inches from margin)Actor parentheticals 3.1 inches from left side of page (1.6 inches from margin)Dialogue 2.5 inches from left side of page (1.5 inches from margin)Pages should be numbered in the top right corner, flush to the right margin, a half-inch from the top of the page. Numbers should be followed by a period. The first page is not numbered. The title page is neither numbered nor does it count as page one, so the first page to have a number is the second page of the screenplay (third sheet of paper, including the title page), which is numbered 2.Examples of properly formatted screenplays can be found in the johnaugust.com library.4. Make sure it follows the Blake Snyder beat sheetWhile this is something that should be done in your initial screenplay o utline before you begin writing, you can use it to rearrange scenes in the editing process once your first draft has been completed. Rearranging is not only useful in the script editing phase- it can be highly effective in turning your screenplay into the success you want it to be.Blake Snyder, the bestselling author of the Save The Cat! series, was an American screenwriter, consultant, author and educator who became one of the most popular writing mentors in the film industry. He led international seminars and workshops for writers across various genres and was hired as a consultant for many of Hollywoods biggest studios.In his screenplay writing and consulting career, and after viewing thousands of screenplays that were made into blockbuster movies, he came up with a beat sheet comprised of 15 beats that should be in every screenplay. From his book Save the Cat! Goes to the Movies, heres the list:Opening Image – The scene in the screenplay that sets up the tone, type, and i nitial salvo of a film. It is the opposite of the Final Image.Theme Stated – Usually spoken to the min character, often without knowing what is said will be vital to his surviving the tale. Basically, what your screenplay is about.Set-up – The first 10 pages of the script that not only grab the audiences interest, but introduce or hint at introducing the characters of the A story.Catalyst – Something that is done to the hero to shake him. Consider it the movies first whammy (the letter with important news, the knock at the door, etc.)Debate – The section of the script, be it a scene or a series of scenes, when the hero doubts the journey he must take.Break into Two – This is the beginning of Act Two, at which point we leave the Thesis world behind and enter the upside-down Anti-thesis world of Act Two. The hero makes a choice and his journey begins.B Story – This is traditionally the love story (if the screenplay isnt already a romance), and is where the discussion about the theme of a good movie is found.Fun and Games – Here, we forget plot and enjoy set pieces and trailer moments, reveling in the promise of the premise.Midpoint – The dividing line between the two halves of a movie. Stakes are raised and we start putting the squeeze on our hero(es).Bad Guys Close In – Both internally (problems inside the heros team) and externally (as actual bad guys tighten their grip), real pressure is applied.All is Lost – The false defeat and the place where we find the whiff of death, because something must die here.Dark Night of the Soul – The part of the script where the hero has lost all hope.Break Into Three (but not for long!) – Thanks to new inspiration or a last-minute action from the love interest in the B story, the hero chooses to fight.Finale – The Synthesis of two worlds: From what was and that which has been learned, the hero forges a third way.Final Image – The opposite of the Opening Image, proving that a change has occurred. Since all stories are about transformation, the change should be dramatic.Save The Cat! Goes To The Movies by Blake Snyder5. Look carefully for any grammar, spelling, or capitalization, punctuation or syntax mistakesFinally, once youve followed the other steps mentioned in this article and have completed the second draft, look carefully through the entire screenplay for any grammar, spelling, capitalization, punctuation, or syntax mistakes. While you hope your script stands on its own when sent to production companies or agents, small editorial mistakes can be a big red flag for people in the industry reading your script. Not only do such mistakes make your screenplay seem amateur, it also makes you come across as less than professional- a quality that you want to avoid at all costs when trying to sell your script.If you feel that you lack the English skills to conduct such a thorough edit for your screenplay, its b est to hire a professional to do it for you. The money you spend on doing so would be returned and multiplied in getting your script chosen by a production company or agent.