10235938900 centerbottom Essays - Food And Drink, Fast Food

10235938900 centerbottom Marek Pongo|@00388578|Managing Capacity in an Operation 950000 Marek Pongo|@00388578|Managing Capacity in an Operation center750007086600 Operation Management Dominos Pizza 950000 Operation Management Dominos Pizza Table of Content 1.0 Introduction P. 2 2.0 Core Background ... . P. 2 3.0 4V Model P. 3/4 4.0 Five Performance Objective P. 4/5 5.0 Input-Transformation-Output ... P. 5/6 6.0 Conclusion P . 7 7.0 ReferencesP.7 Table of Figures Figure 1: 4V Model.. P. 3 Figure 2: Five Performance Objective .P. 4 Figure 3: Input-Transformation-Output P. 6 Introduction The company called Domino's Pizza has made their rank as one of the top world leaders in pizza delivery. Domino's has established in 1960 in the United States and still operates on this present time with high franchised owned stores with international markets (Dominobiz, 2013). In this report, there will be analyzed research through the operation management of Domino's Pizza which core of the operation is explained. Then through my analyzing methods I will define the 4V model which attributes the demand for this service, one of the 5 performances objective for this company, also input-transformation-output diagram for the organization. And at last, provide few conclusions and improvements that Dominos should and could applied for future. The Core and Background of Domino's Company Dominos is operated on the international level through high network of 10,255 company-owned and franchise stores, the stores are located on 50 states and 70 + international markets (Domino's Pizza Annual Report 2012). The company has three business segments that defines the domestic stores and domestic supply chain on the international level. The fundamental asset in this company is to deliver pizza, based on revenue and units, there is no doubt they rank on second largest pizza company in the world. The tagline of you got 30 minutes' in 2007 is to deliver pizza, shows how the rank is essential to them, however if the pizza is late , the customers will receive a free pizza or a voucher. Some countries don't apply the free pizzas (Adamy 2007), on the average analytical system the Domino's system captures over 1.5 million pizzas sold every day, and 15 million miles are pizzas delivered every week (Domino's Pizza Annual Report 2012). This shows quite large number upon delivering pizzas, the orders go through multiple choices such as phone, walk-in to store and internet. After the order is completed the PULSE system will record the orders and the process, in the assembly the staff has to prepare the food from the demand. Next, process of cooking will begin also on the demand and lastly driver's mission is to order on time for customer's demand and quality purposes. Afterward. Customers receive the product and pay the food with t wo choices; cash or debit card option. 4V Model of Domino's Pizza The 4V model is set in four different characteristics in operating process, the sets are volume of output, variety of output, variation of demand and the degree of visibility to customer of production to output. All these elements impact on the cost of the production (Brodie, 2011) 4797519144145 High00 High -252483144619 Low00 Low 35807349805 VOLUME VOLUME -27960877659 High00 High 481139591260 Low00 Low 35750544156 VARIETY VARIETY -27940086995 High00 High 4811395842645 Low00 Low 481139599695 Low00 Low 357505748665 VISIBILITY VISIBILITY 35750512700 VARIATION OF DEMAND VARIATION OF DEMAND -279400836930 High00 High Figure 1 Source: Self-Made T he volume for domino's pizza is up to 1.5 million/day high, because the main focus for the company is the delivery rather dines the pizza in the restaurant. This make the Dominos unique from delivering in quality manner. According from annual report Domino's Pizza 2012, they own 10,225 and franchise around the globe therefore; the variety of delivery is high. So, the flexibility is positive for the customers to order whenever their location is, its difference compare to Subway, they just have certain location of delivery and majority of the store is dine in. And the delivery is cost is usually very low. When it comes to peak times, especially Halloween or end of super bowl, the demand is increasing four times than at usual time (Compure APM 2013). However, in United Kingdom the boosts on sales will increase in rain and Euro football (The Telegraph, 2012). Since the demand is high on these peak times, it's essential to prepare more staff and potentially put employers on training session before the peak starts. Come in back to

