Greek Art – Continuity/Change over Time

Over time, a culture’s art will change or improve in some way. Some characteristics may remain the same while other characteristics change drastically. Art in the Archaic era and the Classical era had no emotion and unrealistic features, but the Classical era brought a sense of anatomy and movement to its art. In the Archaic era and Classical era, emotion was not present in art. Characters had plain expressions on their faces; their eyes told nothing, regardless of what they were doing. The Discobolus sculpture from the Classical era depicts a man who about to throw a disc, which was a common Greek sport. However, instead of competitive or determined look on his face, he is emotionless. The man’s face is blank, as if bored or tired. Another characteristic that remained constant throughout the Archaic era and Classical era was unrealistic features. Kouros, from the Archaic era, is an excellent example of the unnatural features from the two eras. Kouros is a statue of a man with stylized hair and blank eyes. During this time period, hair did not look natural and flowing, but stiff and dramatically detailed. Also, the eyes are blank and do not look as realistic as the eyes seen in later works of art. During the Classical era came around, art began to change and improve. First, the art of the Classical era showed some sense of anatomy. The Three-Seated Goddesses sculpture from the Classical era depicts this sense of anatomy. Although not perfect, the bodies of the goddesses portray the form of a woman through their dresses. Before the Classical era, art from the Archaic era did not exhibit any form such as this. Another change the Classical era brought to art was a sense of movement. During the Archaic era, sculptures portrayed people in stiff, unrealistic poses. In the Classical era, the body became more relaxed and had a more normal position. The Three-Seated Goddesses sculpture shows not only the enhanced sense of anatomy, but also the improvement in movement in the Classical era. The goddesses lounge on a seat, which looks more natural compared to the Kouros sculpture, where the man is standing rigidly with one foot in front of the other. Around the same time as the Archaic and Classical eras, the Zhou Dynasty of China was creating works of art. In 433 B. C. E. , the Bronze Bells were created. The Bronze Bells were created through bronze casting, a significant achievement at this time. Also, each bell can produce two different sounds, one from being hit in the center and one from being hit on the rim. These bells were thought to be used in rituals to communicate with supernatural forces. In conclusion, styles of art continue and change over time. Characteristics such as stylized features and emotionless faces remained constant between the Archaic era and the Classical era. However, in the Classical era, a sense of movement and anatomy was introduced to art. Time will continue to change cultures and their art, just as it influenced the changes and constants of Greek art between the Archaic era and the Classical era.

