The Ultimate Guide To Writing An A+ Research Paper

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The Ultimate Guide To Writing An A+ Research Paper

The Ultimate Guide To Writing An A+ Research Paper You need to finalize your thesis and create a working outline that you simply plan to cowl and that may serve you as a roadmap and hold you focused. You’ll take pleasure in a dependable pricing system inexpensive for everybody. The total price of your order is dependent upon what kind of work you want and how briskly you need it to be accomplished. If you would like to save a bit of money, ensure to ask us “write me a research paper” upfront. As quickly as you receive an project from your instructor, go to our web site and depart your order. Students are sometimes pressed for time as they juggle with a number of assignments, tasks, and exams. As a first step, we’ll ask you to offer as many details about your analysis paper as potential. Fill out the straightforward type â€" be as particular as you feel is necessary. To assist you to make up your mind, see how different clients really feel about our service. We wish to share a special discount with you on your first purchase. Be ready that you could be must revise your project more than as soon as as a result of it is actually worth doing. Your define will allow you to to complete this a part of your paper. But you shouldn’t assume that you have to strictly follow it. It could evolve and you are free to revise it and make adjustments. The key thing is to stay in your observe and focus in your thesis. You should present your points and support your main concept. You have a clear course and it’s time to create the primary draft with a title, in-text citations, and a reference web page. Think about key points that you’ll need to develop to help your thesis assertion. You can use them as subheadings for the body of your paper. Look via your notes and arrange the knowledge beneath every sub-heading. Make positive you embrace only related information that matches underneath your sub-headings and immediately helps your thesis. Now you have to organize them for your impressive presentation. Don’t skip this vital step as a result of without it, your project will lack focus and you will need more time for revising your draft trying to make sense of your jumbled ideas. Our service offers to try tons of of feedback made by our satisfied customers. What is extra, we've been enhancing our service every day. Your money will be released to us ONLY after you're satisfied with the final paper. We'll immediately check your research paper and if you are nonetheless not happy, we provides you with 100% of your money back. We have an exclusive approach to check the uniqueness of your analysis paper. Please depart your e-mail, and we’ll send you a ten% OFF coupon with an unique promo code. Use it when putting your order and uncover all the advantages of our company. You ought to ask your friends or family members to evaluation your analysis paper and categorical their opinion about it. They should evaluate your argument, transitions, and the stability and search for any inconsistencies with utilization, grammar or mechanics. Ask your friends to provide their suggestions and make suggested adjustments if you think they make sense. Finally, you may print your paper and proofread it to remove minor mistakes or typos and ensure that your wonderful research paper is flawless. So, if you wish to make a great impression on your professor and earn a excessive grade, you must revise your draft to be sure that your project is on point. When an project is accomplished, it undergoes a radical plagiarism check utilizing our personal plagiarism scanning software program. Only when it passes the plagiarism examine will your work be sent to you. If you aren’t glad with the paper, you possibly can request an unlimited quantity of revisions. Our payment methods are secure and your orders are confidential. If you're reading this textual content, it means you’ve already found an ideal resolution. The completed paper might be sent to your e-mail tackle and hooked up to your personal account. We are able to get started in your paper, no matter what sort you could have. With us, your finding out course of might be a lot sooner and easier. The seek for writing firms to rely on and cooperate with at all times takes efforts.

How To Write A Research Paper Outline

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Write A Research Paper

Write A Research Paper 19 Feb 2020 To adjust to APA Use Times New Roman 12 level font and double area. Interview Transcript 1 With the Principal of SD N Jogomangsan II April seventh 2012 Peneliti P Kepala Sekolah KP P Selamat pagi bu. quot The appendix might encompass textual content tables figures or a combination of these quot APA 2020 p. Nagda and Ximena Z iga These statements are extracted from Appendix F Transcript of Dr. Feel free to apply these sample transcripts for private or educational use. Write a transcript of what that interview will seem like. YouTube website you'll be able to then embrace the reference and direct the reader to the audio or video file that captured the interview. Jan Apa Format Appendix Example Choice Image Example Of Resume For Student. 18 Dec 2017 When using APA format comply with the writer date technique of in textual content quotation specifying the medium in brackets e. Here 39 s an instance centered Appendix A. Gerrolt Apr Type the name of the transcript in italics and append with quot Interview transcript quot in brackets. If you're citing a direct citation from a video you should use the time stamp instead of a web page quantity within the in text citation see Example 1 . Now that you just ve laid a powerful basis you re prepared to start out creating your interview transcript. COVID 19 Activity Ideas Learning Plan and Parent Guide English Analytical essay on barn burning Academics. 1 in the appendix to this nbsp 11 Mar 2020 APA uses the author date citation style. Feel free to include stuff like photocopies of hand written surveys for a greater impression. The related themes have been identified and are offered with chosen verbatims extracted as they're from the transcription of the intervi ews. A record of appendices should seem after the Contents page. After transcribing the interview s it is time to start analyzing. Aug Transcription of an audio or video file podcast interview speech etc. Because appendices are a part of your work they will not appear in your reference record but will nearly certainly must be referred to in the principle body of your work. This type permits readers to seek out the data sources cited in textual content and in the Reference List. Rowling legend begins with a pleasant children s book about an orphan boy wizard named with a lightning shaped scar a boy with a magical destiny. Feb According to the Purdue Online Writing Lab OWL appendices don't have a single standard format however ought to generally comply to APA fashion rules. To have your reference listing or bibliography routinely made for you strive our free citation generator . You can add an interview transcript as an appendix. Note that brackets can be used to offer extra nonroutine data that is essential for identification and retrieval see p. If you include an appendix you need to discuss with it within the text of your paper. Check out our different citation guides on MLA 8 and Harvard referencing. Some topics are illustrated by Triviumsoft full text maps. Oct Qualitative analysis is a critical part of any successful study. Discuss your chosen matter to debate in detail with the host of the show and embody no less than one principle that helps your statements. It does however provide perception into the interview process. I actually have decided to do my interview paper on my mother in regulation because she grew up in Colorado and California and had a singular childhood growing up. Write an apa summary Jobs Volunteer Opportunities Covid 19 Updates. It is at present estimated that between 20 and forty of individuals diagnosed with schizophrenia will attempt suicide during their lifetime. Be alphabetically by name of first creator or title if I 39 m paper to transcript an interview and add it to my paper. Rossi s Office 1 hour 13 minutes Sony ICD SX25 Pearson I am right here today with Professor John Patrick Rossi. If you have just one appendix nevertheless merely label it Appendix. Appendix H Coded Transcript 64 APPENDIX H Example of Coded Transcript This appendix comprises the coded transcript of the interview conducted with Clodagh AC . The process was implemented exactly as outlined in our eight Nov. For example the primary appendix referred to in the main textual content could be 39 A 39 or the second 39 B 39 or and so on. But it is in the quotation of references where the APA format will get much more specific.

Advice For Students

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19 Best How To Write A Research Paper Images In 2020

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19 Best How To Write A Research Paper Images In 2020

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Advice For Students

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Advice For Students

Advice For Students Looking back on all this now makes my heart harm and my eyes misty. Indeed, as we attempt to make sense of this confusing and chaotic time, student journalism is perhaps more important now than ever. We purpose to inform students and chronicle their experiences and concerns â€" to doc the impression of the coronavirus (COVID-19) on our daily lives. Pinpoint your paper’s subject from the project instructions. If you could have a alternative, decide a topic to put in writing about. I can’t go back in time to inform my freshman self that, by becoming a member of The News-Letter, my life was going to change for the better. It doesn’t matter how well you write or how much expertise you could have â€" there is a place for everyone within the News-Letter household. I want I could inform that lady, who was too awkward to strike up a conversation with one other writer, that by becoming a member of The News-Letter, she would discover her house at Hopkins. For example, we've a Money-Back Guarantee that enables any customer to request his/her money back if she or he is not satisfied with our work. Besides, we have a loyalty program that makes our company very fashionable among college students. We counsel them to purchase papers with reductions so that they'll pay much less for his or her first orders, massive orders, or when bringing associates. It is very important for us to never promise what we can not do. We assure that our prospects’ private data stays secure and secure with our service. Nobody will ever know that you have turned for us to get customized essay writing help. We know that plagiarism can lead to terrible consequences, so we never rewrite and resell our papers. We guarantee that you will receive a very distinctive paper from us that is written from scratch based on your individual instructions. One extra reason to choose us among rivals is our Money-Back Guarantee. Even in case if our writers fail to fulfill your expectations, which is nearly unimaginable, you'll not remorse turning for us. If the revision isn't relevant, we'll return your money back. Students who try to achieve their tutorial goals often turn for our professional help and get exactly what they want. If you are also in search of a dependable custom writing firm with a flawless status, you've come to the proper place! Just fill in an order form, and we assure that we'll make you satisfied. We counsel numerous advantages to our purchasers in order that college students know that they can always depend on us. Our writing service has gained recognition amongst college students, so let’s find out what the explanations are. They asked different writing firms, “write my paper for affordable,” but didn’t get first rate papers. Deposit funds into your EssayShark balance so that a writer can work on your order. This method, we can provide the shopper with the paper he/she needs. When the author works in your order, he/she is going to use only the relevant sources to tailor the order to your wants. If you do not have a selected topic for the essay and can't provide you with something unique and thrilling, pick the “Writer’s Choice” possibility when filling within the order kind. Start receiving proposals from our writers within minutes and chat with them live. You should flip for reasonable essay help from us because we provide only 100% unique papers that are cited properly. We always strive to fulfill our purchasers at every step of cooperating with us, from ordering to reviewing. You can flip to us with a request, “write my essay” even with the most complicated matters, and we will deal with your order. Our flexible pricing coverage makes our providers inexpensive for every student. We at all times ask our shoppers to point the mandatory particulars, such because the deadline and necessities for the paper. At the following stage, an professional will proofread the paper and fix any grammar, spelling, and punctuation errors. We need every client to tell his/her mates about us, so we create strong relationships with each buyer and offer quite a few ensures to make sure a perfect expertise. We at all times check each paper for high quality and plagiarism before we send them to the purchasers. First, the author will review the draft and be sure that the information is cited correctly. Then, an editor will evaluate the doc and proper any logical and stylistic flaws. Besides, he or she will examine the references and ensure that the content of the paper is related.

