The Characteristics of Essay Writing Writing an Introduction

The Characteristics of Essay Writing Writing an Introduction If, despite study and very good intentions, you cannot seem to receive your essay written, or even started, you need to let your tutor know whenever possible. There are broadly four kinds of essays. Should you do, you merely compose another essay. How can you compose a very good argumentative essay. Writing an effective introduction can be rough. Guidance also assists in turning into a better writer. You might introduce the most important subject of the essay and why it is a significant topic. Made you ever observe that whenever you attempt to compose an article on the subject that's unfamiliar for you that it simply will not come together. Understand your topic well and make sure that you explain your points in easy and understandable language. The topic does not need to be in the very first sentence, but nevertheless, it needs to be made clear somewhere in the introduction. Essays are extremely personalized. They can be both formal as well as informal. Essay Writing An Introduction To A Research PaperAffordable Papers is a business that's been helping thousands of consumers from the United States, UK, and Europe during the past ten decades. Writers will not simply have more fun, but in addition their writing will profit through their private investment. Writing is a slow procedure, and once we rush it the outcomes are often predictable. If it comes to the best way to begin an essay, your best option is to start off with a few of your strongest, and most compelling info. Be aware that what constitutes a great introduction might vary widely based on the sort of paper you're writing and the academic discipline in which you're writing it. An introduction usually makes up 510% of your entire essay, even though there is no absolute rule. A great introduction presents a wide summary of your topic and your thesis, and ought to convince the reader it i s worth their time to really read the remainder of your essay. Though the conclusion paragraph comes at the conclusion of your essay it shouldn't be regarded as an afterthought. A good example essay will help it become feasible to analyze essay structure and outlines together with writing and reference stylethere are certain things which make a persuasive essay. You should revise your paper to be certain that the introduction, each one of the evidence, and the conclusion reflect the argument you intend. Second, it is going to offer a guideline for your topic and main argument, called the thesis statement. Our writers make certain all your demands are met to get the standard of papers you want. It's clear that you're trying to find the essay writing help. If you are searching for top essay writing companies, try out the mentioned above. There are a number of essay writing services that think they're the very best, and therefore don't be cheated and check the real list of the very best. You would like your essay to evoke emotions and to continue to keep your readers interested from beginning to end. It helps to keep the reader informed concerning the evolution of the argument. It is very important to bear in mind your readers could have a lot of options on precisely the same topic so the debut of your essay ought to be written in a manner it stands out to grab the interest of the readers. Think of what readers will need to know to comprehend the focus of your paper.

Sample Outline For Argumentative Essay

Sample Outline For Argumentative EssayWhat is a sample outline for an argumentative essay? A lot of college students and even higher education institutions require a sample outline for an argumentative essay to help them prepare their essay. If you're writing an argumentative essay, getting a sample outline for an argumentative essay will be quite helpful.Preparing an argumentative essay can be quite challenging because the topic may range from a political issue to a controversial scientific study. Therefore, it is important that you carefully choose the theme for your essay. With the use of a sample outline for an argumentative essay, you will be able to choose the right topic for your essay. In order to make sure that you choose the best topic, you have to get a sample outline for an argumentative essay that contains the proper topics.The purpose of writing a persuasive essay is to persuade the reader of the topics of your essay. In order to do this, you have to have all of the cor rect facts about the topic so that the reader will be persuaded. As a writer, you will have to carefully consider the points that are being made in your essay so that you will be able to make your points as well.If you want to successfully complete your persuasive essay, it is important that you learn how to properly craft the structure of your paper. You should also know that when it comes to essay writing, there are several methods that you can use in order to determine the structure of your argumentative essay. You should also know that there are different types of essay structures such as the first-person narrative, the analytical essay, the persuasive essay, and the persuasive essay review.When it comes to crafting your persuasive essay, you should always keep in mind that the main focus of your essay must be on the topics of your essay. If you want to make sure that your essay is persuasive, it is important that you study how the various forms of writing and composition work. You should also be aware that certain styles of writing such as the critical essay and the analysis essay are also examples of essay structures.When it comes to crafting a persuasive essay, you should always remember that the point that you are trying to convey to the reader should always be the most important thing. Before writing the conclusion of your essay, you should make sure that you have discussed the main points and ideas that you wanted to convey in your essay. It is important that you carefully consider what you want to convey to the reader so that you will be able to make your thesis very clear.The main goal of a persuasive essay is to persuade the reader of a certain topic. Therefore, you have to be careful not to create a poorly constructed essay. A persuasive essay must be well-written and persuasive if you want to succeed in making the reader see the points that you are trying to make in your essay.A persuasive essay is one that persuades the reader by presenting a p oint in a coherent manner. This will make it easier for the reader to agree with you and become convinced. To be able to do this, you must be able to understand the correct structure and writing of persuasive essays.