Strictly Ballroom

Study Guide Strictly Ballroom fiieducation SYNOPSIS At the Waratah Championships ballroom dancer Scott Hastings goes against Federation rules and impulsively dances his own steps, causing partner Liz Holt to dump him. Then Fran, ugly duckling of the beginners’ class, offers to be Scott’s new partner. Initially sceptical, he is persuaded by her ideas, and together they plan to dance their own steps at the Pan-Pacific Grand Prix Championships. But Scott’s rebelliousness does not go unchallenged.His mother Shirley and coach Les Kendall try various ways to prevent Scott from dancing with Fran, while corrupt President Barry Fife plots Scott’s downfall by concocting a story about his parents’ dancing career that will convince him to compete at the Pan-Pacifics without Fran. All seems lost until Scott’s father Doug reveals the truth. With Barry Fife’s desperate attempts at sabotage having little effect, Scott and Fran complete their spectacul ar dance to rapturous applause from the crowd. Everyone takes to the dance floor in celebration. CAST Scott Hastings Fran Barry Fife Doug Hastings Shirley HastingsLiz Holt Les Rico Ya Ya Paul Mercurio Tara Morice Bill Hunter Barry Otto Pat Thomson Gia Carides Peter Whitford Antonio Vargas Armonia Benedito Ken Railings Tina Sparkle Charm Leachman Wayne Burns John Hannan Sonia Kruger Kris McQuade Pip Mushin Vanessa Cronin Kylie Luke Leonie Page Lauren Hewett Steve Grace CREDITS Director Producer Screenplay Baz Luhrmann Tristram Miall Baz Luhrmann and Running Time Craig Pearce 94 Minutes CONTENTS Introduction 4 Images of Australia 5 Baz Luhrmann’s Vision 7 The World of the Film 10 Hero, Heroine, Villain 14 APPENDICES A – Baz Luhrmann interview 18 B – Tristram Miall interview 20C – Sequences for study 22 D – Key moments 23 E – Film language 24 F – Filmography 25 INTRODUCTION Australian director Baz Luhrmann's flamboyant and colourful debu t feature Strictly Ballroom (1992) opens with a theatrical swish of red velvet curtains and leads us into the larger-thanlife world of competitive ballroom dancing. It tells the story of Scott and Fran, who rebel against Dance Federation rules in order to dance their own steps. The film is the first in Baz Luhrmann's ‘red curtain' film trilogy, and can also be described as a combination of the following: a fairy tale, a romantic comedy, a dance musical, even a satire.This study guide is aimed at teachers who are teaching the film as a comparative text in the Leaving Certificate English syllabus. As well as sections relevant to modes of comparison such as The World of the Film, (for Cultural Context/Social Setting) and Hero, Heroine, Villain, a central feature of the study guide is our exclusive interview with director Baz Luhrmann. He discusses his artistic vision and defines red curtain cinema, the concept central to his trilogy of films Strictly Ballroom (1992), Shakespeare' s Romeo & Juliet (1996) and Moulin Rouge (2001).We are also very pleased to include an interview with Strictly Ballroom producer Tristram Miall in which he discusses his involvement in the making of Strictly Ballroom, and also provides insights into his role as a film producer in the Australian film industry. Both interviews will provide invaluable background material for both teachers and students. Strictly Ballroom is an excellent choice for comparative study as it is accessible, fun and fast-paced, but it also has serious themes and ultimately celebrates Australia's multicultural society, a view that has strong resonance for contemporary Ireland.I hope you will find this guide an interesting, useful and enjoyable resource in your teaching of Strictly Ballroom. Grateful thanks to my colleagues Alicia McGivern, Grainne Humphreys and Liz Fehilly for their valuable suggestions and editorial contributions. Ann Ryan Schools Officer fiieducation The Film Institute of Ireland STRICTLY BA LLROOM 4 Uluru (Ayers Rock) IMAGES OF AUSTRALIA â€Å"You will find a warm welcome waiting for you in Australia, one of the most fascinating and spectacular places on earth. A land of contrasts, at once a youthful, vital nation and the home of the planet’s oldest continuous culture. † 1A SPECTACULAR HOLIDAY DESTINATION A SUCCESSFUL MIGRANT NATION Just as the Irish Tourist Board represents Ireland in a certain way to attract tourists, the Australian Tourist Commission promotes travel to Australia by highlighting its bright, colourful aspects. Famous landmarks such as the Sydney Opera House, Uluru (Ayers Rock) and the Great Barrier Reef are featured as well as Australia’s indigenous people, the aborigines. Ever since Australia was first colonised by British settlers more than two hundred years ago, there have been successive waves of migration to its shores. The majority of migrants came from Britain,Ireland and northern Europe until after the Second World War, wh en Australia welcomed refugees from war-torn Europe and also began to accept thousands of migrants from southern European countries such as Italy and Greece. (Melbourne for instance has the largest Greek population of any city in the world outside Greece). STEREOTYPICAL IMAGES What expectations do we have of Australia and its people? There are several familiar Australian stereotypes, including the enduring image of Aussie bushman hero seen in Paul Hogan’s Crocodile Dundee. This is continued in recent film release Crocodile Hunter: Collision Course (2002) tarring TV naturalist Steve Irwin. A more negative stereotype is that of a Today, Australians whose ancestors hail from Britain or Ireland2 still form a majority of Australia’s population but the country has also become one of the most successful migrant nations in the world, welcoming people from all corners of the globe to its shores. Notwithstanding the typical Australian male being depicted as beer-swilling, loud-m outhed and uncultured, like Barry Humphries’ comic creation Sir Les Patterson, ‘Australia’s 2002 government’s controversial stance on illegal immigrants, contemporary Australia is a diverse and vibrant multicultural society. ultural attache. ’ Characters and settings in Australian TV soaps such as Home & Away and Neighbours conform to stereotypical views of Australia, such as the mistaken AUSTRALIAN CINEMA* During the 1970s the Australian film belief that it is permanently sunny there, or that people are always tanned, goodlooking, athletic ‘surfie’ types. Perhaps the soaps’ appeal lies in their representation of industry experienced a revival of its fortunes. The development of a government-assisted film industry reflected a desire to develop and nurture Australia as a sunny suburban paradise, a far cry from the more downbeat settings ofEastenders or Fair City. a national cinema. Films made during the 1970s and since reflect Aus tralia’s increasing cultural diversity. STRICTLY BALLROOM 5 The Dish, Australia’s biggest ever box office success Peter Weir is an important figure in the Australian film renaissance. His haunting success. This gentle comedy is set in July 1969 in a small rural town in New South 1 Australian Tourist Commission Traveller’s Guide 2002, p3 and atmospheric Picnic at Hanging Rock (1975) was a success both in Australia and Wales. Australian scientists become unlikely heroes because of the part they play in 3 Adrian Martin, More than Muriel, Sight and Sound nternationally. Adapted from the novel by Joan Lindsey, the film is set in 1900 on Valentine’s Day, when a group of schoolgirls on a picnic at Hanging Rock in Victoria disappear without trace. broadcasting the first TV pictures of the Apollo moon landing. In the 1980s the phenomenally successful Crocodile Dundee (1987) relied on the bushman stereotype for its comedy. In 3 addition to 1990s ‘kitsch comed y’ successes like Strictly Ballroom, Priscilla, Queen of the Desert (1993) and Muriel’s Wedding (1994), other comedies also proved popular. The Dish (2000) emerged as Australia’s biggest ever box officeAnother box office success is Phillip Noyce's film Rabbit Proof Fence (2002), which explores a significant and tragic part of Australian history: ‘The Stolen Generations. ‘ From 1905 to 1970 part-Aboriginal children were forcibly removed from their families and placed in institutions. Set in the 1930s and starring Kenneth Branagh, the film tells the story of three Aboriginal girls who escape from the institution they have been placed in and walk 1500 kilometres across the continent to find their way home. STUDENT EXPLORATIONS 1 Travel brochures promote Australia as one of the world’s most spectacular holiday destinations. What mpressions of Ireland are shown in travel brochures, do you think? 2 Describe a stereotypical Australian, then a typical Irish person. In what ways are these stereotypes limiting? Where do we see such stereotypes used? 3 Do you think Australian TV soaps are realistic? What images of Australia do they present? Compare their stories, characters and settings to an Irish or UK TV soap. 4 Compare another Australian film to Rabbit Proof Fence  © Miramax Release Date Ireland: 8/11/02 Strictly Ballroom. In what ways are they similar/different? What impressions of Australia do you receive in each film? *See Filmography (Appendix F) for ore details of Australian films. STRICTLY BALLROOM 6 2 Known as Anglo-Australians, or Anglo-Celtic Australians Vol. 5 No. 6 (1995) p30 – 32 (p30) Picnic at Hanging Rock BAZ LUHRMANN’S VISION ORIGINS OF STRICTLY BALLROOM company, the Six Years Old Company, subsequently revived the play for a it won the Festival’s Prix de Jeunesse. Strictly Ballroom also won several other Ballroom dancing is hugely popular in several countries around the world. With success ful season at the Wharf Theatre in Sydney before touring to the World Expo awards, including eight Australian Film Institute Awards, three British Academy ts garish costumes, obsession with detail and rigorous rules, it has evolved into a dance sport and has recently been introduced to the Olympics. There are clubs and societies in countries around the world devoted to the promotion of ballroom dancing. Baz Luhrmann was introduced to the world of competitive ballroom dancing as a child growing up in Australia. His mother was a dancing teacher, and he took lessons, danced competitively and became a champion ballroom dancer himself. at Brisbane, Queensland in 1988. Awards and a Golden Globe nomination. FROM PLAY TO FILM VISION & PASSION The next phase in Strictly Ballroom’s evelopment, however, was more challenging. Adapting the successful stage play into a film became what the filmakers describe as a â€Å"David and Goliath journey†. Producers Tristram Miall and Ted Alb ert had approached Baz Luhrmann with a view to buying the film rights. They agreed that he would write the script and direct the film. In 1991 Baz Luhrmann and Craig Pearce wrote the final screenplay for Strictly Ballroom, but the Australian Film Finance Corporation were cautious about financing a first time director, producer and a largely unknown team. Few films were being made in Australia in the early 1990s, as it was in the midst of an conomic recession. In many ways the ‘David and Goliath’ struggle to get the film made reflects Scott’s struggle to dance his own steps in the film. His creativity and vision eventually win out despite the obstacles in his way. Similarly Baz Luhrmann’s team overcame what seemed to be impossible odds to triumph. Their vision and passion, combined with tenacity, hard work and determination helped them succeed in getting Strictly Ballroom made. Given the economic circumstances in Australia at the time, and the fact that Baz Luhrmann had never directed a feature film before, this was indeed a substantial achievement. AT DRAMA SCHOOLBy 1985 Luhrmann was studying drama at the prestigious National Institute of Dramatic Art1 (NIDA) in Sydney, where he felt that its traditional teaching methods and strict rules were oppressive, stifling students’ creativity. Inspired by this experience, the original premise for Strictly Ballroom was based on overcoming oppression. Luhrmann chose the world of ballroom dancing because of his own experiences in that world. A DEVISED PLAY STUDENT EXPLORATIONS Despite several setbacks, including the 1 Baz Luhrmann and the producers have described the experience of making Strictly Ballroom into a film as a ‘David & Goliath’ struggle.Find out about the sudden death of producer Ted Albert, the money was eventually raised to make the film, with the Australian Film Finance Corporation as main investor. But there story of ‘David & Goliath’, and discuss how it has parallels with Scott’s story. 2 The theme of overcoming oppression was the premise for Baz Luhrmann and SETBACKS The first version of Strictly Ballroom was a thirty minute devised play, created by Luhrmann and fellow students (including long time friend and co-writer Craig were other difficulties along the way, including Paul Mercurio (Scott) injuring his ankle just before the start of filming, and he Film Finance Corporation allegedly Pearce). Luhrmann then directed the first ever stage production of Strictly Ballroom at NIDA. The play’s success led to its selection for the 1986 World Youth ‘hating’ the film after viewing a rough-cut. (See Interview with Tristram Miall). Despite all these difficulties, Strictly Ballroom became a huge hit in Australia and Theatre Festival in Czechoslovakia, where it received awards for best production and best director. Luhrmann’s theatre overseas. Made for $3. 5 million Australian dollars, it screened a t the prestigious international film festival at Cannes, where fellow NIDA students when they evised the play version of Strictly Ballroom. The students felt oppressed by the strict regime at their drama school. Do you have any personal experience or knowledge of such a regime? Give some examples. 3 Discuss the different stages by which Strictly Ballroom became a film. What impressions do you receive of Baz Luhrmann and his team? STRICTLY BALLROOM 7 â€Å"All our films use this cinema form which we call theatricalised cinema, red curtain cinema†¦Ã¢â‚¬  Baz Luhrmann Moulin Rouge (2001)  © Twentieth Century Fox RED CURTAIN CINEMA Shakespearean language, and Moulin Rouge is a musical. Once the audience Baz Luhrmann describes his trilogy of ilms as examples of red curtain cinema. accepts that they are always watching a movie and are not seduced into believing This concept, which he defines as a theatricalised, participatory cinema form set in a heightened world, is central to o ur understanding of his work. Strictly Ballroom, the first film in the red curtain trilogy was released in 1992, followed by Shakespeare’s Romeo & Juliet (1996) and finally Moulin Rouge (2001). that it is real, Luhrmann believes that they will be able to participate actively in the viewing experience. According to Baz Luhrmann, there are rules and conventions in red curtain inema just as in other film genres. The first rule is that the story needs to be set in a heightened creative world. Strictly Ballroom opens with a theatrical swish of red velvet curtains. The opening image leads us into the world of competitive ballroom dancing, peopled by larger-than-life characters obsessed with winning. The second rule is that the story should be based on a recognisable story shape. In Strictly Ballroom, the David & Goliath myth can be seen quite clearly in Scott’s Romeo & Juliet (1996)  © Twentieth Century Fox struggle against the mighty Dance Federation. Similarly, the fairy tale about he ugly duckling being transformed into a swan is mirrored in the character of Fran. Baz Luhrmann for a detailed account of his artistic vision & (Appendix B) Interview with producer Tristram Miall for details of his involvement in Strictly Ballroom. Thirdly, and finally, red curtain cinema is also audience participation cinema. For Luhrmann, the audience needs to be aware that what they are watching is not meant to be real. Unlike other films which give the illusion of reality, red curtain films use ‘devices’ to keep the audience aware that the film is heightened and stylised. In Strictly Ballroom the central device is ancing; in Romeo & Juliet it is See (Appendix A) Interview with director DISCUSSION from his review of Moulin Rouge reveals: â€Å"The director clearly exults in the thrilling films like Top Hat (1935), the all-powerful Dance Federation is represented as the Luhrmann is influenced by radical theatre practitioner Bertolt Brecht, who was theat ricality of the genre, which he communicates so infectiously to the enemy in Strictly Ballroom. ‘Mockumentary’ interviews in the opening interested in creating ‘active spectators’ in theatre audiences. To achieve this he employed distancing techniques to ensure that the spectator stands outside the xperience. 