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Essay Writer Service © Copyright 1999, Charles KingMost university programs contain some type of extended writing assignment, usually in the type of a analysis paper. the textual content may be revised as many times as it's needed. " requires the author to do not more than record facts and dates —a good encyclopedia entry, possibly, however not a good analysis paper. "What " and "when " questions are only the place to begin for writing research papers. Obviously, you should have a firm grasp of the facts of the case, but you must then move on to answer a severe and essential "why " or "how " question in the paper itself. Every essay writer in the company is a professional specialist with experience in a sure subject of examine. It makes our essay help actually skilled and dependable. PaperHelpWriting.com always assigns an professional in an identical subject of examine to write your essay. This is a strong thesis because it shows how your experience contradicts a broadly-accepted view. A good technique for creating a strong thesis is to show that the topic is controversial. If you send the request, “I want to pay somebody to write down my paper” however you then change your mind, we’ll give your a reimbursement. We return cash to clients who've requested a refund. ” Our company provides excessive-high quality assistance with any type of project at an reasonably priced worth. The actual cost is dependent upon the variety of pages, the deadline, and your tutorial stage. Here are some suggestions to make the method as painless as attainable. "How " and "why " questions are important as a result of they require the writer to make an argument. The handiest method to save time is to ask us to “Do my papers.” This procedure will take you not more than 1-3 minutes to complete. We’ve designed a easy order form, which is easy to make use of even in case you have never asked someone to “Write my papers” earlier than. The solely thing you should do is to put a check near the variant that suits your order. Choose all the necessary task details within the order type. The consumer could ask the author to add some data or to express the textual content sentence in other way or change the closing paragraph. You have the chance to alter the dissertation as many instances as you want. We know all of the methods and suggestions wanted to perform excellent written items. ” When you began serious about the paper, you may not have had a selected query in thoughts, but as you grew to become extra concerned within the subject, your concepts grew to become extra particular. Your thesis changed to replicate your new insights. If you are a new buyer, then you definitely’ll have to register an account to maintain track of your orders. Returning shoppers want to make use of their login and password to enter, and that’s it. Make positive you could have given full details about your paper tips for us to meet them to the complete extent. Make a fee by way of one of the offered options without having worries about cost security. Our writer will start working in your order the day you place the order so that it can be delivered earlier than the deadline. Readers will be interested in reading the remainder of the essay to see the way you support your point. Notice how the thesis solutions the query, “What should be accomplished to reduce sugar consumption by youngsters, and who should do it? Research questions that do not require an argument are simply bad questions. For example, a paper on "What happened in the course of the Mexican revolution? Just contact us and clarify precisely what doesn’t meet your preliminary necessities. Our author will verify the paper immediately and can ship it shortly.

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Write My Paper 123 In this context, it's important not to get too connected to 1’s writing. In many cases, trashing complete paragraphs and rewriting is a faster approach to produce good textual content than incremental editing. The central logic that underlies a scientific declare is paramount. The first sentence orients the reader by introducing the broader subject by which the actual research is located. Then, this context is narrowed until it lands on the open query that the analysis answered. The summary is, for many readers, the only part of the paper that might be learn. This implies that the summary should convey the whole message of the paper successfully. Discussion paragraphs typically conclude by describing a clever, informal means of perceiving the contribution or by discussing future directions that may extend the contribution. This is usually done by recapitulating the results, discussing the restrictions, after which revealing how the central contribution may catalyze future progress. The first discussion paragraph is particular in that it generally summarizes the essential findings from the results section. Some readers skip over substantial components of the results, so this paragraph a minimum of offers them the gist of that part. For example, a paper may arrange a hypothesis, verify that a technique for measurement is valid within the system under study, after which use the measurement to disprove the speculation. Alternatively, a paper may set up a number of alternative hypotheses and then disprove all but one to provide proof for the remaining interpretation. The material of the argument will include controls and methods the place they are needed for the general logic. The introduction highlights the hole that exists in present data or methods and why it is necessary. The context must communicate to the reader what gap the paper will fill. Explain why your thesis is right giving arguments to counter points. If potential, inform how the topic has developed over the past and give it's implications for the future. ​The objective of the discussion is to interpret and describe what you've realized from your research. Make the reader understand why your matter is necessary. Explain how the literature helps the researcher understand the topic. You can also find gaps in your ideas and reasoning. Use the define to provide your self a better idea of what structure you paper goes to take. It will create a map for the place info ought to be positioned; how the position of the knowledge will create a move of concepts. Writing could be thought-about an optimization problem in which you concurrently enhance the story, the define, and all the part sentences. A consequent drawback of C-C-C is that it may not optimally engage the impatient reader. Thus, a reader who proceeds to the introduction is likely engaged enough to have the endurance to soak up the context. For these causes, we advocate C-C-C as a “default” scientific story structure. It can be the bridge that connects the experimental part of a analysis effort with the paper-writing part. For instance, the primary paragraph might summarize the results, focusing on their meaning. The second via fourth paragraphs may deal with potential weaknesses and with how the literature alleviates concerns or how future experiments can deal with these weaknesses. The fifth paragraph might then culminate in an outline of how the paper moves the field forward. To serve this purpose, the abstract’s structure is very conserved. We will discuss these specialised structures in this section and summarize them in Fig 1. Similarly, throughout consecutive paragraphs or sentences, parallel messages must be communicated with parallel form. Parallelism makes it simpler to learn the textual content as a result of the reader is familiar with the construction. There is nothing incorrect with using the identical word multiple times in a sentence or paragraph. Step by step, the reader thus learns to put the paper’s conclusions into the right context. Each of the following paragraphs in the discussion section starts by describing an area of weakness or strength of the paper. It then evaluates the power or weak spot by linking it to the related literature. Resist the temptation to make use of a special word to check with the same ideaâ€"doing so makes readers surprise if the second word has a slightly completely different that means. Mostly, they differ in how properly they serve a affected person reader versus an impatient one . The C-C-C scheme that we advocate serves a more patient reader who's prepared to spend the time to get oriented with the context.

Guidelines To Write Your Research Paper Within The Deadline

Guidelines To Write Your Research Paper Within The Deadline The ranges are usually represented by a mix of Roman numerals, Arabic numerals, uppercase letters, lowercase letters but might embrace different symbols. Refer to the rules supplied by your institution, as formatting is not common and differs between universities, fields, and topics. If you might be writing the outline for yourself, you could choose any mixture you like. This is essentially the most generalized stage of information. Begin by numbering the introduction, every concept you will current, and the conclusion. The major ideas include the majority of your research paper's info. Depending in your research, it may be chapters of a e-book for a literature review, a collection of dates for a historic research paper, or the strategies and results of a scientific paper. What further questions have been generated from this research? What additional analysis should be carried out on the subject? By now, you need to have accomplished enough analysis to add assist for your ideas. The second degree consists of subjects which help the introduction, primary concepts, and the conclusion. We additionally present Proofreading and Editing Services. Our final goal is to establish the errors in college students' assignments to make it excellent. We neither reveal your personal info to any third party nor we promote your paper to another. A research strategy describes how you'll conduct your analysis. It appears at what forms of sources you search, and the place you will look for them. Then the ultimate part of a research strategy is to come up with a timeline. We know that communication is necessary for any business and in any part of the work. So, for that reason, we at all times out there in your assist. You can contact us at any time, either by name, live chat or by the email, day or night time, means each time yow will discover us energetic. Live chat is easy and quick entry, you'll receive prompt response from an actual individual, not from the robot. An summary will briefly state the information contained within the paper, results of the research, and the conclusion. Each main concept ought to have no less than two supporting topics listed within the outline. If your main concept doesn't have enough help, you should consider presenting another major idea instead. This is where you need to cease outlining if that is your first draft. Continue your analysis earlier than adding to the subsequent ranges of group. A research paper outline typically contains between two and 4 layers of group. Each layer thereafter will contain the analysis you full and presents increasingly detailed data. All these questions mixed will assist you to revise your research paper. I additionally suggest having a second particular person read your paper and make recommendations. Conclusionâ€"rephrase the thesis assertion & how you proved it, and the importance of your research paper. By now, you need to already know the types of sources you need that may assist you to to answer your analysis query. Once you’ve gathered sources, it’s time to take detailed notes. Once you make the payment you are the copywrite owner of your paper. The reference for the Milgram article should then appear within the reference listing at the end of your paper. When citing sources in your paper, you should embrace the authors’ names and publication date. Your bibliography will start by itself page at the finish of your research paper. The third level of organization accommodates supporting data for the topics beforehand listed.