History of Coca Cola

As compared to other manufacturers of carbonated drinks, the Coca Cola Company is one of the most recognized companies globally. Prior to the present state, where the company manufactures many brands including Coca Cola, at its time of discovery the company never existed, but rather what existed was a coca wine, its discoverer John Pemberton had branded Pemberton French Wine Coca.Advertising We will write a custom term paper sample on History of Coca Cola specifically for you for only $16.05 $11/page Learn More Pemberton was an Atlanta, Georgia based pharmacist, who will remain in Coca Cola’s books of history, because he invented the original Coca Cola original formulation. To be where it is, the company has undergone a series of transformations and struggles, in terms of both products and management, it being a company that believes in product innovation and quality. Presently, the Coca Cola Company commands the biggest market share of the bevera ge industry, it being one of the most consumed drinks globally, with no cultural boundaries (Coca Cola Company 1). The history of coca cola backdates to 1886, when John Pemberton formulated the first form of the syrup that gave birth to the present world leading non-alcoholic beverage producer. After proving that the syrup was safe for human consumption in Jacob’s pharmacy, Pemberton through support from his bookkeeper Frank Robinson started to market the new drink. Although the main source of its name was from its two main ingredients kola and cola leaves, the first formulation had other constituents namely: cane sugar syrup, sugar syrup, and caffeine. Pemberton’ happiness was short-lived with the introduction of the prohibition law in 1886; hence, forcing Pemberton to change the composition of his formulation, by removing all traces of alcohol. Coca cola gained popularity among the American citizenry, as most individuals believed that it was a remedy to many health c omplications, for example, severe headaches, impotence, dyspepsia, and morphine addiction. In an endeavor to increase its popularity among the American citizenry, Pemberton called the new modified non-alcoholic drink Delicious and refreshing, followed by the first sponsored media advertisement in the Atlanta Journal in May 29th, 1886.Advertising Looking for term paper on business economics? Let's see if we can help you! Get your first paper with 15% OFF Learn More Although he made many efforts to excel in his endeavors, the first year was a blow to him, because his sales totaled to $50, a figure that was less by $20, of the total incurred expenses (Coca Cola Company 1). In 1888, because of the dismal performance of his company, Pemberton traded some rights of the company to Asa Candler, a fellow pharmacist. Later on the same year, he traded some of his rights to more businesspersons namely Mayfield, Murphey, Bloodworth, and Mullahy, a fact that made his son Charley to start selling a modified form of the Coca Cola product. The transfer of ownership marked the onset of the present leading beverage producer Coca Cola Company, because in 1892, through support from Frank Robinson, Chandler registered the Company. Although he had sold some rights of the company to other businesspersons, to him the brand name Coca Cola belonged to is son, although he permitted other stakeholders to use the name. After his death in late 1988, Because of the brand ownership problem, during summer 1888, Candler sought to trade his shares, a case that failed leading to a legal battle with other stakeholders. His control of the company faced many problems, for example, in 1914, through proving that Candler has forged Pemberton’s signature, Dozier sought to overthrow him from the top company leadership position. This led to many legal cases and leadership changes in later years, although the company remained string (Bhateja 1). On the other hand, to increase the comp any’s publicity, Candler adopted a new advertising and marketing strategy that involved the use of flyers, posters, and murals, which he intended to spread in all American markets. Because of the expanding market, the company started selling its bottled products in 1894, and later on in 1955, the company launched its canned products into the market. In addition, taking advantage of the gained publicity, increased sales and gaining of distribution rights in 1899, the company was able to construct its first manufacturing plants in Dallas and bottling plants in Mississippi and Vicksburg.Advertising We will write a custom term paper sample on History of Coca Cola specifically for you for only $16.05 $11/page Learn More The construction of bottling companies led to the first appearance of the straight-sided bottles in 1916, although later on to avoid copycats, through contracting an Indian design company, Root Glass, the Company was able to unveil the Contour-shaped bottle. With the emergence of the bottled soda and increased bottling plants, the soda fountains and ice cream salons, which were main sellers of Coca Cola, disappeared hence, increasing the popularity of the bottled products. To add to the original formulation, Candler nourished the old formulation with five ounces of the cocaine, in every gallon of the original syrup, although later on in 1903, the process stopped, making the drink to have a pure coca flavor. Contrary to Candler’s expectations, the changes in flavor reduced its sales, as most consumers preferred the original formulation. This made the company to re-adopt the old formulation in manufacturing its products, leading to the new name of coca cola products namely â€Å"Coca Cola Classic† (Solar Navigators 1). In 1923, the company launched the new six-pack carton box and Because of military actions of 1940’s, and in an endeavor to expand its international market, the company started to build more plants in other nations, for example, France, Belgium, Spain, South Africa (Bellis 1-2). To meet all consumers’ demands in 1960’s and early 1970’s the company, introduced varying package sizes, for example, 10 and 12 ounces packets, and new brands, for example, Fanta, Minute Maid, Tab, Mello Yellow and Sprite. Later on in 1980’s the company introduced diet coke and cherry coke hence, further expanding its market share. Recent developments of the company include the bringing into the market of new products; for example, coca cola zero ad Dasani water (in 2005), and diet coke plus (2007). Other developments include the reverting of the name Coca Cola classic to the original Coca Cola (in Canada in 2007) and in Southeastern Asia (in 2009), and resuming of business in Iraq (in 2005), after the war had (Coca Cola Company 1). In conclusion, the coca cola company has undergone tremendous changes since its discovery both in its leadership and in produ cts to where it is. One primary factor that has contributed to its present state is its primary goal of meeting all society needs. This is evident as the company not only engages in business activities, but it also actively participates in community programs, for example, sports and charities. Another factor that has greatly contributed to its success is the hiding of the identity of its concentrate. All global Coca Cola bottling plants have to obtain the concentrate from the company’s headquarters in Atlanta for their manufacturing purposes.Advertising Looking for term paper on business economics? Let's see if we can help you! Get your first paper with 15% OFF Learn More Works Cited Bellies, Mary. The history of coca cola. 2010. Web. Coca Cola Company. History of bottling. Coca Cola. 2010. Web. Solar Navigators. Cola marketing history. Solar Navigators. 2010. Web. Bhateja, Anurag. The origin of coca cola. 2010. Web. This term paper on History of Coca Cola was written and submitted by user Laurel Stephens to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Seasonal and Unseasonable