2 Brecht’s aim was to keep the audience intellectually involved, but emotionally detached. Baz Luhrmann wants the audience to be active participants, aware that they are watching a film. He describes red curtain cinema as being like ‘Brecht with heart’ because he also welcomes their emotional involvement. audience in this exuberant, intoxicating spectacle, a blissfully romantic paean to the power of love. †3 sequence provide another example of the film’s parodying of conventions. So does red curtain cinema work, and are we convinced by it as a new cinema form? The world created in Strictly Ballroom is indeed larger-than -life, lamboyant and stylised. And in Shakespeare’s Romeo & Juliet and Moulin Rouge Luhrmann continues the concept of red curtain cinema in ever more fantastical ways. The Verona in Shakespeare’s Romeo & Juliet is hot, sexy and violent, a created world comprising of twentieth century icons. Moulin Rouge, STUDENT EXPLORATIONS There is no doubt that Baz Luhrmann’s red curtain films offer audiences larger-thanlife fantastical created worlds, stunning visual spectacle and stories based on recognisable myths. But perhaps the audience participation element of red curtain cinema works more convincingly in Strictly Ballroom and Romeo & Juliet han in Moulin Rouge because in the final film of the trilogy the pace is just too frenetic and rushed. Those who love watching MTV may disagree, but in my view the audience simply does not have time to absorb the myriad images, sounds, sweeping camera angles and special effects. Far from encouraging our emotional involvement with t he characters and storyline, these distancing techniques in fact have the opposite effect. A COMBINATION OF GENRES 1 Define ‘red curtain cinema’ in your own words. 2 We are used to seeing films at the cinema that are set in the ‘real world’. Give some examples of films like this. How do Baz Luhrmann’s films differ?Do you prefer films that have a realistic setting/storyline or films that are obviously set in a heightened, fantasy world? 3 What do you think of Baz Luhrmann’s concept of red curtain cinema? Does it work, in your opinion? (Consider Luhrmann’s other films, Romeo & Juliet and Moulin Rouge as well as Strictly Ballroom in your response). 4 Strictly Ballroom also draws from other traditions in film and theatre. Give examples of key moments from the film that illustrate its combination of genres (eg. ‘mockumentary’, fairy tale, dance the final film in the red curtain trilogy, is an extraordinary musical love story, se t in computer-generated Paris of 1899, featuring music from artists as diverse as Baz Luhrmann defines Strictly Ballroom as red curtain cinema, but it also draws from several traditions in film and theatre: slapstick elements of silent film; musical). Randy Crawford and Nirvana. Luhrmann’s red curtain films have been box office successes and are hugely popular with audiences. This is clear commedia dell’arte; even ‘mockumentary’. It can be described as a combination of the following genres: a romantic comedy, a fairy tale, a dance musical, a satire, and evidence that many people enjoy the experience of watching his films, and are illing, either consciously or unconsciously, to accept the conventions finally an example of ‘kitsch comedy. ’ Baz Luhrmann uses these conventions in Strictly Ballroom, but he also parodies them. The film self-consciously subverts loosely in English as distance alienation or the ‘A’ of red curtain cinema. Film critic Michael Dwyer is an enthusiastic admirer of Baz Luhrmann’s work, as the following extract our expectations of the backstage musical, so that far from being a celebration of the show business dance community as in narration, mask, song, and actors playing a variety 1 The National Institute of Dramatic Art (NIDA) is ne of Australia’s best-known drama schools. Graduates include Mel Gibson, Cate Blanchett and Toni Collette. 2 The concept of ‘verfremdungseffekt’, translated effect, is used in Brecht’s epic theatre to remind the audience that they are watching a play. (A-effects include a presentational style of acting, use of of roles). 3 Dwyer M. , The Irish Times, 5 September 2001 STRICTLY BALLROOM STRICTLY BALLROOM 7 9 THE WORLD OF THE FILM As we have seen in the discussion on red curtain cinema, one of its conventions is that the story takes place in a heightened, fantastical world. There are two contrasting worlds in Strictly Ballroom.B oth are located physically in the suburbs of Sydney, but they are distinct and separate, reflecting the film’s collision of wills and cultures. THE BALLROOM DANCING WORLD The first world we enter is the competitive world of ballroom dancing. Locations in this world are always interior. It is represented as being fiercely conservative, with rigid rules that must be obeyed. Characters are Anglo-Australian comic stereotypes, whose costumes are garish and glitzy. They wear heavy make up, have elaborate, cartoon-like hairdos, and are overly concerned with outward appearances. Obsessed with winning ballroom dancing competitions, they are nable to talk about anything else. They have created an insular, claustrophobic world where outsiders are not welcome and innovation is seen as a threat. The heightened and stylised ballroom dancing world satirises aspects of Australian society. It serves as a metaphor Scott: I’m just asking you what you think of the steps. Liz: I donâ€℠¢t think. I don’t give a shit about them. We lost. (New Partners: Sequence 2) FRAN’S WORLD The second world is the Toledo Milk Bar, where Fran’s Spanish family lives. As recent migrants to Australia they are shown as living on the fringes of mainstream society, literally beside the railway tracks.Providing a stark contrast to the artificiality of the ballroom dancing world, their world is shown as more real. The exterior location suggests space and freedom. Characters are portrayed as more passionate and authentic than the winning-obsessed AngloAustralians because they dance from the heart rather than from a desire to win competitions. Baz Luhrmann explains: for a particular Anglo-Australian attitude, shown here as hierarchical and conservative. The Dance Federation’s obsession with rules and conformity â€Å"The Anglo world took the Paso Doble, which is a dance of expression, and put a whole lot of rules on it, and made it about inning. Whereas in Franà ¢â‚¬â„¢s family, dancing is could also be said to represent a fear of change in a part of Australian society that discourages spontaneity and creativity. a tradition, it comes from life, it is an expression of life. † Scott’s crowd-pleasing steps are seen as pointless compared to the obsession with winning competitions. After Scott and Liz lose the Waratah Championships Liz is inherent in dance before it became restrained and stifled. When Ya Ya encourages Scott to â€Å"listen to the rhythm† (Paso Doble: Sequence 5), the film furious. Scott tries to persuade her to listen to his ideas but she is only nterested in winning: suggests that expression in dance should be lived and enjoyed, rather than made into a competitive sport. The film tries to capture the original passion STRICTLY BALLROOM 10 FAMILY ultimate patriarchal, authoritarian figure, treats women as decorative objects. His forced me into it – where the man goes the lady must follow – I had no choice. † Although they appear conventional enough, with a mother, father and two scenes with ‘loyal companion’ Charm Leachman (No New Steps: Sequence 6) (Waratah Championships: Sequence 1) Liz’s words are ironic, especially when we children, the Anglo-Australian Hastings amily is shown as dysfunctional. The film subverts our expectations of the ‘average’ family. Shirley, like the other characters from the ballroom dancing world is onedimensional. She is depicted as a stereotypical domineering wife, browbeating mild-mannered husband Doug. She is also a stage mother who lives vicariously through her children’s successes. Shirley is ambitious for her son Scott to win the Pan Pacific Dance Championships, but only if he dances the Federation way. and when he demonstrates the Bogo Pogo dance step to Wayne and Vanessa (The Pan-Pacifics: Sequence 7) reveal his sleazy side. consider that she is the one who refuses o dance with Scott after he dances his own steps, and throws a temper tantrum when she does not get her own way (New Partners: Sequence 2). Similarly, Shirley bursts into tears at the dance studio when the efforts to get Scott and Liz back together fail. Fran’s Spanish family is portrayed more sympathetically, but also somewhat stereotypically. Like Cinderella, her real mother has died. Her father Rico is shown as swarthy, unshaven and ultra-strict. Fran’s body language and actions suggest that she is afraid of him and when we first meet Rico after Scott walks Fran home (Sequence 3) his words to Fran are harsh.Fran’s grandmother Ya Ya, dressed in black with a crucifix around her neck, grey hair But elsewhere there are men who do not have such authority. The ‘camp’ representation of Les Kendall throughout the film indicates that he is homosexual. The fact that he is different, the film suggests, has not been to his advantage. Barry Fife calls him â€Å"a pathetic fag,† at the Pan-Pacifics (Sequence 8) when Les discovers the truth about the 1967 Championships. Doug Hastings is also different. Far from being the conventional male head of the family, he is bullied by his wife Shirley and seems to have no authority at home.Whenever he tries to talk to Scott he is ignored, until the Pan-Pacifics (Sequence 7) when he is finally able to make Scott listen. Their portrayal is in marked contrast to the way Fran is depicted. Shown very much as a fairy tale heroine, Fran is shown more positively. Her shyness and lack of self-confidence give way to her blossoming courage and independence. Her natural appearance contrasts with the heavily made-up ballroom dancers, again reinforcing the idea that Fran is genuine and has more depth than the superficial female characters of the ballroom dancing world. Doug’s role as father is in marked contrastChildren There are two children in the film, Kylie, Scott’s younger sister, and Luke, her dance partner. Bot h are aged ten, and are tied back in a bun at first looks like a stereotypical ‘ethnic’ grandmother, but her appearance is deceptive. She is in fact Fran’s ally, covering for her when she goes to the way Rico is depicted. As a strict, authoritarian father, he is also portrayed as strong and masculine, his dance prowess seen as a macho attribute. He dressed as miniature ballroom dancers, complete with elaborate costumes and hairdos. Their function is to comment honestly and insightfully on the action, ut, and revealing a playful sense of humour at Scott’s expense during the Paso Doble scene (Sequence 5) when she speaks in Spanish about Scott’s becomes a mentor, even a father figure to Scott when he teaches him about the real meaning of dance. (Practising for the Pan-Pacifics: Sequence 6). and they also provide comic asides, for example when Kylie says: â€Å"It’s the inconceivable sight of Scott dancing with Fran,† as she watches them d ance ROLES OF MEN, WOMEN, CHILDREN Women The film satirises Anglo-Australian women by depicting them as hysterical, bitchy and backstage at the State Championships (Sequence 4). Kylie and Luke also act uring the Pan-Pacifics (Sequence 8) to help Fran and Scott. Realising that Barry Men In the ballroom dancing world, the men appear to be in control. Barry Fife, the manipulative. The following melodramatic comments by Liz Holt suggest that men lead, at least on the dancefloor: â€Å"He Fife plans to cut the music, they lock themselves into the sound booth so that his plans are thwarted. Their heroic â€Å"nice body†. STRICTLY BALLROOM 11 actions at the end and the way they cheer for Scott and Fran suggest that they European migrants started arriving in Australia. It is clear that Fran’s family is not represent a brighter future for dance. s financially well off as the AngloAustralians. But the fiesta that takes place WORK at the back of the house (Paso Doble: Sequence 5 ) conveys that there is life and soul here. Although dancing is an amateur pastime for most of the characters in the ballroom dancing world, they are so obsessed that it dominates their lives. For some of the characters, ballroom dancing also provides their livelihoods. Les Kendall and Shirley run Kendall’s Dance Studio together. Shirley’s explanation of why she dumped Doug at the Pan-Pacifics in 1967 reveals her fear of insecurity. It also suggests that in this world people feel hey have to sacrifice their dreams to obtain job security: â€Å"There was too much at stake. Our dancing career was on the line. I couldn’t throw all that away on a dream. We had to survive. We would never have been able to teach. † (The Pan-Pacifics: Sequence 7) Barry Fife displays quite a different attitude to work. He uses his position as Federation President to further his own business interests, notably the way he POWER The Anglo-Australian characters are those who are depi cted as having power in the film. But Barry Fife’s power is represented as hierarchical and corrupt. During the Waratah Championships (Sequence 1) theDance Federation judging panel is framed with a low angle shot, showing Barry and his fellow officials placed on a stage above the audience, reflecting their superior status. Barry is willing to fix the Pan-Pacific Grand Prix Dance Championships, so that Scott doesn’t win, as his words to a drunk Ken Railings reveal: â€Å"Your year, Ken. Just get on the floor, go through the motions and it’s in the bag. † (Scott & Fran’s Big Moment: Sequence 8) Throughout the film, his unscrupulous places his video, Dance to Win, on display at every opportunity, and gives a copy to Wayne as a sweetener to get him on his side against Scott (The State ethods reveal that he is willing to do anything to hang onto power. He is portrayed much like a corrupt politician or businessman who will do favours for Championships: S equence 4). certain people in order to gain personal advantages. By contrast, Fran’s family business is the Toledo Milk Bar. Business does not seem In contrast, Fran’s family, who live on the to be booming, as the milk bar looks shabby and rundown. Its paintwork is dingy and worn and there are bins full of rubbish in front. In some ways the Toledo edges of society, are depicted as less powerful because they are not part of the established, dominant Anglo-Australian ulture. However, their sympathetic Milk Bar suggests an earlier era, the 1950s, when such places were first popular, and also when southern portrayal in the film suggests that despite their marginal status, they are culturally richer than their Anglo counterparts. CLASS others. (The Try-Outs: Sequence 3). It is as if Fran’s ethnicity marks her as different, STUDENT EXPLORATIONS Although the film shows two cultures in opposition, it is more difficult to position and is considered a drawback to her inte gration and acceptance into the 1 Baz Luhrmann’s describes the world of Strictly Ballroom as ‘heightened and them in terms of class.The AngloAustralians can be described as white working-class or lower middle-class. They have more money and status in society than the characters in the Spanish world, which places them in a higher position. Yet their values and attitudes are satirised in the film, so that the Anglo-Australian world is presented as tacky and artificial, lacking depth. The Spanish characters, living on the margins of an urban society can also be described as working-class. However, their values are celebrated in the film, placing them above the Anglo-Australians. Anglo-Australian world. At the Pan-Pacifics Fran tells Scott how difficult it has been for her:RACE In the film the Anglo-Australian world is shown as dominant, and ‘normal’, with Fran’s Spanish world represented as the ethnic ‘other’. This could be said to mirror t he migrant experience in Australia, where Anglo-Australians form a majority of the population and have lived there longer than more recent arrivals. Fran’s â€Å"Frangipannidelasqueegymop. Wash the coffee cups Fran. How’s your skin Fran? † (At the Pan-Pacifics: Sequence 7). When Scott is introduced to the Spanish world, he is at first treated with suspicion by Rico (Paso Doble: Sequence 5). At first characters speak in Spanish in front of Scott, often at his expense, and as a way f excluding him from their conversation. For the first time Scott experiences what it is like to be an outsider. But after initial suspicion he is accepted. Scott is willing to learn from Rico and Ya Ya, and realises that the experience is enriching. It is interesting that as Rico and Ya Ya help Scott and Fran practice for the Pan-Pacifics (Sequence 6) they begin to speak both Spanish and English, indicating their growing acceptance of him and their openness to the Anglo world. 