Guidelines To Write Your Research Paper Within The Deadline

Guidelines To Write Your Research Paper Within The Deadline The ranges are usually represented by a mix of Roman numerals, Arabic numerals, uppercase letters, lowercase letters but might embrace different symbols. Refer to the rules supplied by your institution, as formatting is not common and differs between universities, fields, and topics. If you might be writing the outline for yourself, you could choose any mixture you like. This is essentially the most generalized stage of information. Begin by numbering the introduction, every concept you will current, and the conclusion. The major ideas include the majority of your research paper's info. Depending in your research, it may be chapters of a e-book for a literature review, a collection of dates for a historic research paper, or the strategies and results of a scientific paper. What further questions have been generated from this research? What additional analysis should be carried out on the subject? By now, you need to have accomplished enough analysis to add assist for your ideas. The second degree consists of subjects which help the introduction, primary concepts, and the conclusion. We additionally present Proofreading and Editing Services. Our final goal is to establish the errors in college students' assignments to make it excellent. We neither reveal your personal info to any third party nor we promote your paper to another. A research strategy describes how you'll conduct your analysis. It appears at what forms of sources you search, and the place you will look for them. Then the ultimate part of a research strategy is to come up with a timeline. We know that communication is necessary for any business and in any part of the work. So, for that reason, we at all times out there in your assist. You can contact us at any time, either by name, live chat or by the email, day or night time, means each time yow will discover us energetic. Live chat is easy and quick entry, you'll receive prompt response from an actual individual, not from the robot. An summary will briefly state the information contained within the paper, results of the research, and the conclusion. Each main concept ought to have no less than two supporting topics listed within the outline. If your main concept doesn't have enough help, you should consider presenting another major idea instead. This is where you need to cease outlining if that is your first draft. Continue your analysis earlier than adding to the subsequent ranges of group. A research paper outline typically contains between two and 4 layers of group. Each layer thereafter will contain the analysis you full and presents increasingly detailed data. All these questions mixed will assist you to revise your research paper. I additionally suggest having a second particular person read your paper and make recommendations. Conclusionâ€"rephrase the thesis assertion & how you proved it, and the importance of your research paper. By now, you need to already know the types of sources you need that may assist you to to answer your analysis query. Once you’ve gathered sources, it’s time to take detailed notes. Once you make the payment you are the copywrite owner of your paper. The reference for the Milgram article should then appear within the reference listing at the end of your paper. When citing sources in your paper, you should embrace the authors’ names and publication date. Your bibliography will start by itself page at the finish of your research paper. The third level of organization accommodates supporting data for the topics beforehand listed.

Hypnotherapy for Social Anxiety Disorder

Hypnotherapy for Social Anxiety Disorder Social Anxiety Disorder Treatment and Therapy Print Hypnotherapy for Social Anxiety Disorder By Arlin Cuncic Arlin Cuncic, MA, is the author of Therapy in Focus: What to Expect from CBT for Social Anxiety Disorder and 7 Weeks to Reduce Anxiety. Learn about our editorial policy Arlin Cuncic Medically reviewed by Medically reviewed by Steven Gans, MD on November 29, 2015 Steven Gans, MD is board-certified in psychiatry and is an active supervisor, teacher, and mentor at Massachusetts General Hospital. Learn about our Medical Review Board Steven Gans, MD Updated on April 24, 2019 Social Anxiety Disorder Overview Symptoms & Diagnosis Causes Treatment Living With In Children VOISIN/PHANIE / Getty Images Hypnotherapy for social anxiety is a relatively new concept. Although hypnosis evolved from work on animal magnetism introduced in the 1700s by Austrian physician Franz Anton Mesmer, it wasnt until 1958 that the American Medical Association (AMA) recognized hypnotherapy as a valid medical procedure. Since then, hypnotherapy has been used in treating not only anxiety disorders but chronic physical conditions linked to anxiety such as asthma and irritable bowel syndrome (IBS). How Does Hypnotherapy Work? In certain traumatic and anxiety-provoking events in peoples lives, physical and emotional reactions can become linked. When you experience the same events again, those physical and emotional reactions, whether they are healthy or unhealthy, are reactivated. For example, if you had a traumatic first public speaking experience, you might associate speaking in public with shaking hands and intense anxiety. The goal of hypnotherapy for social anxiety is to help separate your bodys anxiety response from the experience of public speaking. In addition, you might be given the post-hypnotic suggestion that you will be able to relax whenever you want to after the session ends. What Happens During Hypnotherapy? Before beginning hypnotherapy, your therapist should take your medical history, discuss your presenting problem, and provide a brief explanation of how hypnotherapy works. The goal of hypnotherapy is to enter an altered state of consciousness, also known as a trance or hypnotic state. During a trance, most people experience relaxation, lowered blood pressure and heart rate, and changes in their  brain waves. While in this altered state, you will be highly responsive to suggestions made by the hypnotherapist. Each hypnotherapy session will generally last between a half an hour and one hour. At the end of each session, you will be brought back to alertness and reflect on the experience. Often, you will be instructed on how to practice self-hypnosis outside of hypnotherapy. Treating Social Anxiety Although the impact of hypnotherapy on social anxiety has not been specifically studied, randomized controlled trials have shown that hypnotherapy can reduce anxiety in general and may enhance the effects of cognitive-behavioral therapy (CBT) for anxiety. What to Consider Before Entering Hypnotherapy Though rare, it is possible for hypnotherapy to make some psychological problems worse. Although there is some debate about whether there are absolute contraindications to the use of hypnotherapy, in certain circumstances such as psychotic illness or a history of significant early trauma, hypnotherapy should be used with added caution. In addition, it is important to receive a diagnosis from a mental health professional before participating in hypnotherapy, so that you can be sure the right problem is being treated. Most hypnotherapists are licensed medical doctors, registered nurses, social workers, psychologists or other professionals who have training in hypnotherapy. Hypnotherapists who are also health care professionals are governed by the regulations of their profession. Although there are several professional organizations for hypnotherapy, such as the American Society of Clinical Hypnosis and the American Association of Professional Hypnotherapists, they do not certify or regulate hypnotherapists. If at all possible, you should seek a hypnotherapist who is also a healthcare professional. The 9 Best Online Therapy Programs