Seasonal and Unseasonable Seasonal and Unseasonable Seasonal and Unseasonable By Maeve Maddox With all the storms, flooding, and unusually low temperatures in the news, Ive been noticing a proliferation of the word unseasonal. Unseasonal rain may continue Southerners lamenting the loss of summer need to brace for more unsettled and unseasonal weather in the coming days Unseasonal weather and flower production will there be a shortage? Unseasonal spring storms are hitting the South In each of these examples, the weather being described is seen as not being usual for the time of year. The appropriate word in this context is the negative of seasonable, which is unseasonable. seasonable: Occurring at the right season, opportune. Of weather, etc.: Suitable to the time of year. The word seasonal differs in meaning from seasonable. seasonal: Pertaining to or characteristic of the seasons of the year, or some one of them. Things that change with the season are seasonal. One speaks of seasonal occupations, seasonal employment, and seasonal products. Strictly speaking, seasonal does not have a negative form. This unusually cold, wet weather were experiencing in the South this May is unseasonable. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Misused Words category, check our popular posts, or choose a related post below:4 Types of Gerunds and Gerund PhrasesOne Fell Swoop

Social Capital (Degree in Diploma in addiction studies-university Essay

Social Capital (Degree in Diploma in addiction studies-university level) - Essay Example Bourdieu came forward with his definition of social capital more than three decades back. Here, it needs to be conceded that his concept had lesser acceptability than his other works in the sphere of sociology. At a later point of time, James Coleman came out with his definition of social capital where, he endeavored to blend both economics and also sociology. As a matter of fact, he termed his elaboration as the rational action theory, which exerted tremendous influence on policy makers as well as sociologists. Putnam emphasized on both the key aspects of civic activity and association, and also the reasons for which they are pivotal for integration of society. (1) Definition of Pierre Bourdieu The explanation of social capital by Bourdieu is based on social hierarchy, and he strongly opined that economic capital is the basis for all forms of capital. He argues that it is but inevitable that social capital leads to inequality, and here it (social capital) is not fully reliant on cul tural and economic capital. He explains that the returns that different persons obtain for the same capital tends to be unequal. Bourdieu adds that the returns are directly linked to the extent to which individuals can utilize various social networks. To support his argument, he uses professionals such as doctors and lawyers as examples. Bourdieu states that the social capital of these professionals is inclusive of their goodwill in the society and the social connections. And they (professionals) make full use of their social capital in bringing about a rise in the number of clients seeking their services. In fact, apart from furthering their present professions, the professionals also stand a strong chance of making it big in the avenue of politics. While focusing on all that, he says that persons depending solely on their academic qualifications and not on any social networks are in a position of disadvantage. They cannot attain the success that is being achieved by the aforesaid professionals, and the key reason for this being inadequate connections. (2) The definition of bourdieu totally opposes the more humane approach towards social capital. For, he emphasizes just on the way in which some select persons and groups are in a position to craftily utilize their networks, for furthering their own interests. Bourdieu does not see social capital as something that can benefit all members of a society. Here, it would be ironical to be noting that, this particular definition of social capital is in stark contrast to the values of democracy that Bourdieu endorsed in his political and journalistic activities. (3) Overall, he views social capital as a concept that just enables the already strong in maintaining their strength. Bourdieu’s analysis (of social capital) almost considers coordinated and collective actions as being irrelevant. His interpretation of social capital emphasizes that there is no way in which the less-fortunate people of the society can u se it (social capital) to bring about an improvement in their circumstances. (3) Definition by James Coleman The definition of social capital given by James Coleman, a famous sociologist of the US, gained much more recognition than the one of Bourdieu. Backed by extensive studies that he carried out in the ghettos of USA, Coleman pointed out that social capital is not confined to just the elite sections of

Bussiness plan Essay Example | Topics and Well Written Essays - 2000 words

Bussiness plan - Essay Example Diamond B will receive start-up funding from a Colorado lending institution, namely a commercial bank, requesting a loan for $50,000 to cover start-up and miscellaneous expenses. The following represents the start-up needs for Diamond B: Diamond B will operate inside of lower-cost strip mall space, in a centralized location, with over 1,200 square feet of retail space. This was chosen to avoid the high start-up costs of building new constructions so that more money could be devoted to product variety. This will give Diamond B more flexibility by being in the strip mall and allow the company to expand without concern over the expenses of real estate agents. Diamond B can simply work on a contracted lease that allows for easy exit if the business ever decides to move or expand. On the start-up chart, frozen foods represent the different ice cream bars, sandwich cookies, and fresh frozen pizzas that will be available to customers. Refrigerated items include a variety of sodas, energy drinks, and other dairy products such as milk and cheese that customers of all varieties will require. Non-perishable foods include magazines, cigarette lighters, and other basic convenience products found commonly in this type of store model. Promotions are a high expense on the start-up list as it is necessary for Diamond B to set up a strong brand immediately after launch. The company will use the logo strongly in its promotional materials so that customers have awareness of Diamond B and can recognize it on sight. The Diamond logo will be trademarked for intellectual property reasons and for building a better competitive image. These materials include in-store displays, posters, direct mailing literature sent to random customer households, and other needed advertisements for pre- and post-launch of Diamond B. Computer systems on the start-up list include the different credit card machines that will be needed to perform basic transactions, along with inventory monitoring

Hollywood in the global film market | Film Studies