2 3 4 5 fantastical’. How does the film language used illustrate this? See Appendix E: Film Language. (Comment on costume, lighting, characters, amerawork, colour, music in each of the contrasting settings). How does the film depict the Anglo Australian characters? How does this compare with the film’s portrayal of Fran’s Spanish family? Who is portrayed more sympathetically, do you think? Many of the characters in Strictly Ballroom are cartoon-like and one dimensional. What advantages are there in creating characters that are stereotypes? Can you see any disadvantages? â€Å"No new steps! † Why do you think some of the characters were so frightened of new dance steps? Discuss the relevant characters/key moments. Do you sympathise with any of them? Why/why not?Do you agree with Baz Luhrmann that dance should be ‘an expression of life’ rather than a competitive sport? Do you experience at Kendall’s Dance Studio reflects this marginal status. Sh e is known as ‘just Fran’ rather than by her full name Francisca. She is reluctant to say her The film’s triumphant finale, which shows the two cultures uniting on the dance floor, offers a celebration of Australia’s multicultural society. As characters from have any personal experience of dancing competitively? (Irish dancing, for example) What is your opinion on such competitions? Spanish name because it reinforces her outsider status, making her a potential arget for name-calling by Liz and Vanessa. Fran’s appearance is also the ballroom dancing world and Fran’s Spanish world dance together, Rico with Liz Holt, Ya Ya with Les, the film offers an optimistic ending. From being two 6 How does the world of Strictly Ballroom differ from the cultural contexts/social settings of other comparative texts you have studied? Are there any similarities? different. Her dark hair and natural skin provide a contrast to the artificial glamour of the other ballroom dancers. Shirley, in her role as cosmetician, is always separate, distinct cultures, the finale ensures that they intermingle, each nriched by the other. Only Barry Fife seems not to fit into this new, inclusive encouraging Fran to use apricot scrub or Buf Puf to improve her skin, and tries making her up so that she looks like the world, suggesting that he really does belong to a bygone era. STRICTLY BALLROOM 13 HERO, HEROINE, VILLAIN Mainstream Hollywood cinema draws from principles and structures established in Greek mythology. Stories are driven by the struggle between a central hero and another, usually darker force. The conventional cinematic hero is strong and virile, who proves himself by overcoming obstacles set out for him by the narrative.The hero always achieves his goal and wins the love of a woman through combat or physical confrontation with another male. HERO Scott is the central character in the film. Positioned as the hero, he is a passionate, ambitious bal lroom dancer who also wants to dance his own steps. Scott has to balance his desire to win with a need for individuality and creativity. As he progresses through the film, he overcomes pressures and obstacles in his way and finds the courage to dance his own steps with Fran at the Pan-Pacifics. How film language* positions Scott as the Hero We know that Scott is the hero because he is central to the plot.The action he takes at the Waratah Championships when he dances his own steps is the catalyst for the story. But the way the story is told through film language also shows us that he is the a desire to win marks him as unconventional. He is also put under pressure to conform at different times during the film from Shirley, Les and Barry Fife, and he gives into the pressure more than once. The hero’s qualities of physical strength and virility are shown through ballroom dancing, an activity not normally associated with macho cinematic heroes. Scott’s Journey Scott also has to change his own attitudes to fully understand the true meaning of ance. There are several key moments in the film that illustrate Scott’s emotional journey: New Partners (Sequence 2) Fran approaches Scott When Fran asks to try out as Scott’s new hero. The camera frames Scott in particular ways to emphasise this. The following elements in camerawork illustrate how a film can position the hero: Scott: You’ve come up to me who’s been dancing since I was six years old†¦ and †¢ Framing of shots – the camera stays with the character as much as possible †¢ Close-ups of the character’s face reveal you want to dance non-Federation, and convince the judges at the Pan-Pacific Grand Prix with 3 weeks to train?Fran: Yeah. how the character is feeling †¢ Point-of-view shots make the audience see things from his perspective *See also Appendix E: Film Language STRICTLY BALLROOM 14 An Untypical Hero? Scott is an untypical cinematic hero. His interest in artistic self-expression more than partner, he is dismissive of her ability: Scott: I don’t think so. Scott only listens to Fran after she loses her temper and tells him he’s a â€Å"gutless wonder† for not having the courage to give her a chance. Even after Scott accepts Fran as his new partner, he holds onto the attitudes and beliefs of the ballroom dancing world. As they dance the ne last look at Liz, Shirley and the other competitors before jumping offstage to An Untypical Heroine? But if Fran fulfils many of the rumba, he instructs Fran to â€Å"look at me like you’re in love,† emphasising the artificiality find Fran. requirements of a fairy tale heroine, she is also untypical. Although Fran appears to of the ballroom dancing style. STUDENT EXPLORATIONS State Championships (Sequence 4) Scott and Fran dance together backstage Scott is caught between wanting to win the competition and his desire to dance new steps with Fran . The opportunity to dance with Tina Sparkle is tempting, and he is esitant when Fran asks him directly what he intends to do: 1 What are the qualities of a typical Hollywood hero? 2 Give examples of 2 other films in which the central character can be described as heroic, and give reasons for your choices. 3 How does the film position Scott as the hero? 4 Give examples of key moments that show Scott as the hero, and explain how film language conveys this to the audience. be a passive and shy individual at the beginning, at important moments she shows determination and defiance. But she also falters under pressure at times, particularly when faced with Scott’s indecision, or when bullied by ShirleyHastings. Fran: Are you going to dance with Tina? Scott: I†¦ she’s a champion. But as Fran watches Tina Sparkle and Nathan perform, Scott follows her gaze. The close-up shot of his reaction indicates that he is beginning to realise what he wants to do. As he dances with F ran backstage the lyrics to the song ‘Perhaps’ – â€Å"If you can’t make your mind up, we’ll never get started,† fit the scene perfectly. HEROINE Fran’s Journey Unlike the journey Scott makes to change his attitude towards dance, Fran already knows that she wants to dance ‘from the heart’. The Spanish proverb, ‘Vivir con miedo, es como vivir a medias/A life lived n fear is a life half-lived’ is one of the main messages of the film, and is closely associated with Fran. Her journey is about overcoming her fear so that she can reach her potential and live life to the full. Paso Doble (Sequence 5) Rico and Ya Ya dance the Paso Doble Rico and Ya Ya, having laughed at Scott and Fran Fran is positioned as the heroine in the film. Like Scott, she is a complex character who has to overcome obstacles to achieve her goals. In many ways she fulfils the requirements of a fairy tale heroine, with clear similarities between her character and Cinderella or The Ugly Duckling. At irst she is portrayed as a shy, awkward Fran’s ballroom dancing version of the Paso Doble, teach Scott their way. As Ya Ya encourages him to â€Å"listen to the rhythm,† Scott is transformed by the experience and beginner dancer. Wearing glasses, no make-up and a baggy T-shirt, her plainness provides a contrast to the glitz and glamour of the other ballroom rejects her shows her strength of feeling: learns that dancing from the heart makes it more meaningful and real. dancers. you’re just really scared, you’re really scared to give someone new a go because you think, you know, they might just be better than you are.Well, you’re just There are several key moments that illustrate Fran’s journey: New Partners (Sequence 2) Fran approaches Scott Fran’s angry response to Scott when he â€Å"You’re just like the rest of them. You think you’re different but you’re not because The Pan-Pacific Grand Prix Dance The film shows Fran’s journey towards confidence and fulfilment through the Championship (Sequence 7) Doug reveals the truth When Doug catches up with Scott and tells him the truth about the 1967 changes in her costume and appearance. From the opening sequence which features a close-up shot of an ordinary looking Fran speaking to camera about athetic and you’re gutless. You’re a gutless wonder. Vivir con miedo, es como vivir a medias! † Championships, Scott realises that he can dance with Fran at last. The film moves into slow motion as he spins around to have Scott and Liz’s ‘wonderful steps’, she undergoes a transformation, blossoming into a beautiful, confident dancer. Fran is then positioned in the centre of the frame, standing in the spotlight, just as Scott had been earlier. This indicates STRICTLY BALLROOM 15 that she too wants to dance her own steps, and suggests that she and Scott go ho me rather than spoil Scott’s chances. The use of low angle close-ups of Shirley, re more closely linked than we have previously realised. Vanessa and Liz, seen from Fran’s point of view, represent them as villains and Fran as a victim of bullying. The Try-Outs (Sequence 3) This montage sequence shows several aspects of the story that happen over the same period of time. Scott’s try-outs with prospective new partners are juxtaposed with Scott and Fran continuing to practice together. The camera also cuts to dates being crossed off the calendar, indicating that time has passed, and the soundtrack, appropriately, is the song Time After Time. The montage also shows how Fran’s transformation is taking place. Gradually er appearance begins to change, her hair becomes darker and more attractive and she wears skirts rather than leggings. The use of colour is also significant, and by the end of the sequence she is shown wearing stronger colours (black and red), re flecting her growing confidence. The State Championships (Sequence 4) Fran and Scott dance together backstage After the revelation that Tina is to be Scott’s new partner, Fran retreats backstage where Scott finds her. But the spell is broken when Liz Holt scathingly comments: â€Å"You’re kidding! † when she sees Fran and Scott dancing together. Fran becomes self-conscious again, and falls ver, injuring her ankle. Practising for the Pan-Pacifics (Sequence 6) Fran and Scott practice for the Pan-Pacifics with the guidance and support of Rico and Ya Ya. When Fran dances complicated steps with confidence and poise during a practice with her father, the reaction shot of Rico shows his surprise and pride. It is as if he is seeing his daughter in a new light. Like Ya Ya, he accepts that Fran has overcome her shyness and is ready to dance at the Pan-Pacifics. STUDENT EXPLORATIONS 1 Fran can be described as being like a fairytale heroine. Choose 3 key moments from the fi lm that show parallels between Fran and a fairytale heroine. How does the film reveal Fran’s transformation? Give some examples of key moments where Fran’s image changes, referring to costume, facial expression, movement, camerawork etc. Is the transformation more than just her appearance, do you think? VILLAIN Barry Fife There is one obvious villain in the film – Shirley, Liz and Vanessa persuade Fran to go home This scene in the dressing room is Barry Fife, President of the Australian Dance Federation. Symbolising a bygone patriarchal, authoritarian era Barry is portrayed as being shifty and corrupt. Like reminiscent of Cinderella, when Shirley (like the wicked stepmother), Vanessa andLiz (as the ugly sisters) persuade Fran to many of the characters in the ballroom dancing world, Barry is depicted as a cartoon-like stereotype. He is often filmed STRICTLY BALLROOM 16 in low angle close-ups, which make his face look grotesque, and his shiny blue speech about her oes to Les, which is both comic and satirical, bearing similarities to table and is shown on the floor looking dishevelled and defeated. The high angle suits, red face and false hairpiece convey to the audience that he is not to be the kind of speeches we are accustomed to hearing from certain politicians: camera shot used here makes him appear ulnerable for the first time. To symbolise trusted. Barry’s fear of change, combined with his desperation to remain the allpowerful President by ruthless and corrupt means, results in his loss of power and authority at the end of the film. Barry fulfils the role of a typical cinematic villain, being the darker force that tries to prevent Scott from dancing his own steps. Despite his villainous ways, he is also responsible for many of the film’s funniest moments, particularly when he confuses proverbs and sayings like: ‘Let’s not chuck the baby out with the bathtub,’ and ‘One bad egg can rot the whole ba rrel. ’ Several ey moments reveal Barry Fife as a villain: Waratah Championships (Sequence 1) Barry’s office Barry is sitting in his office behind his desk, a position that emphasises his authority. Speaking directly to camera, Barry’s statement hints strongly that he is more than an impartial judge at the dance competition: â€Å"You can dance any steps you like, but that doesn’t mean you’ll†¦ win. † â€Å"Let’s not forget, Les, that a Pan-Pacific Champion becomes a hero, a guiding light to all dancers. Someone who’ll set the right example†¦ I love dancing, Les, and I won’t let what we’ve fought for all these years be destroyed. †The film then cuts to an obviously drunk Ken Railings dancing with Liz, providing an ironic comment on what exactly Barry Fife has fought for all these years. Practising for the Pan-Pacifics (Sequence 6) Barry’s version of Doug’s downfall When Barry tells S cott that Doug’s crazy steps lost the 1967 Pan-Pacifics for Shirley and Doug, the audience does not yet know the truth. Barry’s fake version of events is conveyed to us through a flashback sequence, which he narrates. The past is depicted as a drama, a playwithin-a-play in which Barry, naturally is represented positively. His version of the past is designed to create a rosy nostalgia, ut his words sound unconvincing and false: The film language used during this scene conveys Barry’s untrustworthy nature. The ADDITIONAL EXPLORATIONS 1 The final sequence at the Pan-Pacifics reveals acts of heroism by other characters in the film. Name the characters involved, and describe the actions they take that might be considered heroic. 2 From your study of Strictly Ballroom as well as other comparative texts, compare the heroic qualities of each of the main protagonists. In what ways are they similar/different? The Pan-Pacific Grand Prix Dance Championships (Sequence 7) Bar ry falls and knocks over the trophiesLes that he wants Scott to dance with Tina Sparkle. To the tune of Danny Boy in the background, Barry makes a sentimental 1 How does the film communicate that Barry Fife is a villain? Comment on the film language used and refer to selected key moments in your response. 2 Is Barry Fife more than just a villain? Are there any reasons why we might feel sympathy for him in the film? we used to scruff it together†¦ Lessie’d come along of course. The three of us together, the old gang. We were a bunch of old funsters. † State Championships (Sequence 4) Barry talks to Les Barry’s motives become clearer as he tells STUDENT EXPLORATIONS I was your dad’s best mate in those days, lighting is shadowy and the camera zooms in to a close-up of his mouth when he says the word â€Å"win,† which echoes ominously. Barry’s sudden and dramatic fall from power, his hairpiece has fallen off and the trophies are scattered ar ound him. After Barry’s schemes have been foiled, one of the last images we see of him is when he literally topples over the trophy STRICTLY BALLROOM 17 APPENDIX A BAZ LUHRMANN INTERVIEW FII: When did you first see cinematic overcoming seemingly impossible odds, on the culture of Australia. But beyond that, possibilities for Strictly Ballroom?BL: Well, what happened was I did it as a and it’s finally about the fact that the young David with the belief, comes up because it is David and Goliath, and because there was an election campaign at play and then I met this producer and he said, look I’d like to buy the rights, and I with the solution†¦ No one wanted to finance the film, I was a first-time director, the time about republicanism it had political implications too. The all-powerful said, well I’d like to make a film of it and they agreed to let me do the film. But I you know what I mean, there were lots of no’s. I went to Cannes the year be fore andFederation, they have a very particular Australian attitude, which is an old guy always thought it would be a film and I always thought it would be a musical as doors were slammed in my face. Not twelve months later the same people that going, â€Å"There’s only one way to cha cha cha mate, and you’ve got to do it that way or well. I mean all our films we make have this cinema form which we call had said, â€Å"What a waste of time†¦ † were like crying with tears going, â€Å"Remember else. † It started to smash away at that. FII: What films have influenced you? I theatricalised cinema, red curtain cinema Strictly Ballroom, Romeo and Juliet and