Violence And Harassment Against Nurses - 2073 Words

Violence and harassment against nurses is a common issue in all health care setting. Ample incidents of workplace violence towards nurses are surfacing. So, this issue is garnering concern in nursing profession. Violence usually refers to a physical assault; however, workplace violence is a broader problem. Canadian Centre for Occupational Health (CCOHS) has defined ‘workplace violence’ as ‘any act in which a person is abused, threatened, intimidated or assaulted in his or her employment’. Similarly, ‘workplace harassment’ means ‘engaging in a course of vexatious comment or conduct against a worker in a workplace that is known or ought reasonably to be known to be unwelcome’ according to Occupational Health and Safety Act (OHSA). Violence and harassment against nurses not only hampers in achieving personal, professional and an organizational goals, but also has physical, mental and psychological effects on nurses. Consequently, it a dversely affects the quality of nursing care. Thus, creating a violence-free workplace for Canadian nurses is increasingly essential. This issue paper discusses the roles and responsibilities of various authorities as well as the nurses in preventing and managing workplace violence and harassment against nurses. Background Violence and harassment incidents against nurses are occurring in every health care setting. Mainly, nurses are being abused of verbal and physical violence. A sentence stated by the Canadian Nursing Advisory CommitteeShow MoreRelatedNursing Workplace Incidence of Violence Essay examples588 Words   |  3 PagesIn today’s world violence can be expected anywhere at any time. This includes what was considered at one time a low risk area, the medical facility. Today the incidence of violence is increasing. There are two types of violence the first is lateral violence or aggression which is amongst hospital or medical personal. The other is external factors consisting of patients or visitors instituting violence or aggression among themselves or against healthcare workers. This is known as a code grey in myRead MorePhysical And Non Physical Violence1695 Words   |  7 Pagesphysical and non-physical violence, bullying and sexual harassment that nurses in various hospitals experi ence. The purpose of the research was to estimate exposure rates by type of violence, setting, source and world region. In the modern world, visiting medical centers is one of the norms and hence the involved parties cross paths occasionally. Since the nurses take care of the patients more, they tend to face both physical and non-physical violence, bullying and sexual harassments as they try to copeRead MoreThe Effects Of Workplace Violence On The Workplace947 Words   |  4 Pages According to The National Institute for Occupational Safety and Health workplace violence is described as any physical assault, threatening behavior or verbal abuse that takes place in the workplace. Violence includes all behaviors ranging in aggressiveness from verbal harassment to murder. Currently there is no law that requires protection for violence which occurs in the workplace. However some states throughout the country has reached out to legislation an established prevention programsRead MoreD octor Of Nursing Practice Roles1434 Words   |  6 PagesDoctor of Nursing Practice Roles against Workplace Violence in the Nursing Profession Introduction Workplace violence in nursing has become a serious problem that affects the nursing profession in many aspects (Murray, 2009). According to Skehan (2015), there were few studies or documentation about the perception or management of nurse leaders against workplace violence in nursing. Therefore, doctor of nursing practice (DNP) prepared nurses should become the experts in identifying, analyzing, andRead MorePatient-Related Violence for Nurses in Australia Essay1359 Words   |  6 Pagesof nurses in Australia being identified as the occupation at most risk of patient-related violence in the health care sector. The researchers found that patient-related violence against nurses was highest in emergency departments; 70% of nurses working there estimated to experience violence on a weekly basis and between 60-90% of nurses reported exposure to violence, both verbal and physical (Pich et al., 2010). Patients were consistently identified as the most common source of such violence, responsi bleRead MoreThe Issues Of The Nursing Profession1693 Words   |  7 Pagesnursing profession include work place violence, short staffing and hazardous environments. Research shows that these issues have been inflating across the country, and require immediate solutions to stem this growing tide. Thesis Statement Even though nursing has great benefits such as health insurance, great pay, and the fact that you get to help people, nursing has many issues. Some of the issues of the nursing profession include work place violence, short staffing and hazardous environmentsRead MoreCreating Quality Workplace For Canadian Nurses1920 Words   |  8 PagesOur Health Our Future: Creating Quality Workplace for Canadian Nurses (Maslove and Fooks, 2004). Safe working environment plays a vital role in the ability for providing quality nursing care. So, workplace safety is a main issue for discussion in every occupation particularly in nursing profession in health care setting since nurses are an integral part of public health. Violence against nurses causes hamper in achieving personal, professional as well as organizational goal. According to CanadianRead MoreNo Tolerance Policy For Workplace Violence Essay1542 Words   |  7 PagesAdministration, (OSHA) also later recommended that every employer needs to establish a no-tolerance policy for workplace violence, including any form of bullying and verbal or nonverbal threats. Employers with zero-tolerance violence policies are more likely to have lower incident rates. When employers mandate this policy, employees not directly involved in violent incidents but are witnesses are obligated to participate in the investigation by the employer or authorities. Those employees not willingRead MoreDiscrimination Is Still Very Much Alive847 Words   |  4 Pagescapable of more than just transferring the residents to their rooms! He can take care of anyone just as well as you can! screamed my teacher to the head nurse. I was in a nursing program that only accepted ten students, only one was a guy. We trained in a nursing home and had to feed, change, and bathe the residents. He was assigned to assist a male nurse who was only allowed to help the residents move because he was the only strong one of the group. Apparently he wasn t gentle or cari ng enough toRead MoreIntroduction. Bullies Exist In Every Work Place Within1560 Words   |  7 Pagesindividuals with a great range of education, experience, and cultural backgrounds. To paint a picture of this greatly integrated system, here are some of the players involved in healthcare: Medical doctors, physician assistants, nurse practitioners, registered nurses, practical nurses, medical assistants, social workers, psychologists, medical students, nursing students, medical managers, and the list goes on with the different providers involved in the management of one patient. One must remember that

Essay on My First Concert - 682 Words

In Expository Writing class we were asked to write our first descriptive essay and we were given many topics to choose from. They had to at least have something to do with an experience be it good or bad that had an impact in your life and left a great impression on you. Upon much thought on my part I have decided to write about my first concert that I ever attended and explain why I left an impression on my in three different ways and how it was an enlightening experience for me. Most people would say that their first concert ever was probably and enjoyable experience but most might not say it was something they would never forget. I however do not share their feelings because I feel that my first concert†¦show more content†¦Just seeing the look on there faces while they were playing was something I didn’t expect but also something I will never forget because I learned then that there are many different ways to enjoy music but in these peoples minds there was no better way than this. August Burns Red for all intensive purposes is considered a hard core band because of they heavy use of guitar and the screaming vocals. If you have ever experienced this type of music live then you would know the type of energy that it gives off is contagious and you can tell by looking around the room that everyone is feeling it. The energy that I felt at the concert is another major reason why it left such and impression on me. Its difficult for me to explain in words but while the band is playing and the drums are going you can feel it in your chest as if your heart was part of the drums. The feeling is way different then your traditional music listening, which consist of mostly ipods and cd players. Also the energy the crowd gives off when they are going crazy is another thing I wasn’t expecting but also just another part of the experience that I wont soon forget. The last thing that was part of the experience that left andShow MoreRelatedMy First Concert At Hastings994 Words   |  4 PagesThe vibrations from the drums felt like they were beating in my chest. The guitar pierces through my ears and the singer’s voice is so dark and deep, it sends shivers down my spine. It was exhilarating, it was my first concert. In the summer of 2013, I went to my first concert. I went with my boyfriend, Justin. We had been dating for a couple of years. In the summer of 2011, we meet at Hastings we were both in the aisle of the rock/alternative. I was looking for a Nirvana CD. I couldn’t find theirRead MoreEssay on My First Concert702 Words   |  3 Pageswhere to park, as the vehicle came to a stop. My friends and I got out of the car and looked up to see a line of people waiting to get inside. I asked them quot;So what now? quot;, since this was my first concert, I did not know what to expect. They said, quot;Hear that?quot; I listened and heard music playing in the background. We started walking towards the end of the line that had formed. As we grew closer to the gate, the music got louder, and my heart beat faster. While waiting in line,Read MoreMy First Concert - Original Writing1331 Words   |  6 PagesI could pick one that makes me smile every time I look back onto it. It would be the first concert I ever went to. It was not only my first time hearing my favorite band live, but it was also my first time listening to live music. On top of the already intense experience, I had learned something very important that day. Through the generosity of a very kind woman, I was able to experience my very first concert. I learned that Generosity pushes beyond simple gestures and acts of kindness. It canRead MoreMy First Concert Of Symphonic Music935 Words   |  4 PagesThe first question I asked myself at the beginning of the semester was how much do I actually know about symphonic music? I have always characterized symphonic music as a lengthy form of musical composition for orchestra that is all tuxedos and formality. My impression on the basis of the symphonic music has always been portrayed with that specific formality aspect where there wasn’t a complete understanding towards symphonic music. When attending my first concert of symphonic music last year toRead MoreMy First Punk Concert Essay1962 Words   |  8 PagesMy First Punk Concert I pull the soft cotton black t-shirt over my head, I grab my favorite pair of black jeans and throw on my old high tops. From the kitchen I hear my aunt yelling at me to â€Å"turn that noise off!†, I turn my music a little louder to drown out the nagging. I feel a little nervous not really knowing what to expect from tonight, it is my first punk rock show. My brother came over ,and I hear him knock on the front letting my grandpa and I know that it is time to leave. In theRead MoreMy First Classical Musical Concert At Brooklyn College926 Words   |  4 PagesOn April 13, 2016 I attended my first classical musical concert at Brooklyn College called â€Å"The Music for Strings 1†. The concert had various well known artists and amazing pieces which made it a hard decision to choose between. The music piece I chose is â€Å"Partita for Violin No. 2 in D minor, BWV1004, Verse Chaconne†, composed by Johann Sebastian Bach. The student who performed this piece, Sai natee Suarez, did an amazing job and kept me listening the whole time! Not much is known about Bach’s privateRead MoreEssay On Concert Band718 Words   |  3 PagesThe subgroup that I’ve chosen for my ethnographic research is Concert Band. Concert Band is a large group of individuals that compose music for an audience, hold for special events, or even halftime at the super bowl. These individuals have a unique sound within them soft, loud, deep sound. With their individual instrument, they can compose a masterpiece; brass, woodwind, percussion they all make beautiful sounds. I’m interested in Concert Band because they are people that simply love to composeRead MoreNo Bruce Springsteen Or Billy Joel Concert1113 Words   |  5 Pagesscene. The room was dark, and I felt the stuffy air choke me up. First impressions are everything, and this one was unlike any other; I was somewhat scared and uneasy. This is how I felt the night my friends introduced a new idea to go to a metal concert for the first time. This was no Bruce Springsteen or Billy Joel concert; it was a new entity that was explicitly more fierce and threatening that I have ever imagined. Metal concerts are dangerous and unappealing places where people fight, get hurtRead MoreI Attended The Concert Call Jack U On Friday954 Words   |  4 Pages I attended the concert call Jack U on Wednesday, April 13. It a type of concert that always play Electronic music. The concert start at 8pm, was located in Bill Graham Civic Auditorium near City Hall. Jack U got name from American Dj Duo, project â€Å"consisting of Mad Decent founder Diplo and OWSLA founder Skrillex, formed in 2013.† The two famous DJ players that play at Jack U was DJ Skrillex and DJ Diplo which are the top most famous DJ players now. The style of music that they play are ElectronicRead MoreThe first time I’ve ever been sitting down watching a live concert was at Wolfson Campus where600 Words   |  3 PagesThe first time I’ve ever been sitting down watching a live concert was at Wolfson Campus where Pianist/Composer Lynne Arriale played with her three other instrument players. There was the drummer in the back, then to the front was the saxophonist and to the right side of him was the bass and then Lynne Arriale playing the piano. Lynne Arriale was the first pianist I’ve listen to live; basically I have one word for her and it’s amazing. This concert was an only instrumentation concert meaning that