Hollywood in the global film market | Film Studies When the average Friday night cinema-goer sits down to watch a film in this country they would most probably be waiting to see the latest Hollywood blockbuster projected onto the screen. This seems to have been the norm for decades now but it wasnt always the case. Cinema was born in France with the introduction of motion pictures from the Lumià ¨re brothers; Auguste and Louis. The first presentation of motion pictures and the Lumià ¨re Cinà ©matographe (a combined camera, printer and projector) was to the Society for the Promotion of Industry (Socià ©tà © dEncouragement a lindustrie Nationale) on March 22, 1895. Only one film was shown, Employees Leaving the Lumià ¨re Factory (La Sortie des usines Lumià ¨re), shot by Louis. It was projected, almost as an afterthought, following their lecture on advances in experimental colour photography. It was nine months later in the darkened rooms at the Grand Cafà © in Paris on December 28, 1895 that the first exhibition of moving image s was opened to a paying, European audience. Included on the playbill were The Arrival of the Train (LArrivà ©e dun train à   la Ciotat), Babys Meal (Repas de Bà ©bà ©) and The Sprayer Sprayed (LArroseur et arrosà ©e). However, it wasnt long before cinema became international when the Americans tried their hand at making movies. In the period between the Lumieres first private and public exhibitions, two brothers, Otway and Gray Latham, screened the very first film to the paying public; Young Griffo versus Battling Charles Barnett, an impressive eight minute reel of a boxing match between the titular Griffo and Barnett. Their small storefront theatre in Broadway, New York became the first dedicated cinema. Over the next twenty years the number of filmmakers and films being made increased. This period of frantic filmmaking became known as the Silent Era. All over the United States movies were being shown at ‘Nickelodeons; shops that had been transformed into exhibition areas where films were projected onto screens, walls or hanging sheets. This was not just an American phenomenon; here in the UK over 3000 cinemas had opened by 1917. The number of important films of this era included Georges Mà ©lià ¨s 1902 film A Trip to the Moon (Le Voyage dans la lune) based on Jules Vernes novel From the Earth to the Moon (De la Terre à   la Lune) that is recognised as being the first science fiction movie; Edwin S. Porters 1903 movie The Great Train Robbery that introduced complex narrative structure it its editing techniques; and D.W. Griffiths 1915 feature The Birth of a Nation which grossed $10 million at the box office. The next logical step for this new industry was to integrate sound with the images. In 1927 Warner Brothers released The Jazz Singer, the first ‘talkie feature film to be widely distributed. This invention practically caused the death of the Silent Era as audiences demanded sound with their films and heralded the ‘Golden Age of cinema. But once again it was not an industry completely dominated by Hollywood. The French idea of commercial movie houses became the international model, and entrepreneurs scurried to build impressive movie houses across North America and Europe including theatres to seat up to 5,000 people, rather than relying on the storefront Nickelodeons from the turn of the century. Birmingham born businessman Oscar Deutsch opened his first Odeon cinema in the UK in Perry Barr, Birmingham in 1920. By 1930 the Odeon was a household name and to this day there is still an Odeon in the prime location of British cinema exhibition, Leicester Square. Since the Second World War (1939 1945) the dominance of Hollywood as the motion picture production capital of the world has been virtually unchallenged. With the exception of the Indian Film Industry, lovingly named ‘Bollywood, there has not been a notable challenger to Hollywoods crown. There have been moments when a possible contender to the throne has emerged from within Europe or the UK, bringing with it a new style of filmmaking, a new school of thought or an embarrassing outburst at an awards ceremony; â€Å"The British are coming!† In the last sixty years there have been several European film movements that have demonstrated that there is an alternative to the Hollywood system, however they have not managed to topple the system and in some cases have been neatly integrated and repackaged into the Hollywood blockbuster. In this essay I shall look at the stranglehold that Hollywood seems to possess over the global film market and contrast it to the state of the European film industries and in particular to the British film industry. I shall emphasis the importance of European and British films, filmmakers and movements and how they relate to the Hollywood system. Being that this is such a large topic area I shall focus on how Hollywood has figuratively grown into a dragon and that the sporadic attempts at slaying it by European ‘knights in shining armour more often than not end up feeding it and making it stronger. I shall try to determine how influential non-Hollywood films are on Hollywood, and vice versa. I also intend to examine how the British film industry has fared since the end of the Second World War against such stiff competition from the other side of the Atlantic; and what lies ahead in the not too distant future. For the purposes of this essay I shall refer to the mainstream American film industry as ‘Hollywood; I am not saying that Hollywood ‘is the American film industry as there are a number of independent filmmakers producing and releasing feature films that frequently make box office profits, most notably Miramax, but for this essay I shall be focusing purely on the Hollywood system. The Hollywood as we know it today began in earnest in the 1910s when major producers such as Carl Laemmle, William Fox, Adolph Zukor and Marcus Loew decided to disassociate from the Film Trust based in New York (a ‘trust of the ten leading American and European producers of movies and manufacturers of cameras and equipment set up in 1908 that would tax filmmakers into using their patents to allow the film to be officially ‘legal) and venture into a more independent, West coast filmmaking structure in the all-year sunshine of California. This departure from the Trust afforded the producers to shoot feature films instead of the normal short one or two ‘reelers (so named after the length of the reel of film used to shoot it). These independents introduced a vertically integrated system that eventually covered production, distribution and exhibition. The Hollywood studio system was born and names such as Paramount (formerly Adolph Zukors Famous Players-Lasky), Fox, Warn er Brothers, Universal (formerly Carl Laemmles Independent Motion Picture Company), Columbia, Universal Artists and Marcus Loews MGM blossomed. According to Douglas Gomery: â€Å"†¦the average cost for Hollywood features of the day rarely ranged beyond $500,000, expanding distribution across the globe meant revenues regularly topped $1,000,000.