Absorb well all themes and only after that choose a title and start Term Paper

Absorb well all themes and only after that choose a title and start writing the - Term Paper Example This paper will look at trade components while discussing trade measures and commodities, tariff and non-tariff barriers, export taxes, quantitative measures, subsidies, consumption taxes, the impact of trade measures on supply and demand and prices, obstacles to reform of agricultural trade through WTO and raw materials. New trade measures have been documented, influencing almost 0.9% of universe imports and 1.1% of G-20 commodities imports from 2011 in the middle of October. The foremost trade measures include customs controls, trade remedy actions, import licenses, and tariff enhancements. There have been less new export measures introduced over the past months than in prior times. The most current upsurge of trade measure seems to attempt to inspire recovery via national industrial scheduling instead of dealing with the short-term impacts of the world crisis, which is a long-standing issue. In addition, the amassing of trade measures has to be deliberated where the distortions and stock of trade measures that persisted prior to the global financial turmoil are still in existence (Shah 1). Finally, trade measures have both negative and positive effects on commodities. Tariffs refer to taxes imposed on imports on products into a region or country. Tariffs enhance earnings to companies and dealers of resources to local companies that are competing with external importers and supply income for the governments. Tariff barriers refer to taxes enforced on commodities which adequately create an impediment to trade; nonetheless, this is not the ultimate responsibility of enforcing tariffs. Tariff barriers are also referred to as import restraints. This is because they reduce the quantity of commodities which can be brought into a region or country. In addition, non-tariff barriers are an alternative means for a country or region to regulate the amount of trading activities that it does with a

Boiler Room Directed by Ben Younger Essay Example | Topics and Well Written Essays - 1000 words

Boiler Room Directed by Ben Younger - Essay Example Upon entering JT Marlin’s offices that served as the short time brokerage firm in the New York’s outskirts, Seth meets cameo performances from Jay (Specogna 85). This performance gives him the resolution to pursue money with more vigor. His driving forces include the fractured relationship he had with his father and the love interests he began showing on Abbie. These two factors give him more motivation. His initial excellence further gives him the courage to sell and pursue the high commission. However, a few contacts in his business dealings start questioning the legitimacy of many firms. His latest stand only highlights strained association with his father. It also highlights the deterioration of morality in society (Specogna 85). Issues of morality are evident in the movie when Seth, who is a morally upright student, not only drops out of college but also disagrees with his harsh father. It is unfortunate that his father, who was a federal judge, considers him illeg itimate instead of supporting him through his college education. Ben Younger portrays the father as morally lacking. When Seth gets a stockbroker’s job, he puts in a lot of determination and hard work in his endeavors to be successful. However, things assume a worse turn when Seth discovers that the job he was doing failed to serve its purpose (Specogna 48). The director of this movie portrays Seth as a college student with high aspirations even after dropping from Queens College. He decides to operate a casino from his rented apartment as a source of revenue. However, this casino fails to meet Seth’s father’s expectations. As an obedient son, Seth considers either an approval or disapproval of his stern and adjudicating father very important. As a way of obeying the wishes of his father, Seth drops his casino business and decides to pursue a career in stock brokerage. He learns this idea from J.T Martin. Although he joined as a junior associate, he soon learned the idea of doing sales over the phone craft. His hard work and resilience nature soon earn him a senior broker’s position upon obtaining Series 7 license. He exudes success in his sales career and even registers for training that makes his earnings increase upon completion. However, he later learns that J.T Marlin’s earnings are excessively higher when compared with the average. This makes him develop suspicions for the business practices conducted by J.T Marlin. At this point, Seth realized that his entry into this sales profession was only to please his father. The reality was that he was in a wrong profession and was disappointed. This illustrates the immorality of choices. Parents who force their children into professions that they do not like are only acting immoral (Specogna 89). Legal and ethical conflicts of the movie Many opportunists in the society today would seek to take advantage of other persons especially the weak. The Boiler room movie illustrates thi s situation of the society through its several scenarios. The morality and ethical concepts within society are neglected in the movie in pursuit of status and profits. Seth Davis draws attention from the boiler room. Although he runs a successful gambling operation in his apartment, ethical issues of the business are highlighted as evident in the tender ages of clients. Besides, his father, who is a federal judge, feels embarrassed by his son’s choice of career.  Ã‚  

Facundo Essay Example | Topics and Well Written Essays - 1000 words

Facundo - Essay Example The book discusses different themes and also outlines, in length, different important concepts based upon which the future of the Argentinean politics is to be defined. What is critical is the extensive coverage of the concept of nation in the book and how interlinked the ethnicity, culture and nation with each other. Facundo also discusses at length as to who shall be taken into consideration while building the nation and who are to be left out while deciding upon how the culture and politics of a nation to be explored and understood. It is also critical to note as to how the concepts of civilization as well as barbarianism has been actually pitted against each other in defining the overall concept of nation. (Ludmer, 2002) This paper will choose topic 1 of the assignment and will discuss and explore the concept of nation as discussed in Facundo besides discussing as to who he considers as unwanted and need to be left. This paper will also discuss and explore some of the contradictions in his arguments. One of the key parts of the overall arguments in Facundo is how the author has actually been able to relate the culture and geography. By presenting a historical analysis of the geography of Argentina as well as its culture, Sarmiento actually has been able to demonstrate as to how the interaction of geography and culture is important for defining what a nation is and what should be its future orientation. By presenting a historical analysis of the geography and the people, Facundo has been able to demonstrate as to who are the people who have been the cause of the problem for the nation in past. It is critical to note that Sarmiento updated Facundo in its different versions and editions hence actually outlining as to what is his vision for the nation. As such the overall contents of the book depended upon the circumstances prevailing at that time and Sarmiento seem to have driven lot of power and ideological ground

Financial Modelling Research Paper Example | Topics and Well Written Essays - 1750 words