Digital Cinema Free Essays

Scott McQuire Millennial fantasies As anyone interested in film culture knows, the last decade has witnessed an explosion of pronouncements concerning the future of cinema. Many are fuelled by naked technological determinism, resulting in apocalyptic scenarios in which cinema either undergoes digital rebirth to emerge more powerful than ever in the new millennium, or is marginalised by a range of ‘new media’ which inevitably include some kind of broadband digital pipe capable of delivering full screen ‘cinema quality’ pictures on demand to home consumers.The fact that the doubleedged possibility of digital renaissance or death by bytes has coincided with celebrations of the ‘centenary of cinema’ has undoubtedly accentuated desire to reflect more broadly on the history of cinema as a social and cultural institution. We will write a custom essay sample on Digital Cinema or any similar topic only for you Order Now It has also intersected with a significant transformation of film history, in which the centrality of ‘narrative’ as the primary category for uniting accounts of the technological, the economic and the aesthetic in film theory, has become subject to new questions.Writing in 1986 Thomas Elsaesser joined the revisionist project concerning ‘early cinema’ to cinema’s potential demise: ‘A new interest in its beginnings is justified by the very fact that we might be witnessing the end: movies on the big screen could soon be the exception rather than the rule’. 1 Of course, Elsaesser’s speculation, which was largely driven by the deregulation of television broadcasting in Europe in conjunction with the emergence of new technologies such as video, cable and satellite in the 1980s, has been contradicted by the decade long cinema boom in the multiplexed 1990s. It has also been challenged from another direction, as the giant screen ‘ex perience’ of large format cinema has been rather unexpectedly transformed from a bit player into a prospective force. However, in the same article, Elsaesser raised another issue which has continued to resonate in subsequent debates: Scott McQuire, ‘Impact Aesthetics: Back to the Future in Digital Cinema? ‘, Convergence: The Journal of Research into New Media Technologies, vol. 6, no. 2, 2000, pp. 41-61.  © Scott McQuire. All rights reserved.Deposited to the University of Melbourne ePrints Repository with permission of Sage Publications . 2 Few histories fully address the question of why narrative became the driving force of cinema and whether this may itself be subject to change. Today the success, of SF as a genre, or of directors like Steven Spielberg whose narratives are simply anthology pieces from basic movie plots, suggest that narrative has to some extent been an excuse for the pyrotechnics of IL;M. 3 Concern for the demise, if not of cinema per se, then of narrative in cinema, is widespread in the present.In the recent special ‘digital technology’ issue of Screen, Sean Cubitt noted a ‘common intuition among reviewers, critics and scholars that something has changed in the nature of cinema — something to do with the decay of familiar narrative and performance values in favour of the qualities of the blockbuster’. 4 Lev Manovich has aligned the predominance of ‘blockbusters’ with ‘digital cinema’ by defining the latter almost entirely in terms of increased visual special effects: ‘A visible sign of this shift is the new role which computer generated special effects have come to play in th e Hollywood industry in the last few years.Many recent blockbusters have been driven by special effects; feeding on their popularity’. 5 In his analysis of Hollywood’s often anxious depiction of cyberspace in films such as The Lawn Mower Man (1992), Paul Young argues that ‘cyberphobic films overstress the power of the visual in their reliance on digital technology to produce spectacle at the expense of narrative’, and adds this is ‘a consequence that [Scott] Bukatman has argued is latent in all special effects’. A more extreme (but nevertheless common) view is expressed by film maker Jean Douchet: ‘[Today] cinema has given up the purpose and the thinking behind individual shots [and narrative], in favour of images — rootless, textureless images — designed to violently impress by constantly inflating their spectacular qualities’. 7 ‘Spectacle’, it seems, is winning the war against ‘narrative’ all along the line.Even a brief statistical analysis reveals that ‘special effects’ driven films have enjoyed enormous recent success, garnering an average of over 60% of the global revenue taken by the top 10 films from 1995-1998, compared to an average of 30% over the previous four years. 8 Given that the proportion of box office revenue taken by the top 10 films has held steady or increased slightly in the context of a rapidly expanding total market, this indicates that a handful of special-effects films are generating huge revenues each year.While such figures don’t offer a total picture of the film industry, let alone reveal which films which will exert lasting cultural influence, they do offer a snapshot of contemporary cultural taste refracted through studio marketing budgets. Coupled to the recent popularity of paracinematic forms, such as large format and special ve nue films, the renewed emphasis on ‘spectacle’ over ‘narrative’ suggests another possible end-game for 3 inema: not the frequently prophesied emptying of theatres made redundant by the explosion of home-based viewing (television, video, the internet), but a transformation from within which produces a cinema no longer resembling its (narrative) self, but something quite other. Complementing these debates over possible cinematic futures is the fact that any turn to spectacular film ‘rides’ can also be conceived as a return — whether renaissance or regression is less clear — to an earlier paradigm of film-making famously dubbed the ‘cinema of attraction’ by Tom Gunning.Gunning long ago signalled this sense of return when he commented: ‘Clearly in some sense recent spectacle cinema has re-affirmed its roots in stimulus and carnival rides, in what might be called the Spielberg-Lucas-Coppola cinema of effects’. 9 For Paul Arthur, developments in the 1990s underline the point: The advent of Imax 3-D and its future prospects, in tandem with the broader strains of a New Sensationalism, provide an occasion to draw some connections with the early history of cinema and the recurrent dialectic between the primacy of the visual and, for lack of a better term, the sensory. 0 In what follows here, I want to further consider the loops and twists of these debates, not so much with the grand ambition of resolving them, but firstly of adding some different voices to the discussion — particularly the voices of those involved in film production. 11 My intention is not to elevate empiricism over theory, but to promote dialogue between different domains of film culture which meet all too rarely, and, in the process, to question the rather narrow terms in which ‘digital cinema’ has frequently entered recent theoretical debates.Secondly, I want to consider the relation between ‘narra tive’ and ‘spectacle’ as it is manifested in these debates. My concern is that there seems to be a danger of confusing a number of different trajectories — such as cinema’s on-going efforts to demarcate its ‘experience’ from that of domestic entertainment technologies, and the turn to blockbuster exploitation strategies —and conflating them under the heading of ‘digital cinema’.While digital technology certainly intersects with, and significantly overlaps these developments, it is by no means co-extensive with them. ‘Spectacular sounds’: cinema in the digital domain Putting aside the inevitable hype about the metamorphosis of Hollywood into ‘Cyberwood’, like many others I am convinced that digital technology constitutes a profound revolution in cinema, primarily because of its capacity to cut across all 4 sectors of the industry simultaneously, affecting film production, narrative convention s and audience experience. In this respect, the only adequate point of reference for the depth and extent of current changes are the transformations which took place with the introduction of synchronised sound in the 1920s. However, while the fundamental level at which change is occurring is widely recognised, it has been discussed primarily in terms of the impact of CGI (computer-generated imaging) on the film image. A more production-oriented approach would most likely begin elsewhere; with what Philip Brophy has argued is among ‘the most overlooked aspects of film theory and criticism (both modern and postmodern strands)’ — sound. 2 A brief flick through recent articles on digital cinema confirms this neglect: Manovich locates ‘digital cinema’ solely in a historical lineage of moving pictures; none of the articles in the recent Screen dossier mention sound, and even Eric Faden’s ‘Assimilating New Technologies: Early Cinema, Sound and Computer Imaging’ onl y uses the introduction of synchronised sound as an historical analogy for discussing the contemporary effect of CGI on the film image13. While not entirely unexpected, this silence is still somewhat urprising, given the fact that digital sound technology was adopted by the film industry far earlier and more comprehensively than was CGI. And, at least until the early 1990s with films like Terminator 2 (1991) and Jurassic Park (1993), the effect on audience experience was arguably far greater than was digital imaging. Dominic Case [Group Services and Technology Manager at leading Australian film processor Atlab] argued in 1997: I am more and more convinced that the big story about film technology as far as audiences are concerned in the past few years has been sound. Because, although you can do fancy digital things, the image remains glued to that bit of screen in front of your eyes, and it’s not really any bigger†¦ But the sound has gone from one woolly sound coming from the back of the screen with virtually no frequency range or dynamic range whatsoever †¦ to something that fills the theatre in every direction with infinitely more dynamic range and frequency range. To me, that’s an explosion in experience compared to what you are seeing on the screen.However, the visual bias of most film theory is so pervasive that this transformation often passes unremarked. Part of the problem is that we lack the necessary conceptual armature: there are no linkages which pull terms such as 5 ‘aural’ or ‘listener’ into the sort of semantic chain joining spectacle and spectator to the adjective ‘spectacular’. Film sound-mixer Ian McLoughlin notes: Generally speaking, most people are visually trained from birth. †¦ Very few people are trained to have a aural language and, as a result there isn’t much discussion about the philosophy of the sound track. .. There has been very, very little research done into the psycho-acoustic effects of sound and the way sound works sociologically on the audience. 14 Compounding this absence is the fact that the digital revolution in sound is, in many respects, the practical realisation of changes initiated with the introduction of Dolby Stereo in 1975. (On the other hand, the fact that CGI entered a special effects terrain already substantially altered by techniques of motion control, robotics and animatronics didn’t prevent critical attention to it. Four-track Dolby stereo led to a new era of sound experimentation beginning with films such as Star Wars (1977) and Close Encounters of the Third Kind (1977). As renowned sound mixer Roger Savage (whose credits include Return of the Jedi, 1983; Shine, 1996; and Romeo + Juliet, 1996) recalls: ‘Prior to that, film sound hadn’t changed for probably 30 years. It was Mono Academy †¦ Star Wars was one of the first films that I can remember where people started coming out of the theatre talking about the sound track’. 