† (Nowell-Smith 48). This was a massive leap in the twenty years from a time when a film of a train approaching a railway station was shown to the general public. Hollywood understood that the needs and demands of the masses had become more sophisticated over the short period of time that was cinemas infancy. As such the producers looked towards popular pulp fiction novels, plays and in particular the newly invented genre of the Western to entertain their audiences. In 1922 the major Hollywood companies formed the Motion Picture Producers and Distribution Association of America (MPPDA) to assist in the promotion and distribution of films worldwide. This was run by a former Republican politician, William H. Hays. His work for the MPDDA was closely linked with the US State Department and allowed Hollywood to dominate the UK, Canada, Australia, Europe (except Germany and the Soviet Union), South America, Central America and the Caribbean. This world domination looked set to continue until the Wall Street Crash in 1929. Even though Hollywood had originally distanced itself from New York, financial backing from the East coast was needed to fund the studios. As such the Depression that followed the stock market crash proved a difficult time for Hollywood, though not immediately as the movie industry enjoyed its best year in 1930 as studio profits reached record levels. However, between 1930 and 1933 theatre admissions fell from 90 million per week to 60 million, gross industry revenues fell from $730 million to about $480 million, and combined studio profits of $52 million became net losses of some $55 million. (Nowell-Smith 220). However it wasnt all doom and gloom. As the ‘Big Five of Paramount, RKO, Warner Bros, Fox and MGM had to reorganise their financial structure (the integration of owning their own cinemas was almost bankrupting them), the ‘major minor studios of Columbia, Universal and United Artists were enjoying the freedom of only being production and distribution companies; therefore having the freedom to continue producing high quality films without the noose of the exhibition property around their necks. In fact it was in this period that the minor studios were producing ‘B-movies; factory-produced low cost, low risk genre films usually made up of cowboys, gangsters or horror (for example; South of the Rio Grande Columbia 1932, Afraid to Talk Universal 1932, and White Zombie United Artists 1932). This ability to adapt to the market is an early demonstration of why Hollywood is still the market leader in feature films. From these early years it was evident that the studio system was going to be at the forefront of film production. The 1930s and 1940s were to prove to be the beginning of the Golden Age of Hollywood cinema with the introduction of colour films and the release of such popular films as Snow White and the Seven Dwarfs (Disney 1936), The Adventures of Robin Hood (Warner Bros 1938), Gone with the Wind (MGM 1939), The Wizard of Oz (MGM 1939), and Citizen Kane (RKO 1941). When the United States entered the Second World War in 1941 the Hollywood machine was utilised by the government to produce propaganda films for the American public. Within one year of the attack on Pearl Harbour, nearly one third of Hollywoods feature films were war related, as were the vast majority of its newsreels and documentaries (Nowell-Smith 234). Yet again Hollywood was flexible enough to mee t the demands of the public and due to the nature of the audiences at home and most notably abroad (the UK), Hollywoods foreign revenues reached record levels. Like the Depression before it, even the Second World War could not stop Hollywood. The next period of Hollywood cinema came in the 1960s and continues today. This is regularly referred to as Modern Cinema and saw the power of the studios sway towards the director (often regarded as the auteur). In his book Easy Riders, Raging Bulls author Peter Biskind highlights Arthur Penns Bonnie and Clyde (Warner Bros 1967) as the first of the new breed of films, â€Å"Bonnie and Clyde was a movement movie; like The Graduate, young audiences recognized that it was ‘theirs† (Biskind 49). This ‘new Hollywood saw new players attract new audiences. The new kids on the block included George Lucas (THX 1138, American Graffiti, Star Wars), Steven Spielberg (Jaws, ET, Jurassic Park), Martin Scorsese (Mean Streets, Raging Bull, The Aviator) and Francis Ford Coppola (The Godfather, Apocalypse Now, Dracula). The power of the director was affirmed when George Lucass 1977 film Star Wars was released and confirmed that a single film could earn its studio huge profits and t urn a poor year into a very successful one. Star Wars had a production budget of around $13 million (imdb.com) and has (as of the end of June 2005) grossed nearly $798 million. (thenumbers.com) While the American film industry had always looked abroad for sources of revenue, the global focus of Hollywood was also amplified in this period. Overseas theatrical and video markets exploded during the second half of 1980s; between 1984 and 1986, Hollywoods European exports alone jumped 225 percent to reach $561 million annually. In some major European markets, Hollywood movies accounted for 45-65 percent of total box-office receipts. (Herman 39) In fact, according to The Numbers (a free resource for industry professionals to track business information on movies) out of the top 100 all-time highest grossing movies worldwide, only one movie was made before the period of Modern Hollywood Cinema (Gone with the Wind which has grossed $350 million dollars since its release in 1939). (thenumbers .com) With the top two films grossing $2,000 million having been released in 1997 (James Camerons Titanic) and 2003 (Peter Jacksons third instalment in the Lord of the Rings trilogy, The Return of the King) it is obvious that the Hollywood machine still manages to churn out money-making productions. So what is it that keeps Hollywood head and shoulders above other national film industries? In his essay Reconceptualizing National Cinema/s, Stephen Crofts points out that there are seven varieties of ‘national cinema as licensed by the political, economic and cultural rà ©gimes of different nation-states: â€Å"Cinemas which differ from Hollywood, but do not compete directly, by targeting a distinct, specialist market sector; Those which differ, do not compete directly but do directly critique Hollywood; European and Third World entertainment cinemas which struggle against Hollywood with limited or no success; Cinemas which ignore Hollywood, an accomplishment managed by a few; Anglophone cinemas which try to beat Hollywood at its own game; Cinemas which work within a wholly state-controlled and often state-subsidized industry; and Regional or national cinemas whose culture and/or language take their distance from the nation-states which enclose them.† Crofts 50) He ar gues that Hollywood can not be seen as a national cinema due to its trans-national appeal. Thomas Elsaesser adds that Hollywood is totally other to national cinema it is difficult to maintain because so much of any nations film culture is implicitly Hollywood. (Elsaesser 166). This is echoed in the words of Edward Buscombe who states that at times Hollywood appears to be†¦ no longer a national cinema but the cinema (Buscombe 141) These views propel the ideology that Hollywood is the word people use to describe popular cinema. As Crofts identified, there are a number of ways in which non-Hollywood cinema has tried to challenge (or indeed avoid confrontation) the American system. The fifth example; ‘Anglophone cinemas which try to beat Hollywood at its own game best represents how the British film industry tried to challenge the giant that is Hollywood (with varying results). The European film industries would fall into the third and seventh categories; ‘European and Third World entertainment cinemas which struggle against Hollywood with limited or no success; and ‘Regional or national cinemas whose culture and/or language take their distance from the nation-states which enclose them. Due to the many different European languages the latter example is perhaps the most relevant but at the same time admits defeat in attempting to export the film to the United States. However, this is not to say that Hollywood has not had to adapt to remain the world leader. The early 1980s saw a dramatic drop in