Financial Modelling - Research Paper Example , Total assets of company (expressed in  £ millions), Extent of team working within the company (expressed as a percentage), Scheme (coded as 1 if company has a profit sharing scheme) and 0 otherwise, Market share of company (expressed as a percentage), the age of the company (since how many years it was established) and lastly, Return on capital employed (also expressed as a percentage). First we show graphical representation of the data to understand any issues or patterns which arise from the data, we then conduct univariate and bivariate analysis to find out if there is a correlation between profit sharing scheme (the dependent variable) with the independent variables (the six aforementioned variables) one by one, later the multiple variable analysis to discover if the overall model is significant or not, which means we explore if the six independent variable all together have an influence on profit sharing scheme or not. Finally a logistic regression analysis was run to find o ut the impact (positive or negative) that the six independent variables have on the profit sharing scheme. The SPSS computer program was used to conduct the statistical analysis while the excel software was used for the graphical visualizations. Graphical visualization helps us to visually explore and understand the pattern of a given data set. In this section we present the graphical visualizations of the variables. We begin by the Profit margin of company (expressed in percentage). The graph clearly shows that that none of the companies has managed to reach a profit margin of 35% and slightly few have a profit margin of below 5%. The highest profit margin recorded is 32.33% and the lowest profit margin is 4.4%. Figure 2 presents a graph of total assets of company; we observe that most companies had assets of between  £ 2000-8000 (millions). The company with the highest assets had  £ 13,686.62(millions) worth of assets while the lowest company had  £ 270.65 (millions) worth of

Critically explore the risks, challenges and key issues in relation to Essay - 2

Critically explore the risks, challenges and key issues in relation to starting up a new restaurant in Cardiff Bay in light of the current economic climate in the UK 01312 - Essay Example Full and quick services restaurant growth for 2015 is forecasted up to 3.4% and 3.7% respectively (Technonic, 2014). The industry value in UK economy with around 35,032 business, 590,915 employees and value of  £26.7billion in 2014 (IBIS World, 2014 and Department of Environment Food and Rural Affairs, 2014). The industry also witnessed an increase in distribution index on an average 1.3% with 4.7% increased outcome for 2014 (Office of National Statistics, 2014 and Office of National Statistics, 2015). The development of world’s deprived regions has widely captured the attention of opportunists for being early starters in the new markets via filling the spotted gap. One of such regions emerging regions offering fair opportunities is Cardiff Bay. The mining valley holds the status of world’ first industrialized city (Cardiff Caerdydd, N.d).The last two decades history of the region is adventurously full of growth events and developments. A forecasted population growth and heavily changed lifestyle are promising measures for services business industry (Cardiff Caerdydd, N.d). Ranked as the 10th largest UK city, Cardiff Bay attracts around 18 million visitors a year till 2012. From 1000 registered buildings, 547 are of food businesses including bar, cafà © and restaurants in Cardiff Bay (Ruddick, 2012).Though, the region still needs huge reforms and administrative facilities but critics show positivity towards success of the growing entity. A new sole-proprietorship entity has developed a business plan for entering the Cardiff-Bay restaurant industry to capture opportunities. The plan is apparently developed but lacks the description of risks and challenges associated with the external environmental factors. It is agreed upon a fact, that developing an effective business plan is as challenging and attention seeking as the running a business (Mullins, 2012 and Chesbrough, 2012). Hence, below presented report is a

How a management consultant identifies a potential client Essay

How a management consultant identifies a potential client - Essay Example Management consulting may involve the identification and cross-fertilization of best practices, analytical techniques, change management and coaching skills, technology implementations, strategy development or even the simple advantage of an outsider's perspective. It generally brings formal frameworks or methodologies to identify problems or suggest more effective or efficient ways of performing business tasks. "Management consultants are primarily concerned with initiating and implementing technological, organisational and behavioural changes. Their work involves providing objective appraisals where it is often easier for an expert outsider to see the broader picture and reorganise the long-term requirements of an organisation." In management consultant, identifying a potential client is a very important aspect. One would consider a business organisation that has not been performing well as a potential client. The organisation should be big enough and ready to pay management consultation fees. Such a business organisation would not decline the service of a management consultant for they would be willing to achieve their organisational goals. If given a management consultation by a potential client, then I would start the consultation work immediately. This would involve a number of approach and steps to follow in order to fully identify the real problem with the firm. When it comes to consultation work itself, it involves a management consultant team which must include senior management as well as employees at all levels. A newly-hired graduate will start in a supporting role in team projects and will be involved in the following activities; Taking Responsibility for Gathering and Collating Data At a start of any management consultation, the necessary data has to be gathered and collated. This is the responsibility of a newly hired graduate in a management consultation firm. He goes to the firm that requires management consultation and gathers all the necessary data and put it together. (www.prospects.ac.uk/links/ManConsult/) Processing Figures to be Presented by Senior Colleagues to the Client's Senior Management The figures to be presented to the client's senior management by the management consultant senior colleagues are processed. This is done to ensure that the client senior management get just only the most essential data as far as management consultation is concerned. (www.prospects.ac.uk/links/ManConsult/) Interviewing Clients and other Individuals It is still the work of a newly hired graduate to interview the clients and other individual to gather more information that might be necessary in management consultation work. This should be done in a tactful manner in order to get the correct feedback and also to ensure the clients and other individuals cooperate to provide the information a newly hired graduate is seeking. (www.prospects.ac.uk/links/ManConsult/) Researching External Sources such as the Internet or other Relevant Databases It is still the responsibility

The Role of Legislation in Managing Diversity on the Workplace Dissertation

The Role of Legislation in Managing Diversity on the Workplace - Dissertation Example Sex DiscriminÐ °tion Ð ct 1975 Ð °nd 1976 The 1975 Ð °nd 1976 Sex DiscriminÐ °tion Ð ct (SDÐ ) is typicÐ °lly thought of Ð °s Ð °n Ð °ct to prevent discriminÐ °tion Ð °gÐ °inst women, but, infÐ °ct, it Ð °pplies equÐ °lly to both sexes. The SDÐ  stÐ °tes thÐ °t it is ‘unlÐ °wful to treÐ °t Ð °nyone, on the grounds of sex, less fÐ °vourÐ °bly thÐ °n Ð ° person of the opposite sex is or would be treÐ °ted in the sÐ °me circumstÐ °nces’. In the lÐ °w cÐ °se JeremiÐ °h V Ministry of Defence there wÐ °s found to be unlÐ °wful discriminÐ °tion becÐ °use only the men hÐ °d to do unpleÐ °sÐ °nt jobs. The Ð °ct covers discriminÐ °tion in different Ð °reÐ °s of life. In employment, it is Ð °gÐ °inst the lÐ °w to discriminÐ °te on the grounds of sex Ð °nd mÐ °ritÐ °l stÐ °tus. This includes recruitment Ð °nd selection, Ð °dvertisement of jobs, Ð °nd Ð °ccess to promotion Ð °nd trÐ °ining fÐ °cilities. The Ð °ct Ð °pplies to both potentiÐ °l Ð °nd present employees. The Ð °ct identifies both direct Ð °nd indirect discriminÐ °tion: Direct discriminÐ °tion – this involves treÐ °ting Ð ° womÐ °n less fÐ °vourÐ °bly thÐ °n Ð ° mÐ °n becÐ °use she is Ð ° womÐ °n, for exÐ °mple for not considering women for Ð ° mÐ °nÐ °gement trÐ °ining course. The test is: †¢ was the treatment less favourable than the treatment which was (or would be) accorded to a person of the opposite sex? and †¢ was the treatment less favourable because of the gender of the person involved? Indirect discriminÐ °tion – this occurs when Ð ° condition is Ð °pplied equÐ °lly to men Ð °nd women but where women hÐ °ve greÐ °ter difficulty in fulfilling thÐ °t condition Ð °nd the condition cÐ °nnot be justified. ... In the lw cse Jeremih V Ministry of Defence there ws found to be unlwful discrimintion becuse only the men hd to do unplesnt jobs. The ct covers discrimintion in different res of life. In employment, it is ginst the lw to discriminte on the grounds of sex nd mritl sttus. This includes recruitment nd selection, dvertisement of jobs, nd ccess to promotion nd trining fcilities. The ct pplies to both potentil nd present employees. The ct identifies both direct nd indirect discrimintion: Direct discrimintion - this involves treting womn less fvourbly thn mn becuse she is womn, for exmple for not considering women for mngement trining course. The test is: - was the treatment less favourable than the treatment which was (or would be) accorded to a person of the opposite sex and - was the treatment less favourable because of the gender of the person involved Indirect discrimintion - this occurs when condition is pplied eqully to men nd women but where women hve greter difficulty in fulfilling tht condition nd the condition cnnot be justified. Indirect sex discrimination occurs where an employer applies a provision, criterion or practice equally to women and men but the provision, criterion or practice: - is such that it would be to the detriment of a considerably larger proportion of women than of men; and - cannot be shown by the employer to be justifiable irrespective of the sex of the person to whom it is applied; and - is to the detriment of the woman in question. For exmple, it ws djudged tht the ge condition pplied in the Civil Service for promotion to the Executive Officer grde resulted in indirect discrimintion. (bbsi, Hollmn, 2004). Individuls over the ge of 28 could not obtin promotion to this grde. This ws djudged to discriminte ginst women s

Philadelphia Healthcare System Assignment Example | Topics and Well Written Essays - 750 words

Philadelphia Healthcare System - Assignment Example The Philadelphia healthcare system can be termed as one the most developed health care system. The hospitals in this area are equipped with more than 300 beds which gives them a capacity of over 300 inpatients. A large number of beds in hospitals indicates that the hospitals in these regions are well equipped with facilities to take good care of inpatients. The capacity of a health care system is a critical factor in any region in a country. A large capacity allows the hospitals to respond to emergency matters and guarantee the patients of quality health in a time of need. The availability of these facilities ensures better health care, lower mortality rate and a healthier public in the country. The high capacity of the medical hospitals in Philadelphia indicates that the hospital has the capacity to take care of the health needs of the society. Also, the availability of this capacity indicates that the health system has enough medical personnel to take care of the health needs of th e society. Judging from this capacity, it is possible to regard Philadelphia as one of the best medical health systems in the United States. The hospital care intensity index is one the ratios that are used to measure the quality of healthcare within a health system. This figure provides the ratio between the number of days that a patient stayed in hospital and the number of times that they received attention from the medical staff within the hospital. In essence, this ratio is a representation of the availability of medical staff which in turn indicates the degree to which a healthcare system is equipped with medical personnel.  