5 While narrative sound effects such as dialogue and music were still generally concentrated in the front speakers, the surround sound speakers became the vehicles for a new range of ‘spectacular’ sound effects. In particular, greater emphasis was given to boosting low frequency response, explicitly mirroring the amplified ambience of rock music. There was also greater attention given to the ‘spatialisation’ of discrete sound elements within the theatre.As Rich Altman has argued, these developments presented a significant challenge to one of the fundamental precepts of classical Hollywood narrative: the unity of sound and image and the subservience of sound effects to narrative logic: Whereas Thirties film practice fostered unconscious visual and psychological spectator identification with characters who appear as a perfect amalgam of image and sound, the Eighties ushered in a new kind of visceral identification, dependent on the sound system’s overt ability, through bone-rattling bass and unexpected surround effects, to cause spectators to vibrate — quite literally — with the entire narrative space.It is thus no longer the eyes, the ears and the brain that alone initiate identification and maintain contact with a sonic 6 source; instead, it is the whole body that establishes a relationship, marching to the beat of a different woofer. Where sound was once hidden behind the image in order to allow more complete identification with the image, now the sound source is flaunted, fostering a separate sonic identification contesting the limited rational draw of the image and its characters. 16 Altman’s observation is significant in this context, inasmuch as it suggests that the dethroning of a certain model of narrative cinema had begun prior to the digital threshold, and well before the widespread use of CGI.It also indicates the frontline role that sound took in the film industry’s initial response to the incursions of video : in the 1980s the new sound of cinema was a primary point of differentiation from domestic image technologies. However, while Dolby certainly created a new potential for dramatic sound effects, in practice most film makers remained limited by a combination of logistical and economic constraints. In this respect, the transition to digital sound has been critical in creating greater latitude for experimentation within existing budget parameters and production time frames. In terms of sound production, Roger Savage argues: ‘The main advantages in digital are the quality control, the speed and the flexibility’. This is a theme which is repeated with regard to the computerisation of other areas of film making such as picture editing and CGI. ) Enhanced speed, flexibility and control stem from a reduction in the need for physical handling and a refinement of precision in locating and manipulating individual elements. In sound production, libraries of analogue tape reels each holding ten minutes of sound have given way to far more compact DAT tapes and hard drive storage. The entire production process can now often be realised on a single digital workstation. There is no need for a separate transfer bay, and, since digital processing involves the manipulation of elect ronic data, there is no risk of degrading or destroying original recordings by repeated processing. Once the sounds are catalogued, digital workstations grant random access in a fraction of a second (eliminating tape winding time), and, unlike sprocket-based sound editing, all the tracks which have been laid can be heard immediately in playback. The creative pay-off is an enhanced ability to add complexity and texture to soundtracks. In terms of sound reproduction, the most marked change resulting from six track digital theatre systems is improved stereo separation and frequency response which assists better music reproduction in theatres — a change which goes hand in glove with the increased prominence that music and soundtracks have assumed in promoting and marketing films in recent years. 7The enhanced role of sound in cinema is even more marked for large format films which, because of their high level of visual detail, demand a correspondingly high level of audio detail. Ian McLoughlin (who, amongst many other things, shares sound mixing credits with Savage for the large -format films Africa’s Elephant Kingdom, 1998 and The Story of a Sydney, 1999) comments: If you look at the two extremes of image technology, if you look at television, and then you look at something like Imax, the most interesting difference is the density of the sound track that is required with the size of the picture. When you’re doing a TV mix, you try to be simple, bold. You can’t get much in or otherwise it just becomes a mess. With 35mm feature films you’re putting in 10, 20 times more density and depth into the sound track as compared to television, and †¦ when you go to Imax, you need even more. McLoughlin also makes a significant point concerning the use (or abuse) of digital sound: When digital first came out and people found that they could make a enormously loud sound tracks, everyone wanted enormously large sound tracks. .. . Unfortunately some people who present films decided that the alignment techniques that companies like Dolby and THX have worked out aren’t to their liking and they think audiences like a lot of sub-base and so they sometimes wind that up. †¦ [S]uddenly you’ve got audiences with chest cavities being punched due to the amount of bottom end. . ..Dolby and screen producers and screen distributors in America have actually been doing a lot of research into what they are calling the ‘annoyance factor’ of loud sound tracks. Because audiences are getting turned off by overly jarring, overly sharp, soundtracks. This comment is worth keeping in mind for two reasons. Firstly, it underlines the fact that the image is by no means the only vehicle for producing cinematic affect: in this sense, ‘impact aesthetics’ offers a more apt description of the trajectory of contemporary cinema than ‘spectacle’. Secondly, it warns against making hasty generalisations when assessing the long-term implications of CGI. While digital imaging undoubtedly represents a significant paradigm shift in cinema, it is also feasible that the 1990s will eventually be seen more as a teething period of ‘gee whizz’ experimentation with the new digital toolbox, which was gradually turned towards other (even more ‘narrative’) ends. (The way we now look at early sound films is instructive: while contemporary audiences were fascinated by the mere 8 fact that pictures could ‘talk’, in retrospect we tend to give more weight to the way sound imposed new restrictions on camera movement, location shooting and acting style). Painting with light In contrast to the relative dearth of attention given to changes in areas such as sound and picture editing, digital manipulation of the film image has received massive publicity.While this is partly the result of deliberate studio promotion, it also reflects the profound changes in cinematic experience that computers have set in train. When we can see Sam Neil running from a herd of dinosaurs — in other words, when we see cinematic images offering realistic depictions of things we know don’t exist — it is evident that the whole notion of photo-realism which has long been a central plank of cinematic credibility is changing. But how should this change be understood? Is it simply that ‘live action’ footage can now be ‘supplemented’ with CG elements which replace earlier illusionistic techniques such as optical printing, but leave cinema’s unique identity as an ‘art of recording’ intact? Or is a new paradigm emerging in which cinema becomes more like painting or animation?Lev Manovich has recently taken the latter position to an extreme, arguing that, ‘Digital cinema is a particular case of animation which uses live-action footage as one of its many elements’, and concluding: ‘In retrospect, we can see that twentieth century cinema’ s regime of visual realism, the result of automatically recording visual reality, was only an exception, an isolated accident in the history of visual representation.. . ’. 17 While I suspect that Manovich significantly underestimates the peculiar attractions of ‘automatic recording’ (which produced what Walter Benjamin termed the photograph’s irreducible ‘spark of contingency’, what Barthes ontologised as the hotographic punctum), it is clear the referential bond linking camera image to physical object has come under potentially terminal pressure in the digital era. However, any consideration of ‘realism’ in cinema is immediately complicated by the primacy of fictional narrative as the dominant form of film production and consumption. Moreover, cinema swiftly moved from adherence to the ideal of direct correspondence between image and object which lay at the heart of classical claims to photographic referentiality. ‘Cheating’ with the order of events, or the times, locations and settings in which they occur, is second nature to film-makers. By the time cinema ‘came of age†™ in the picture palace of the 1920s, a new logic of montage, shot matching and continuity had coalesced into the paradigm of 9 classical narrative’, and cinematic credibility belonged more to the movement of the text rather than the photographic moment — a shift Jean-Louis Commolli has neatly described in terms of a journey from purely optical to psychological realism. 18 Within this paradigm all imaginable tactics were permissible in order to imbue pro-filmic action with the stamp of cinematic authority — theatrical techniques such as performance, make-up, costumes, lighting and set design were augmented by specifically cinematic techniques such as stop motion photography and rear projection, as well as model-making and matte painting which entered the screen world via the optical printer.Given this long history of simulation, the digital threshold is perhaps best located in terms of its effect on what Stephen Prince has dubbed ‘perceptual realism’, rather than in relation to an abstract category of ‘realism’ in general. Prince argues: A perceptually realistic image is one which structurally corresponds to the viewer’s audio-visual experience of three-dimensional space †¦ Such images display a nested hierarchy of cues which organise the display of light, colour, texture, movement and sound in ways that correspond to the viewer’s own understanding of these phenomena in daily life. Perceptual realism, therefore, designates a relationship between the image on film and the spectator, and it can encompass both unreal images and those which are referentially realistic. Because of this, unreal images may be referentially fictional but perceptually realistic. 19I have emphasised Prince’s evocation of fidelity to ‘audio-visual experience’ because it underlines the extent to which the aim of most computer artists working in contemporary cinema is not simply to create high resolution images, but to make these images look as if they might have been filmed. This includes adding various ‘defects’, such as film grain, lens flare, motion blur and edge halation. CG effects guru Scott Billups argues that film makers had to ‘educate’ computer programmers to achieve this end: For years we were saying: ‘Guys, you look out on the horizon and things get grayer and less crisp as they get farther away’. But those were the types of naturally occurring event structures that never got written into computer programs.They’d say ‘Why do you want to reduce the resolution? Why do you want to blur it? â €™. 