box office receipts. The beginning of the decade saw a 9% drop in tickets sold nationwide in American cinemas when only 1,022 million were sold. This figure got worse in 1986 when just over 1,017 million tickets were sold (boxofficemojo.com) (compared to over 4,500 million ticket sales in 1930). The home video market had certainly dented theatrical sales but Hollywood would always recoup somehow. The immediate problem was the cost of keeping cinemas o pen; a similar situation to the post Depression period of the 1930s. Another financial reshuffle was in order. The six major Hollywood film studios were now part of conglomerates. Gulf Western (Paramounts parent company) also owned Madison Square Gardens, Desilu, Simon and Schuster, and Paramount Pictures Television. Yet, only 11% of Gulf Westerns revenues were derived from entertainment industry holdings and just 4% from Paramount Pictures in 1981. That same year, United Artists was bringing only 12% of the revenues in for Transamerica, Universal represented 22% of MCAs income, and Warner Bros. accounted for 24% of Warner Communications revenue. (Lewis 86). However, by 1989, the entertainment division of Gulf Western, led by Paramount Pictures, accounted for over 50% of Gulf Westerns yearly income during a year in which Paramount had only fourteen releases and a 13.8% share of the market thanks to the success of Indiana Jones and the Last Crusade ($197 million domestic box office), (the-numbers.com) demonstrating again just how important a single film had become by the end of the 1980s. These blockbusters were to save Hollywood and allow it to grow stronger, and in 2002 ticket sales were over the 1,523 million mark which was the highest figure for over twenty years. It is practically impossible to pinpoint a single film that best demonstrates how the Hollywood system works. I have chosen to examine three different movies from three different periods of its history to illustrate how Hollywood evolves; Intolerance (1916), Singin in the Rain (1952) and The Matrix (1999). D.W. Griffith directed over 500 films during his career, most of them were shorts produced between 1908 and 1914. In 1915 he directed Birth of a Nation, a film that â€Å"†¦established him as one of the first truly great film directors, able to balance scale with intimate, impassioned storytelling† (Falk 11) but the film also has its critics: â€Å"Hopefully the only film in movie history to project in its publicity the Ku Klux Klan as the heroic defenders of Christian civilization† (Shiach 12). Two years later he directed Intolerance. Intolerance is, in my opinion, a better example of a Hollywood film than the overtly racist Birth of a Nation. Its narrative structure is interwoven with four different stories from four different periods in history each telling their own stories of intolerance, be it through religion or society. This storytelling device of jumping from one story to another allowed Griffith to direct the film at a speed that would keep the audiences enthralled to the very last reel. Unfortunately it failed at the box office. The production budget was over three and half times than that of Birth of a Nation and the box office did not return this. The lavish sets and numerous extras that were brought in by Griffith to turn this into a spectacle ended up leading to its financial failure. This was an early lesson to the studios that throwing a lot of money at a production did not necessarily mean that it was going to be successful. In hindsight this film stands up well; the crowd scenes are epic, so to the Babylon sets and the innovative use of camera angles and cross-cut editing techniques. Griffith formed United Artists with Charlie Chaplin, Douglas Fairbanks, William S. Hart and Mary Pickford in 1919, cementing his position as a major player in the early Hollywood years. The year 1952 saw the highest grossing film in America to be the documentary This is Cinerama showcasing the possibilities of Cinerama; a widescreen system that employed stereophonic sound and used three cameras and three projectors to cover a huge curved screen. Further down the list was Stanley Donen and Gene Kellys musical Singin in the Rain (MGM 1952). Not only does the film include perhaps one of the most memorable scenes in Hollywood history (the song and dance of the title) but also one of the first big budget films to poke fun at its own industry. The story takes place during the transition from silent film into ‘talking pictures and highlights some of the problems that arose for all the major studios. Roger Ebert, film critic for the Chicago Sun-Times proudly states that â€Å"Singin in the Rain has been voted one of the greatest films of all time in international critics polls, and is routinely called the greatest of all the Hollywood musicals. I dont think theres an y doubt about that. There are other contenders†¦ but Singin in the Rain comes first because it is not only from Hollywood, it is about Hollywood.† (Ebert). The film was rushed through by MGM (the studio that produced most of the lavish musicals) after the success of 1951s An American in Paris and as such the film was an original screenplay and Donen and Kelly were freed from the constraints of adapting a stage musical, being able to develop something completely from scratch. This freedom is present on screen and, like the previous example Intolerance has won more fans in the years after its release than the audiences at the time. Today the musical is a rare sight to emerge from Hollywood. It is seen as an expensive genre that has served its time. There have been a few exceptions like Baz Luhrmanns Moulin Rouge (20th Century Fox 2001) and Rob Marshalls Chicago (Miramax 2002) but I cannot see any Hollywood studio spending money on this genre like MGM did in the Golden Age. Brothers Andy and Larry Wachowski directed the science fiction action movie The Matrix in 1999. Labeled by some as a â€Å"cult classic† (Gottlieb), I find it hard to agree that a film that has grossed over $450 million (thenumbers.com) worldwide should be called a ‘cult. Set sometime in the near future the film taps into a common paranoia that all is not as it seems. Hollywood released this film, with its $65 million (thenumbers.com) production budget knowing that the recent trend of Asian kung-fu movies were entertaining the young generation like Hark Tsuis 1991 film Once Upon a Time in China (Wong Fei-hung) or Woo-ping Yuens 1993 film Iron Monkey (Siunin Wong Fei-hung tsi titmalau). This film was also used in an extensive advertising campaign to promote the sales of DVDs; a figure of $20 million was spent on prints and advertising costs. With the combination of kung-fu, a storyline focusing on paranoia and special effects never seen before in a major blockbuster; it w ould not be cynical to believe that Hollywood thought of The Matrix as their ticket into the new millennium. The British film industry has historically always been the poorer cousin to Hollywood, or as Robert Murphy suggests, â€Å"British cinema has been despised and disparaged for much of its existence† (Murphy 5). While Hollywood was experimenting with and developing the dramatic narrative of feature films in the early 1910s, Britain did not realise the potential of the longer film format; and one of the only companys releasing fictional drama, albeit single reel films, was Hepworth who produced films such as Rescued by Rover (1905), Faust (1911) and A Fishermans Love Story (1912). As late as 1925 Joseph Schenck commented on the inferiority of British cinema saying that â€Å"You have no personalities to put on the screen. The stage actors and actresses are no good on the screen. Your effects are no good, and you do not spend nearly so much money.