Narrative Structure and Binary Oppositions Essay Example for Free

Narrative Structure and Binary Oppositions Essay This essay illustrates the understanding of writing aspects of visual composition because they are grammar of a language. In this image, we get to know good literature and good poetry is more than words and subject matter, art is more than pictures. The Safaricom Company had to choose the sentence structure, the style, and so on can make or break a good story. The designer of this graphic show the way the formal elements are arranged and this can make or break a good picture idea. The use of design principles applied to the visual elements is like visual grammar. In the background of this graphic, the children are playing and happy in school, at the same time it is like learning to read and write the language of vision because it develop you with a style of expressing visual ideas, this also helps you to become visual poets. Looking for the visual effects of design principles does not have to limit an artist’s options because it can focus an experimentation and choice making.. The six visual elements which includes: the color, the line, shape, value or tone, texture, volume or form are all display in this image, first we think of the elements as the basic visual material to this art because it is hard to imagine anything visual without the use of one or more of these elements. While, we think of the principles as was to work with and arrange the elements. See more: what is a narrative essay Colors are seen within the brain, it is the eyes that have the receptors that tell your brain what you are looking at, in the picture color explain a lot about this company. The color green was exploded in the visual element to shows their possession in Kenya and are the safari of Kenya with color used. Secondly, the lines used in the graphic design shows the border guiding the page layout and the design is shows the picture in a book form. The third thing is the shape which enable this design unique, even in the picture lots of shapes are shown to give you a better understanding about what information it’s poetry to the audience. Value or tone are shows who the picture was edited well and contrast at the proper level so suit the eyes of the viewers in Kenya , Safaricom had been there for the nation in it start-up. This was the first GSM Company and they had extended throughout the nation, they had brought lots of programs to the Kenyan people. This image tells how the company is in the front of the Kenyan people and ready to go extra mines for them, in the picture a boy is standing outside of a school fence with smile which means, Safari com company and on the campus there are lots of students and they are playing and dancing which poetry the services that the company Safaricom render to the Kenyan people. In another aspects of this graphic Safaricom company is promoting education programs, for those street kids out there who their parents doesn’t have the hands to sponsor them in school, the gender aspects have to do with promoting sexual gender equal because this have lead to many kids abuse and Safaricom is here in this picture saying â€Å"am here for a chance†. All these are just tell us how media are involved 95% in preaching polities. Some of the design principles or design rules are broken by artist for example: Emphasis- says â€Å"Center of interest.† It is about dominance and influence. Most artists put it a bit off center and balance it with some minor themes to maintain our interest. Some artists avoid emphasis on purpose. They want all parts of the work to be equally interesting. Harmony- As in music, complementary layers and/or effects can join to produce a more attractive whole. The composition is complex, but everything appears to fit with everything else. The whole is better than the sum of its parts. Unity- When nothing distracts from the whole, you have unity. Unity without variation can be uninteresting- like driving on a clear day through Western Kansas on the interstate. Unity with diversity generally has more to offer in both art and in life. Of course some very minimal art can be very claiming and at times even very evocative. Even the simple landscape in this artwork has a powerful effect. Opposition- uses contrasting visual concepts. That same background of this Safaricom advertisement â€Å"blue sky† landscape becomes very dramatic and expressive when a sun builds in the southwest. Principles can grow out of any artistic device that is used to produce an effect on the viewer. Balancing is one of the most important things because it is the consideration of the visual weight and importance in this image looks. It is the way of comparing the right and left side of the composition. The boy outside the fence is essentially symmetrical and the other students in the shade background, both sides are similar in visual weight and almost mirrored. Because symmetrical balance often looks more stiff and formal, sometimes it is called formal balance. Asymmetrical balance is more interesting, in the picture both sides again are similar in visual weight but not mirrored. It is more casual, dynamic, and relaxed feeling so it is often called informal balance. Radial balance is not very common but it is like a daisy image as we see in this picture with everything arranged around a center. Rose windows of cathedrals also use this design system too. Of course Safaricom, even though was the first communication company doesn’t look stiff and formal because we think of fluttering the company as nation number one for freedom and spontaneity. It is a case of subject matter and symbolism overpowering formal design effects. This Safaricom image can have many meanings and feeling beyond its â€Å"radiant† feeling. People might hate it as telling what they should do with their life and on the other hand, many of us can’t help thinking about this great company Safaricom. The extraordinarily textured painted the company. Since we have contemplated those thickly expressed colors and textures with their luscious painterly surface, every other company we see try to become an aesthetic experience filled with fruitful sensations. Variety is used in this image by elements changes. Repeating a similar shape but changing the size can give variety and unity at the same time. Keeping the same size, but changing the color can also give variety and unity at the same time. In visual composition, there are many ways you can change something while simulate Amorously keeping it the same while the depth is effects, space, projection toward the viewer add interest. Linear perspective in the real word makes things duller and small things brighter, and so on, to make the objects contradict realism. Many artists don’t believe in realism even though they could do it if they wanted to. It seems too boring to them. Realism wouldn’t be art for some artists. The way the image repetition is of the visual elements is, one is the size variation that can be applied to shape, form, etc. Notice how size can affect how close or far something can appear to be from the viewer. Example can be the boy in the close view and the rest of the students in a far view. Which one appears closer? Note how size relationships create depth or space in a composition. Children in first grade can already recognize closer and father based on size even though they wouldn’t typically use their pictures unless they were motivated to do so. Repetition can be used on all of the visual elements. If things are repeated without any Shape they can quickly get boring. However repetition with variation can be both interesting and comfortably familiar. Repetition gives motion. While variation can be used with all of the visual elements. See â€Å"variety† above. You can do this with all the elements. Artists do this all the time. Color saturation, sometimes called â€Å"color intensity† or brightness can also gives a feeling or depth and space. Which of these people are farther away in the image? Most second graders can see this effect when they are asked to look for it. These people create the illusion of depth even though they are all the same size. When we analyze artwork we often start with visual effects. We notice something happening. Then we try to figure out why it happens. Motion isn’t a principle. It is one of those magic effects when a still picture has motion. There are lots of ways to get motion. Motion examples: sometimes it has to do with orientation. A diagonal line is more dynamic than a horizontal or vertical line. Sometimes motion depends on the character of the element itself. A straight line may be less dynamic than a zigzag or a curving line. A blended are may appear to flow Depth is another magic effect. Illusion and magic are two threads of the same cloth. Example of depth; sometimes the illusion of depth has to do with orientation also, if you want a chair person to appear further away, you can place them higher on the picture plane. Sometimes the illusion of depth depends on the character of the element itself. A warm color can appear to project and cool color can appear to recede, other things being equal. A light tone (value) can appear to project and dark tone can appear to recede. We can define semiology or semiotics as the study of signs. We may not realize it, but in fact semiology can be applied to all sorts of human endeavors, including cinema, theatre, dance, architecture, painting, politics, medicine, history, and religion. That is, we use a variety of gestures (signs) in everyday life to convey message to people around us. We should think of messages (or texts) as systems of signs, e.g., lexical, graphic, and so on, which gain their effects via the constant clashes between these systems. For example, the menu we consult in a restaurant has been drawn up with reference to a structure, but this structure can be filled differently, according to time and place, e.g., breakfast or dinner (Barthes, 1964, p.28). The goal of semiological analysis is to identify the principle at work in the message or text, i.e., to determine the rhetoric or the grammar trying together all the elements. We get a sense of how language works as a system (Barthes, 1983, p.58) if we think of language as a pair of axes or two planes of metal activity, the vertical plane being the selective principle (vocabulary) and the horizontal dimension being the combinative principle (sentences0. For example, we might select items (words) from various categories in the vertical (associative) dimension, such as kitten, cat, muggy, tom, puss, mouser, sat, rested, crouched and so on, and link them in the horizontal (combinative) plane to formulate statements like the cat sat on the mat. Motivated signs are iconic signs: they are characterized by a natural relation between signifier and signified. A portrait or a photograph is iconic, in that the signifier represents the appearance of the signified. The faithfulness or the accuracy of the representation-the degree to which the signified is re-presented in the signified—is an inverse measure of how conventionalized it is. A realistic portrait (painting) is highly conventionalized this means that to signify the work relies on our experience of the sort of reality it re-presents. A photograph of a street scene communicates easily because of our familiarity with the reality it re-presents. It is important to recognize that in signs of high motivation, the signified is the determining influence, and in signs of low motivation, convention determines the form of the signifier. Finally, after intruding into this design principles and element used to convey information to the viewer, I will conclude by saying the safarcom GSM Company involve themselves in the life on the Kenyan to protect them but at the sometime media is put in front to shows politics. Safaricom choose this graphic because it explains a lot about the Kenyan cultural society. REFERENCES Barthes, R. (1964). â€Å"The structuralize Activity.† From Essais Critiques (winter) p. 82-88 Fiske, J, (1982). Introductions to communication. London: Methuen. Jacobson, R. (1960). â€Å"Linguistics and poetics. â€Å" In style in language, (ED.) pp.260-265 Williams, R. (1976). â€Å"Structural. â€Å"In key words. London; Fontana, pp. 253=59

Large classes Essay Example for Free

Large classes Essay When students are in large classes it is very hard for the teacher to give every student individual attention. What can educational authorities do about this? It is quite obvious that when the students are in very large numbers in a class, the teacher can’t pay individual attention. I think as far as students are attentive in the class, teachers attention to individual hardly matters. Not all students in a class need personal attention, because they are smart and grasp the lessons quickly by themselves. However some of the students who are a little weak can surely get personal attention of the teachers. Nevertheless for the teacher to be able to monitor progress of all students of a class, it is necessary that proper student teacher ratio is adhered to. Student-Teacher ratio refers to the number of teachers in a school or university with respect to the number of students who attend the school or university. For example, a student teacher ratio of 10:1 means that there are 10 students for every one teacher available. The term can also be reversed to be teacher-student ratio. If one classroom has a 30:1 ratio and the other has a 10:1 ratio, the school could claim to have a 20:1 ratio overall. But if the ratio is 50:1, the school needs to hire more teachers. In a way 40:1 is the ideal ratio where all students can get proper attention of the teacher. Summarizing, this is the responsibility of the educational authorities to inspect schools and universities periodically to ensure a right student-teacher ratio and in the event of this ratio changing due to greater number of students, educational authorities must strictly advice schools to hire more teachers and maintain appropriate student – teacher ratio. This shall help all students get better attention of the teachers if not individual attention.