20 10 By the 1990s many software programs had addressed this issue. As Peter Webb (one of the developers of Flame) notes: Flame has a lot of tools that introduce the flaws that one is trained to see. Even though we don’t notice them, there is lens flare and motion blur, and the depth of field things, and, if you don’t see them, you begin to get suspicious about a shot. 21 In other words, because of the extent to which audiences have internalised the camera’s qualities as the hallmark of credibility, contemporary cinema no longer aims to mime ‘reality’, but ‘camera-reality’.Recognising this shift underlines the heightened ambivalence of realism in the digital domain. The film maker’s ability to take the image apart at ever more minute levels is counterpointed by the spectator’s desire to comprehend the resulting image as ‘realistic’ — or, at least, equivalent to other cine-images. In some respects, this can be compared to the dialectic underlying the development of monta ge earlier this century, as a more ‘abstract’ relation to individual shots became the basis for their reconstitution as an ‘organic’ text. But instead of the fragmentation and re-assemblage of the image track over time, which founded the development of lassical narrative cinema and its core ‘grammatical’ structures such as shot/reverse shot editing, digital technology introduces a new type of montage: montage within the frame whose prototype is the real time mutation of morphing. However, while ‘perceptual realism’ was achieved relatively painlessly in digital sound, the digital image proved far more laborious. Even limited attempts to marry live action with CGI, such as TRON (1982) and The Last Starfighter (1984) proved unable to sustain the first wave of enthusiasm for the computer. As one analyst observed: ‘The problem was that digital technology was both comparatively slow and prohibitively expensive. In fact, workstations capable of performing at film resolution were driven by Cray super-computers’. 2 It is these practical exigencies, coupled to the aesthetic disjunction separating software programmers from film makers I noted above, rather than a deeply felt desire to manufacture a specifically electronic aesthetic, which seems to underlie the ‘look’ of early CGI. 23 Exponential increases in computing speed, coupled to decreases in computing cost, not only launched the desktop PC revolution in the mid-1980s, but m ade CGI in film an entirely different matter. The second wave of CGI was signalled when Terminator 2: Judgement Day (1991) made morphing a household word. 24 Two 11 years later the runaway box-office success of Jurassic Park (1993) changed the question from whether computers could be effectively used in film making to how soon this would happen. The subsequent rash of CGI-driven blockbusters, topped by the billion dollar plus gross of Cameron’s Titanic (1997), has confirmed the trajectory.Cameron is one of many influential players who argue that cinema is currently undergoing a fundamental transformation: ‘We’re on the threshold of a moment in cinematic history that is unparalleled. Anything you imagine can be done. If you can draw it, if you can describe it, we can do it. It’s just a matter of cost’. 25 While this claim is true at one level — many tricky tasks such as depicting skin, hair and water, or integrating CGI elements into live action images shot with a hand-held camera, have now been accomplished successfully — it is worth remembering that ‘realism’ is a notorious ly slippery goal, whether achieved via crayon, camera or computer. Dennis Muren’s comments on his path-breaking effects for Jurassic Park (which in fact had only 5 to 6 minutes of CGI and relied heavily on models and miniatures, as did more recent ‘state of the art’ blockbusters such as The Fifth Element, 1997 and Dark City, 1998) bear repeating: ‘Maybe we’ll look back in 10 years and notice that we left things out that we didn’t know needed to be there until we developed the next version of this technology’. Muren adds: In the Star Wars films you saw lots of X-wings fighters blow up, but these were always little models shot with high-speed cameras. You’ve never seen a real X-wing blow up, but by using CGI, you might just suddenly see what looks like a full-sized X-wing explode. It would be all fake of course, but you’d see the structure inside tearing apart, the physics of this piece blowing off that piece. Then you might look back at Star Wars and say, ‘That looks terrible’. 26Clearly, George Lucas shared this sentiment, acknowledging in 1997 that ‘I’m still bugged by things I couldn’t do or couldn’t get right, and now I can fix them’. 27 The massive returns generated by the ‘digitally enhanced’ Star Wars trilogy raises the prospect of a future in which blockbuster movies are not re-made with new casts, but perpetually updated with new generations of special effects. Stop the sun, I want to get off Putting aside the still looming question of digital projection, the bottom line in the contemporary use of digital technology in cinema is undoubtedly ‘control’: 12 particularly the increased control that film makers have over all the different components of image and sound tracks.Depending on a film’s budget, the story no longer has to work around scenes which might be hard to set up physically or reproduce photo-optically— they are all grist to the legions of screen jockeys working in digital post-production houses. George Lucas extols the new technology for enhancing the ability to realise directorial vision: I think cinematographers would love to have ultimate control over the lighting; they’d like to be able to say, ‘OK, I want the sun to stop there on the horizon and stay there for about six hours, and I want all of those clouds to go away. Everybody wants that kind of control over the image and the storyt elling process. Digital technology is just the ultimate version of that. 28A direct result of digital imaging and compositing techniques has been an explosion of films which, instead of ‘fudging’ the impossible, revel in the capacity to depict it with gripping ‘realism’: Tom Cruise’s face can be ripped apart in real time (Interview with the Vampire, 1994), the Whitehouse can be incinerated by a fireball from above (Independence Day, 1996), New York can be drowned by a tidal wave, or smashed by a giant lizard(Deep Impact, Godzilla, 1998). But, despite Lucas’ enthusiasm, many are dubious about where the new primacy of special effects leaves narrative in cinema. The argument put forward by those such as Sean Cubitt and Scott Bukatman is that contemporary special effects tend to displace narrative insofar as they introduce a disjunctive temporality evocative of the sublime.Focusing on Doug Trumbull’s work, Bukatman emphasises the contemplative relationship established between spectator and screen in key effects scenes (a relationship frequently mirrored by on-screen characters displaying their awe at what they– and ‘we’ – are seeing. )29 Cubitt suggests that similar ‘fetishistic’ moments occur in songs such as Diamonds are a Girl’s Best Friend, where narrative progress gives way to visual fascination. His example is drawn from a strikingly similar terrain to that which inspired Laura Mulvey’s well-known thesis on the tension between voyeurism and scopophilia in classical narrative cinema: Mainstream film neatly combined spectacle and narrative. (Note, however, in the musical song-a nd-dance numbers break the flow of the diegesis).The presence of woman is an indispensable element of spectacle in normal narrative film, yet her visual presence tends to work against the development of a story line, to freeze the flow of action in moments of erotic contemplation. 30 13 This connection was also made by Tom Gunning in his work on the early ‘cinema of attraction’: ‘As Laura Mulvey has shown in a very different context, the dialectic between spectacle and narrative has fueled much of the classical cinema’. 31 In this respect, a key point to draw from both Mulvey and Gunning is to recognise that they don’t conceive the relationship between spectacle and narrative in terms of opposition but dialectical tension. 32 This is something that other writers have sometimes forgotten.Presenting the issue in terms of an opposition (spectacle versus narrative) in fact recycles positions which have been consistently articulated (and regularly reversed) throughout the century. In the 1920s, avant-garde film makers railed against ‘narrative’ because it was associated primarily with literary and theatrical scenarios at the expense of cinematic qualities (Gunning begins his ‘Cinema of Attraction’ essay with just such a quote from Fernand Leger). Similar concerns emerged with debates in France over auteur theory in the 1950s, where the literary qualities of script were opposed to the ‘properly cinematic’ qualities of mise-en-scene.In the 1970s, the ‘re fusal of narrative’ which characterised much Screen theory of the period, took on radical political connotations. Perhaps as a reaction to the extremity of pronouncements by those such as Peter Gidal, there has been a widespread restoration of narrative qualities as a filmic ‘good object’ in the present. However, rather than attempting to resolve this split in favour of one side or the other, the more salient need is to examine their irreducible intertwining: what sort of stories are being told, and what sort of spectacles are being deployed in their telling? While it is easy to lament the quality of story-telling in contemporary blockbusters, few critics seriously maintain that such films are without narrative.A more productive framework is to analyse why explicitly ‘mythological’ films such as the Star Wars cycle have been able to grip popular imagination at this particular historical conjuncture, marrying the bare bones of fairy-tale narrative structures to the inculcation of a specific type of special effects driven viewing experience. (To some extent, ths is Bukatman’s approach in his analysis of special effects). In this context, it is also worth remembering that, despite the quite profound transformations set in train by the use of digital technology in fi lm making, there has thus far been little discernible effect on narrative in terms of structure or genre. The flirtation with ‘non-linear’ and ‘interactive’ films was a shooting star which came and went with the CD-ROM, while most contemporary blockbusters conform smoothly to established cine-genres (sci-fi, horror, disaster and action- 14 dventure predominating), with a significant number being direct re-makes of older films done ‘better’ in the digital domain. One of the more interesting observations about possible trends in the industry is put forward by James Cameron, who has argued that digital technology has the potential to free film makers from the constraints of the ‘A’ and ‘B’ picture hierarchy: [I]n the ’40s you either had a movie star or you had a B-movie. Now you can create an A-level movie with some kind of visual spectacle, where you cast good actors, but you don’t need an Arnold or a Sly o r a Bruce or a Kevin to make it a viable film. 33 However, Cameron himself throws doubt on the extent of this ‘liberation’ by underlining the industrial nature of digital film production. 