† (Schenck). This statement is eerily poignant eighty years after he said it. In fact as early as 1907 Hollywood was acting swift er than Britain in developing the cinematic world by exploiting British cultural heritage when the Selig Polyscope Company produced the one reel short A Tale of Two Cities based on Charles Dickens novel. Four years later Vitagraph remade the film as a thirty minute short in 1911. In fact Hollywood then remade the film six years after that when Fox produced A Tale of Two Cities in 1917. It wasnt until W. Courteney Rowden directed the one reel film of the same title that Britain finally had its own film version of the novel in 1922. And it wasnt until Ralph Thomas directed A Tale of Two Cities (Rank 1958) that Britain had its very own feature film of the novel; the sixth remake since the original 1907 film. Even though the British film industry was slow to accept the possibilities offered by the dramatic narrative of feature film there were some important figures to emerge. Alfred Hitchcock directed his first completed feature film in 1925 with the crime drama The Pleasure Garden, having already made a name for himself as a writer on Graham Cutts Woman to Woman (1923). He followed that up with a number of groundbreaking films including The Lodger (Gainsborough Pictures 1927), his first talking movie Blackmail (BIP 1929), and Jamaica Inn (Mayflower 1939); his final film in Britain before Hollywood producer David O. Selznick sent for him from Hollywood. At a time when Hollywood was going from strength to strength with the help of the MPPDA, Britain was finding that too many American imports were saturating the home industry; $165 million revenue was made for Hollywood by the overseas British market. (Nowell-Smith 58). The Films Act of 1927 set a quota on imported movies that â€Å"was pr ogressive, beginning at 5 percent and rising to 20 percent in ten years time.† (Balio 469). This should have been a period in which Britain could progress both in quality and quantity of film production as the Act was meant to â€Å"open up the market for ‘long (over 3,000 feet in length) British films by stipulating that 7.5 per cent of films acquired by film renters each year had to be British and 5 per cent of those shown by exhibitors also had to be of British origin, both percentages rising to 20 by 1935 and remaining at that level until 1938 when the Act expired.† (Street 10). In reality it allowed a number of cheap productions, or â€Å"quota quickies† (Balio 469) to be made that did more harm than good for the British film industry. However, the Act allowed Britain to emulate the American system of vertical integration with companies able to produce, distribute and exhibit its own films; this introduced The Associated British Picture Corporation and the Gaumont British Picture Corporation. The British film movement enjoyed a period of producing a number of fine films (most notably by Alfred Hitchcock) that included Alexander Kordas period drama The Private Life of Henry VIII (London Film Productions 1933), Marcel Varnels comedy starring Will Hay, Oh, Mr. Porter! (Gainsborough 1937), and Sam Woods drama Goodbye Mr. Chips (MGM 1939). When the Second World War broke out in 1939 Britain had to focus on the war effort; just as what was to happen in Hollywood, the films produced up to the end of the war were predominantly propaganda films. Some of the greatest filmmakers in British cinema were to come to the publics attention during the war; directors such as Michael Powell (The Life and Death of Colonel Blimp 1943), David Lean (In Which We Serve 1942), Thorold Dickinson (Next of Kin 1943) and Carol Reed (The Way Ahead 1944) exploded onto the scene. The 1940s were an exciting time for the British film industry with box office admissions peaking at 1,635 million in 1946 (Sparos 14) and companies such as the Rank Organisation began to expand, with a massive screen empire embracing the Gaumont British company; this included the Gainsborough Studios, the Odeon cinema circuit and Pinewood and Denham studios. The famous Ealing Studio, under Michael Balcon, secured its place in film history with the production of comedies such as Passport to Pimlico, Whisky Galore and Kind Hearts and Coronets, all made in 1949. Two years earlier Balcon founded the British Film Academy in a hotel suite at the Hyde Park Hotel on the 16 April 19 47. This was later to become BAFTA (British Academy of Film and Television Arts). Running parallel to the Ealing comedies was the movement of social reality films, commonly referred to as ‘kitchen sink dramas but often named the New Wave. At a time when the British public was feeling the burden of the aftermath of the war with rationing and high unemployment, there was a need for film to reflect the lives of the masses. One of the first major forays into this genre was produced by Filippo Del Giudice. Del Giudice was an Italian lawyer who left his native fascist Italy for London in 1932 and helped set up Two Cities Films in 1937. In the 1950 film Chance of a Lifetime directed by Bernard Miles, the story focuses on trade unionism and what stage the co-operative movement had reached in 1950, a few years after the reforming Labour government was elected but months before the re-election of Winston Churchill; showing that the country was oscillating between Socialism and Conservatism. Miless intelligent script was even-handed in its approach to these issues and also gave insights into the class system of the time yet did not go so far as to support the unions at the time. Alan Wood, biographer of Rank, charged the film with being â€Å"a crude form of anti-Socialist propaganda† (Wood 245). Even though critics felt the film did not go far enough into the class struggle it opened the doors for directors to comment on such issues as unemployment and the working classes. In earlier British films we had seen the working class as ‘good and decent supporting roles to the more noble upper classes (the most obvious analogy would be in the wartime Navy film where the working class would be below deck powering the ship and the upper classes above deck steering its course). Here we saw their lives at the centre of the action in great detail, told to the audience in an everyday household situation; hence the kitchen sink tag. We see events through the emotional journeys of these characters. Films like Jack Claytons Room at the Top (Remus 1 959) painted their protagonists to show that they had moved on from the hero at Normandy to an average, everyday person who wanted to make the most of their life and somehow try to improve their social position. This did not have to be solely represented in social realism, comedy crossed over as well. In John Boultings comedy Im Alright Jack (British Lion 1959) the class divide is made perfectly evident in the dispute between the workers and the owners of a factory; with the inclusion of Peter Sellers trouble-making union representative thrown in for good measure. At last the British film industry, as had the French and Italians, were producing films with a strong political and artistic background of their own that they would develop and progress into the 1960s. However, this particular notion of reality is much debated and is a problem when looking at whether film is â€Å"a product of society or that of an ideology of one director or author.† (Murphy 146) These New Wave films represented an â€Å"extremely dynamic, but short lived, period of film-making.