Materials For Cladding System

Materials For Cladding System The materials for cladding are often chosen for their manufacturing parameters, cost, durability as well as appearance. Examples of the materials are metal cladding and precast concrete cladding. Both of these differ in terms of strength, durability and cost of each material. Metal Cladding The durability of a metal cladding is affected by type of material, exposure of the panel, local environment factors, corrosion protection as well as the details of the cladding itself. When using metal cladding, the lifespan of this system is generally defined in terms of its period from the first use to the first maintenance which is the period for when then material may need to be repainted to maintain its original appearance or the original coating system can no longer protects the metal underneath. Usually, metal cladding suppliers will provide detailed information regarding their product including the durability of the metal cladding itself. The coatings of cladding are also affected by the intensity of the exposure to ultraviolet radiation which means less longevity but for organic coated steels, the period to the first maintenance can be as long as 30 years. The durability of a metal cladding can also be affected by the workmanship related defects during the installation proc ess such as scratching the coating. Since metal cladding began to be used in a range wider than simply industrial buildings, then architectural features for aesthetical value such as curved eaves and corners as well as horizontal profiles have been developed. Texture and colours are mixed to form a more interesting cladding rather than a plain metal cladding but the incorporation of architectural features requires huge care over specifications as well as installations. The most used cladding system for architectural purposes are profiled cladding and composite panels which were often laid horizontally and fixed to vertical sub-frames of the building itself. A curved profile panels are produces from flat profiled sheets, either by creating a series of cross ribs that were then adjusted onto the metal locally. The other method in producing curved profile panels involves stretching the profile to provide a smooth curve without cross ribs like the earlier method but this method is more restricted in the range of curves and radii available to be used. For this curved profiled panels, a more careful setting out is needed compared than the flat profiles but it has the advantage in being stiffer than the flat ones. From this, it is obvious that a curved profiled panels and composite profiled panels are more durable yet stronger compared to flat profiled panels. Besides, this can be used as an advantage for architectural purposes which the world often look for nowadays. Precast Concrete Cladding Precast concrete has now become the architectural cladding material of choice because it has the advantage in terms of aesthetics, durability, low maintenance surface, applied finishes, as well as construction economy. This system often combines the benefits of low maintenance, high durability, excellent fire resistant and even energy efficiency. This combination makes precast concrete cladding an ideal solution for the emphasis of prestige, luxury and aesthetic appeal, especially for high rise offices and residential towers or for economy and durability priority such as in lower rise offices and commercial structures. Brick, marble, tile and granite are of typical finishes used for precast concrete cladding but any other decorative stone can also be applied for more variations. This type of cladding system is one of the most cost effective because it is naturally coloured. The main advantage of precast concrete cladding are in terms of installation, where the installation for this cladding system is swift and rapid; the sized of the panels which are typically sized so that they can span grid to grid, allowing a large area of the applied building to be weathered as quickly as possible. Besides, there are no scaffolding required in the installation of this precast concrete system as all fixings are accessed from the rear end of the panels. Sometimes, for construction that needed to use glazing units and insulation, they can easily be fitted to the precast unit in the factory that made the precast unit itself, thus decreasing the time needed for the work. But, in order to make precast concrete cladding system more cost effective, it is important that panel sizes to be maximized and a degree of repetition exists which these will ensure a number of panels can be casted from a single mould. Two types of sub surface drainage system for domestic usage In building a good drainage system, there are few principles that need to be followed. Some of them are: Material should have adequate strength and durability. Every part of a drain should be accessible for the purpose of inspection and cleansing. Drains should be in straight run as far as possible. Drains must be laid to a gradient which will render them efficient. The fall or gradient should be calculated according to the rate of flow, velocity required, and the diameter of the drain. Every drain inlet should be trapped to prevent the entry of foul air into the building which the minimum seal required is 50mm. For domestic usage, there are three types of subsurface drainage system which are combined system, separate system and partially separate system. The scheme or plan layout of drains will depend upon factors such as number of discharge points, relative position of discharge point, and drainage system of the Local Authority sewers. Combined System In a combined system, all the drains are discharged into a common or combined sewer. It is the most simple and economic method since there is no duplication of drains. This system has the advantage in terms of easy maintenance. Besides, all drains are flushed when it rains and it is impossible for this system to be connected to the wrong sewer. But this system also has its disadvantage, which is that all the discharges should pass through the sewage treatment installation, which might be costly and prove to be difficult with periods of heavy rain. Separate system A separate system in domestic subsoil drainage is the most common method applied by the Local Authorities where two sewers are used in this method. One of the sewers receives the surface water discharged and conveys them direct to a suitable outfall such as a river or sea, where the discharges require no treatment while the second sewer receives all the soil or foul discharges such as from baths, basins, sinks, showers as well as toilets. These discharges will then being conveyed to the sewage treatment installations. In this system, more drains are required and it is often necessary to cross drains one over another. There is a risk of connecting the drain to a wrong sewer and the soil drains are not flushed during heavy rain, but the savings on the treatment of a smaller volume of discharge leads to an overall economy which is acceptable to be applied in domestic area. The function of road and pavement A road is an identifiable route, way or path between two places which might or might not be available for the use by public. Public roads, especially those major roads that connect two destinations are defined as highways. A modern road normally smoothed and paved to allow easy travel of road users. While pavement is defined as surfaces intended for traffic and soil, which are protected by an overlay of imported or treated material with the objective to limit the stress in the ground. The surface of road as well as its associated construction is known as pavement. One of the main functions of roads and pavements is to transfer and distribute transportation load onto the ground. Even on the ground soil itself we can use to travel, but the loads of the transportations that use the path is not evenly distributed since the soil is not compacted and supported. With roads and pavements, the loads of the transportations were equally distributed and this provides a safe and comfy journey. The second function of road and pavement is to provide a flat surface. This is to achieve a comfortable, smooth and safe journey. A smooth riding surface is important for riding comfort and throughout the road development; this has become the measure of how road users see of a road. A rough surfaced road can be caused from few factors; one of it is caused from pavement distress due to structural deformation. Besides, the other major factor of road and pavement is to prevent the subgrade from being damaged. Subgrade is the supporting soil underneath the pavement. It is important to protect the subgrade as it is the foundation for the road and pavement. Like building, if the foundation is damaged, the whole pavement is damaged as well. If the subgrade is over-stressed, it will deform and lose its ability to properly support the loads above it. So, the pavement should have sufficient structural capacity in terms of strength and thickness, to adequately reduce the stress so that the loads and stress do not exceed the strength and capacity of the subgrade. The thickness and strength can vary depending on the combination of subgrade types as well as loading condition. Roads and pavements are also used to provide adequate surface friction or in other words, roads and pavements are to provide a skid resistance surface. The priority in road user requirement is that of safety. Every road user concerns about their safety when using roads. Safety, especially in wet conditions such as during heavy rains, can be linked to a loss of surface friction between the tyre and the pavement surface due to the existence of water surface on the road itself. So it is obvious that roads and pavements should be able to provide an adequate skid resistance for road users, in any weather conditions. The last function of roads and pavements is to provide a waterproof layer. The outer surface of a pavement acts as a waterproof surface which prevents the subgrade that supports the pavement from becoming saturated because of water absorption. When they become saturated, the soil loses its ability to support the applied loads, let alone overload, and this will lead to a premature failure of the pavement itself. So, the outer layer should not contain even a tiny pore, in order to prevent water from being absorbed underneath. Cellular concrete roofing units, pavement overlays, bridge decks airport runways, pressure vessels, blast-resistant structures, tunnel linings and ship-hull construction are some applications of a particular fiber reinforcement concrete. The types of the fibers with characteristics comparison with the conventional concrete. Fiber reinforced concrete can be defined as a composite material which consists of a mixture of cement, mortar or concrete and discontinuous and uniformly dispersed suitable fibers. The addition of this fiber would act as crack arrester as well as improving its static and dynamic properties. Fiber reinforced concrete is used as it has the advantages of static and dynamic tensile strength, energy absorbing characteristics and an improvised fatigue strength. The main factor that affects its properties is the relative fiber matrix stiffness where the modulus of elasticity of matrix helped in stress transfer efficiently. A good bond is important to improve the tensile strength of the material. There are many applications with different types of fibers and these were affected by the characteristics of the certain fiber containing in the concrete: Glass Fiber Reinforced Concrete (GFPC) Glass fiber reinforced concretes are mainly used in exterior building panels or as an architectural precast concrete. One of the advantages of GFPC is that they are lightweight. Despite their light weight, a GFPC panel is strong and is more environmental friendly as they were mostly made of recycled post-consumer glass. Steel Fiber Reinforced Concrete (SFRC) Steel fiber reinforced concrete is a composite material made of hydraulic cements, water, fine and coarse aggregate and a dispersion of small, discontinuous steel fibers. The steel fibers are distributed uniformly throughout the concrete matrix which gives the SFRC the ability to control temperature and shrinkage cracks. They were commonly used in cellular concrete roofing unit. Polypropylene Fiber reinforced Concrete (PFRC) Polypropylene fiber reinforced concrete has the ability to improve freeze-thaw resistance, improve resistance to explosive in case of severe fire, and improves impact resistance. It is often used in foundation piles, pre-stressed piles and facing panels. Asbestos Fiber Reinforced Concrete (AFRC) Asbestos fiber reinforced concrete has been used since early 1900s which were applied into concrete. Unfortunately, this composite became a concern as it is venomous to health but AFRC were still used in some applications which is outside of health zone such as in pipes and sewer pipes. Mica Flakes Fiber Reinforced Concrete (MFRC) This type of fiber reinforced concrete partially replaces asbestos applications in cement boards, concrete pipes and repair materials. Mica flakes as fibers can help preventing long-term decreases in terms of tensile strength as well as impact strength. Carbon Fiber Reinforced Concrete (CFRC) Carbon fiber reinforced concrete is an electric conductor concrete and by this, they are normally used in locations where electrical contacts are necessary. Besides, it has the characteristic of corrosion resistance, compared to other metallic electrical contact materials. Fiber Reinforced Concrete (FRC) Conventional Reinforced Concrete Higher durability Lower durability Protect steel from corrosion Steel prone to corrosion Lighter (in terms of materials) Heavier (in terms of materials) More expensive Economical Greater strength (per 1mÂÂ ³) Weaker (per 1mÂÂ ³) Higher workability Less workability Table: Characteristic comparison between FRC and conventional concrete The above table shows the characteristic comparisons between fiber reinforced concrete and conventional concrete. in terms of durability, FRC is more durable compared to conventional concrete this is because of the presence of fibers in FRC that adds to the durability of the concrete and thus, making it more flexible to be used widely in construction. Besides, the weight of FRC is relatively lighter compared to conventional concrete. Such as for Glass Fiber Reinforced Concrete, both the glass and concrete make up the volume and thus decreasing the weight as the fiber contained in the concrete has lower mass compared to a full conventional concrete. This superb characteristic increases the workability of the FRC, beating conventional concrete in terms of weight as well as workability. The workability of a FRC will reduce if the fiber volume is increased. Therefore, the volume of fiber need to be controlled but this is an advantage as the cost for materials will not be that high. the workability of FRC can be measured by conducting a Vebe test. Unfortunately, a fiber reinforced concrete is more expensive as it is needed to be readily made in factories, so does the material costs which need to make up for the materials for fiber. But, from the table, it is obvious that FRC has more advantage over conventional concrete, despite the costs. So, this higher cost for sure will increase the reliability of the material, and the building itself.