4 In practice, any film with the budget to produce a large number of cutting edge special effects shots is inevitably sold around star participation, as well as spectacle (as were films such as The Robe, 1953 and Ben Hur, 1926). This point about the intertwining of narrative and spectacle is re-inforced if we look at developments in large-format film, an area frequently singled out for its over-dependence on screen spectacle to compensate for notoriously boring ‘educational’ narrative formats. Large-format (LF) cinema is currently in the throes of a significant transformation The number of screens worldwide has exploded in the last four years (between 1995 and January 1999, the global LF circuit grew from 165 to 263 theatres. By January 2001, another 101 theatres are due to open, taking the total to 364, an increase of 120% in 6 years).More significantly, the majority of new screens are being run by commercial operators rather than institutions such as science museums. These new exhibition opportunities, coupled to the box-office returns generated by films such as Everest (the 15th highest grossing film in the USA in 1998, despite appearing on only 32 screens) has created significant momentum in the sector for the production of LF films capable of attracting broader audiences. For some producers, this means attempting to transfer the narrative devices of dramatic feature films onto the giant screen, while others argue that the peculiarities of the medium means that LF needs to stick with its proven documentary subjects.However, most significantly in this context, none dispute the need for the sector to develop better narrative techniques if it is to grow and prosper, particularly by 15 attracting ‘repeat’ audiences. In many respects, the LF sector is currently in a similar position to cinema in the 1900s, with people going to see the apparatus rather than a specific film, and the ‘experience’ being advertised largely on this basis. While it would be simplistic to see current attempts to improve the narrative credentials of LF films as a faithful repetition of the path that 35mm cinema took earlier this century, since most production is likely to remain documentary-oriented, it would be equally as foolish to ignore the cultural an d commercial imperatives which still converge around telling a ‘good story’. 5 Distraction and the politics of spectacle Despite the current rash of digitally-inspired predictions, narrative in film is unlikely to succumb to technological obsolescence. But nor will spectacle be vanquished by a miraculous resurgence of ‘quality’ stories. A corollary of a dialectical conception of the interrelationship between narrative and spectacle is that neither should be seen simply as ‘good’ or ‘bad’ objects in themselves. For Mulvey, spectacle (exemplified by close-ups which turn woman’s face and body into a fetish), as well as the more voyeuristic strategy of narrative, were both attuned to the anxious imagination of patriarchal culture in classical cinema.Both were techniques for negotiating the threat of castration raised by the image of woman, an image classical cinema simultaneously desired and sought to circumscribe or punish. Nevertheless, even within this heavily constrained context, ‘spectacle’ could also assume a radical function by ‘interrupting’ the smooth functioning of narrative, disturbing the rules of identification and the systematic organisation of the look within the text. (This is the gist of her comparison between the films of von Sternberg, which privilege a fetish image of Dietrich over narrative progress, and those of Hitchcock which more closely align the viewer with the male protagonist). Can spectacle still exert a ‘progressive’ function in contemporary cinema?While most critics answer this question negatively without even posing it, Paul Young is unusual in granting a measure of radical effect to the renewed primacy of spectacle. Young draws on Miriam Hansen’s account of the ‘productive ambiguity’ of early cinema, in which the lack of standardised modes of exhibition, coupled to reliance on individual attractions, gave audiences a relative freedom to interpret what they saw, and established cinema as (potentially) an alternative public sphere. He takes this as support for his argument that contemporary ‘spectacle’ cinema constitutes an emergent challenge to ‘Hollywood’s institutional identity’. 36 16 Young’s analysis contrasts markedly with Gunning’s earlier description of the ‘cinema of effects’ as ‘tamed attractions’. 7 Nevertheless both share some common ground: Young’s reference to the ‘productive ambiguity’ of early cinema, like Gunning’s rather oblique and undeveloped reference to the ‘primal power’ of attraction, draws nourishment from Siegfried Kracauer’s early writings on the concept of distraction. In the 1920s, Kracauer set up ‘distraction’ as a counterpoint to contemplation as a privileged mode of audience reception, seeing it as embodying a challenge to bourgeois taste for literary-theatrical narrative forms, and also as the most compelling mode of presentation to the cinema audience of their own disjointed and fragmented conditions of existence. 38 While distraction persisted as a category used by Walter Benjamin in his ‘Artwork’ essay of the mid19 30s, by the 1940s Kracauer seemed to have revised his position.As Elsaesser has pointed out, this re-appraisal was at least partly a re-assessment of the ‘productive ambiguity’ which had characterised social spaces such as cinema; by the 1940s distraction and spectacle had been consolidated into socially dominant forms epitomised by Hollywood on the one hand and fascism on the other. 39 If Kracauer’s faith that the 1920s audience could symptomatically encounter ‘its own reality’ via the superficial glamour of movie stars rather than the putative substance of the era’s ‘high culture’ was already shaken by the 1940s, what would he make of the post-pop art, postmodern 1990s? The extent to which surface elements of popular culture have been esthetically ‘legitimated’ without any significant transformation of corresponding political and economic values suggests the enormous difficulties facing those trying to utilise spect acle as a ‘progressive’ element in contemporary culture. However, it is equally important to acknowledge that this problem cannot be resolved simply by appealing to ‘narrative’ as an antidote. While the terms remain so monolithic, the debate will not progress beyond generalities. In this respect, Kracauer’s work still offers some important lessons to consider in the present. Here, by way of conclusion, I want to sketch out a few possible lines of inquiry. On the one hand, his concept of the ‘mass ornament’ indicates that any turn, or return, to spectacle in cinema needs to be situated in a wider social context. 0 Spectacle is not simply a matter of screen image, but constitutes a social relation indexed by the screen (something Guy Debord underlined in the 1960s). Developments in contemporary cinema need to be related to a number of other trajectories, including cinema’s on-going endeavours to distinguish its ‘experience’ 17 from that of home entertainment, as well as the proliferation of spectacle in social arenas as diverse as sport (the Olympic games), politics (the dominance of the cult of personality in all political systems) a nd war (the proto-typical ‘media-event’). On the other hand, the specific forms of spectacle mobilised in contemporary cinema need to be examined for the extent to which they might reveal (in Kracauer’s terms) the ‘underlying meaning of existing conditions’. Kracauer’s analysis of cinema in the 1920s situated the popularity of a certain structure of viewing experience in relation to the rise of a new class (the white collar worker). In contemporary terms, I would argue that the relevant transformation is the process of ‘globalisation’. While this is a complex, heterogeneous and uneven phenomenon, a relevant aspect to consider here is Hollywood’s increasing reliance on overseas markets, both for revenue, and, more importantly, for growth. 41 In this context, the growing imperative for films to ‘translate’ easily to all corners and cultures of the world is answered by building films around spectacular action setpieces. Equally as ignificantly, the predominant themes of recent special effects cinema— the destruction of the city and the mutation or dismemberment of the human body — are symptomatic of the underlying tensions of globalisation, tensions exemplified by widespread ambivalence towards the socio-political effects of speed and the new spatio-temporal matrices such as cyberspace. 42 The most important cinematic manifestations of these anxious fascinations are not realised at the level of narrative ‘content’ (although they occasionally make themselves felt there), but appear symptomatically in the structure of contemporary viewing experience. The repetition of awe and astonishment repeatedly evoked by ‘impossible’ images as the currency of today’s ‘cutting edge’ cinema undoubtedly functions to prepare us for the uncertain pleasures of living in a world we suspect we will soon no longer recognise: it is not simply ‘realism’ but ‘reality’ which is mutating in the era of digital economy and the Human Genome Project. If this turn to spectacle is, in some respects, comparable to the role played by early cinema in negotiating the new social spaces which emerged in the industrial city remade by factories and department stores, electrification and dynamic vehicles, it also underscores the fact that the ‘death’ of camera realism in the late twentieth century is a complex psycho-social process, not least because photo-realism was always less an aesthetic function than a deeply embedded social and political relation. 43 18 Finally, I would argue that it is important not to subsume all these filmic headings under the single rubric of ‘digital’. There is a need to acknowledge, firstly, that digital technology is used far more widely in the film industry than for the production of blockbusters and special effects (for example, it is the new industry standard in areas such as sound production and picture editing).Moreover, as Elsaesser has argued recently, technology is not the dri ving force: ‘In each case, digitisation is ‘somewhere’, but it is not what regulates the system, whose logic is commercial, entrepreneurial and capitalist-industrialist’44 What the digital threshold has enabled is the realignment of cinema in conformity with new demands, such as ‘blockbuster’ marketing blitzes constructed around a few spectacular image sequences of the kind that propelled Independence Day to an US$800m gross. It has rejuvenated cinema’s capacity to set aesthetic agendas, and, at the same time, restored its status as a key player in contemporary political economy. In this context, one aspect of the digital threshold deserves further attention. In the 1990s, product merchandising has become an increasingly important part of financing the globalised film industry. While some would date this from Star Wars, Jurassic Park offers a more relevant point of reference: for the first time, audiences could see on screen, as an integral part of the filmic diegesis, the same commodities they could purchase in the cinema foyer. As Lucie Fjeldstad (then head of IBM’s multimedia division) remarked at the time (1993) : ‘Digital content is a return-on-assets goldmine, because once you create Terminator 3, the character, it can be used in movies, in theme-park rides, videogames, books, educational products’. 45 Digital convergence is enacted not simply in the journey from large screen to small screen: the same parameters used in designing CG characters for a film can easily be transmitted to off-shore factories manufacturing plastic toys. 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