† (Nowell-Smith 605). By 1963 London became the party capital of the world and the notoriety of ‘Swinging London and its Soho clubs and cinemas was in complete contrast to the gritty social dramas of the late 1950s. Suddenly British culture was internationally recognised. With the mass popularity of The Beatles in music, Mary Kwant in fashion and David Hockney in art people were looking towards Britain to produce films that captured the spirit of the moment: The 1960s witnessed a revitalisation of British Cinema and the emergence of a flourishing and diverse film culture after what was widely perceived to be the doldrums era of the 1950s.† (Moore-Gilbert 218). People demanded films that were not as ‘angry as the previous decade but celebrated the new possibility of social freedom. Unfortunately the money was not immediately available from British financiers and it was Hollywood that came to the rescue. The commercially successful Tom Jones, directed by Tony Richardson in 1963 was backed by United Artists and a number of American studios began investing heavily in British cinema. It is ironic that just as Hollywood saw the possibilities of exploiting British culture at the turn of the century, they were equally as deft to jump on the original ‘Cool Britannia bandwagon; leaving British investors to miss out all over again. United Artists also saw a lucrative business opportunity in Ian Flemings charismatic character James Bond. With the backing of United Artists, Terence Youngs 1963 film Dr. No, the first official What Is a GPS How Does It Work? What Is a GPS How Does It Work? Introduction to GPS The GPS also known as Global Positioning System is a global navigation system that runs on satellites that are active 24/7 (Library Of Congress, 2011). Development of the GPS was initially started by the US for military purposes; they would guide their troops and navigate them away from danger or would use this to launch missiles on a targeted area. Only recently during the early 2000s been the GPS released to the public by the US and made it free to access to anyone that owns a GPS receiver. Due to its various uses and availability the GPS started to gain popularity amongst people, in fact it has also helped in shaping the world into what it is today. The GPS system has become global and massive. It is used in most of our vehicles and smart phones to get us around its main purpose is to guide us to our location when we are lost, or for looking up a location. Like smart phones and email, this technology has become a key part of our modern day society. It has become a useful tool in our lives that we now have started to depend upon. GPS has replaced maps and has become the key tool of navigation. GPS is now also used in games and other application such as Facebook. GPS system works via detecting signals from GPS satellites located in space (Gray, 2012). The GPS system detects these signals via a GPS receiver (Bertagna, 2010). The GPS receiver detects the radio waves from satellites and then tries to find your location by calculating the time it took for the signal to reach the receiver. After calculating the time it took, it determines the location of the satellite and then determines how far it is from the satellite. By using trilateration it then calculates your location. Trilateration is a mathematical process which uses circles and triangles to calculate distance and area of a place. Common uses of GPS GPS has become a part of our daily lives ever since the US government released it to the public, our everyday devices have been equipped with GPS technology to assist us and enhance our experience (Saha, 2014) (Fortenberry, 2016). Everyday devices such as smartphones, tablets, vehicles and even packages we buy online have a small tracking device fitted in that constantly tracks its location, keeping the customer updated every minute. In fact, aeroplanes nowadays require a GPS tracker, which assists pilots in figuring out the route to their destination mid-air. This technology also helps control rooms in airports keep track of the aeroplanes current location. In fact, even passengers can view their current locations inflight through the entertainment system. Its not just aeroplanes that have inaugurated this technology but most of the vehicles being manufactured today come with a built in GPS system which helps drivers in setting a location and discovering the fastest way to reach it (Horban, 2009). This built in GPS technology also assists in tracking down stolen vehicles, which helps create a decline in car theft and gives a strong sense of security to the customer. The following graph taken from Rewire Security gives graphical evidence of a decline in car theft due to the implementation of a GPS system providing better and improved security. (Trading, 2014) Increase in GPS usage between teenagers Since GPS is now completely open for use to the public, many companies have started to develop softwares that utilize the GPS system. Most GPS softwares are found in mobile app stores these days since mobile phones are a common GPS using device. Moreover, since teenagers are often the age group that uses smartphones the most, quite a lot of the GPS apps are designed with the purpose of entertainment, which led to a huge rise of teenagers getting involved with such entertainment based apps. Entertainment apps which are booming between teenagers are mostly game or dating related (Collier, 2012) . Lets take the example of Pokà ©mon Go that came out quite recently, that game was a massive success due to the fact that it involved players leaving their house and going around different locations capturing Pokà ©mons. Pokà ©mon Gos main feature involved using a GPS tracker to track the players location as he would travel certain distances and to different areas. Pokà ©mon Go has also use d the GPS system to mark important landmarks as Pokà ©stops where players can buy items by using their points. This would not be possible without GPS technology. Whats important to consider here is how such a simple concept became very popular and addictive between teenagers, it is intriguing how a simple system that was used initially solely for the purpose of navigation has now turned into a means of entertainment. GPS systems are more often used by older teens in comparison to younger teens since parents do not give younger teens the freedom of roaming around the city since it is not safe for a child to roam around the city without parent supervision. Older teenagers however, tend to have a drivers license or some other means of transport and a lot of independence. Older teens tend to be given a lot more freedom in most parts of the world. Moreover, they often have to go to multiple places such as university, college, library and at times even their part time jobs. However, quite a lot of issues have appeared at the hands of GPS apps. Such as teens being addicted to the game Pokà ©mon Go and not caring about their own safety and walking around dangerous places. Moreover, GPS systems have also been adopted by dating apps now which has caused a lot of distress among parents. There has also been malpractice of the GPS apps at the hands of parents too. Some parents install apps which can allow them to track the location of their children via their childrens phone. This is an act of intruding a persons personal privacy. Due to how GPS trackers have various different uses, we have certain situations where we begin to question whether its really ethical to use such powerful technology in the way we have, which leads to social and ethical concerns being raised.