Graves Disease essays

Graves Disease essays Graves disease is a basic defect in the immune system causing antibodies, which stimulate and attack the thyroid gland causing growth of the gland and overproduction of thyroid hormone. These antibodies may also attack the tissues in the eye muscle and pretibial skin, causing protruding eyes, opthalmopathy, and dermopathy thickening of the skin over the front of the legs. The thyroid gland is located in the neck. It manufactures two thyroid hormones that are essential for metabolism and growth. The thyroid takes iodine from the food we eat and uses it to make thyroid hormones. If thyroid hormones are in short supply, a person feels sluggish, has a slow heartbeat, and can even feel depressed. This condition hypothyroidism. Too much thyroid hormone is called hyperthyroidism and is also a problem. This condition is almost the exact opposite of hypothyroidism. The individual has a fast heartbeat, weight loss, nervousness, and heat intolerance. In addition, hyperthyroidism can affect the eye. One of the conditions that results in hyperthyroidism is Graves' disease. This condition afflicts a great many people. In this disease, the thyroid gland enlarges and releases too much thyroid hormone. The person can become restless and overactive, and the heart often races Graves disease is found in less then  ¼ of 1% of the population. Although it is fund most frequently in middle aged women, (8:1 more than men), it also occurs in children and in the elderly. There are several elements contributing to the development of Graves' disease. There is a genetic predisposition to auto-immune disorders. Infections and stress play a part. Graves' disease may have its onset after an external stress, in other instances, it may follow a viral infection or pregnancy. Many times the exact cause of Graves' disease is simply not known. It is not contagious, although it has been known to occur coincidentally between husbands...

Six principles of IDEA Essay Example | Topics and Well Written Essays - 250 words

Six principles of IDEA - Essay Example The Free and Appropriate Public Education (FAPE) principles, relieves the financial burden that parents may experience when educating their children with disability challenges. The principle ensures that the public education system effectively meets the needs and aspiration of students individually. The federal government provides the public school districts with funding. The principle thus protects disabled students from discrimination, in the entire United States. The disabled students and their guardians or parents, are therefore involved in all aspects of the school system. The free aspect of the Act enables the education of children having disabilities, to be appropriately determined by the Individualized Education Program (IEP) that caters for individual needs of students. The public aspect of the act empowers the public schools to respond to education interests of the students. Appropriate aspect of the principle considered the individual differences among the students with disabilities, and illustrates effective measures for giving them quality

Life along the silk road ( tang dynsaty) Essay Example | Topics and Well Written Essays - 1000 words

Life along the silk road ( tang dynsaty) - Essay Example Merchants and traders both traveled and did business on the Silk Road and faced numerous challenges that always confronted them. Harsh Weather Conditions One of the more obvious challenges that merchants faced along the Silk Road was the harsh weather conditions. In fact, the Silk Road is surrounded by the Taklimakan Desert, whose severe and hostile climate would cause temperatures to soar to as high as 50 degrees Celsius in the summer or fall to as low as minus 20 degrees in the winter. Aside from this, strong winds brought about numerous dangerous sandstorms in the Taklimakan Desert (Mon). Moreover, the Taklimakan Desert had fewer oases than the neighboring Gobi Desert (Wild). Lastly, clouds of dust and silt may blow with the wind and persist for days (Wood 16). Wars and Conflicts There were numerous routes along the Silk Road, and because of this, â€Å"The issues caused by the development of the route included invasion and robbery by nomadic tribes and increased merchant costsâ €  (What is the History of the Silk Road?). the increased merchant costs were necessary as the need for escort and protection increased through the years. Based on the account of a robbery as retold by the Sogdian merchant Nanaivandak, a number of his fellow merchants who wandered along the routes in smaller groups were ambushed, robbed and killed by bandits (Whitfield 48). There was indeed a great risk of traveling along the Silk Road in small groups as Central Asian bandits would often seize the opportunity to inflict harm on the merchants and steal their goods and kill them if they resisted. Besides, it was not only silk that was being traded along these routes but also â€Å"jewels, ivories, pearls†¦corals, diamonds†¦bronze ware, porcelains† whether being sold by merchants or carried home by them (The Great Tang Dynasty). These products from various parts of the world would be very attractive to all robbers and bandits of Central Asia. Disease According to Wi lliam McNeill’s Plagues and Peoples, there was â€Å"diffusion of diseases via the Silk Road† (Rossabi). Even before the Black Death ravaged Europe, there may have already been several diseases that have come from Europe and which may have spread throughout China and Asia through the Silk Road. Nevertheless, there was little evidence on this. However, one of these diseases that may have spread through Asia through the Silk Road was Behcet’s disease. Behcet’s disease, which currently affects Far Eastern and Middle Eastern countries, may have come from Western Europe and affects 4 for every 1,000 people even now. Behcet’s disease is a vascular disease characterized by an overactivity of the body’s inflammatory immune response thus resulting in the destruction of blood vessels, severe mouth and genital ulcers, skin lesions and in severe cases, blindness (Disease genes that followed the Silk Road identified). According to medical experts, the ge nes for this disease may have come from the interactions of infected people along Silk Road during the Tang Dynasty. Negative Influences There was also an exchange of religious ideas along the Silk Road in addition to trading (Culture). However, this was the introduction of new religions to

Progressive Era vs. Gilded Age Essay Example | Topics and Well Written Essays - 1000 words

Progressive Era vs. Gilded Age - Essay Example The Gilded Age on the other hand was a period of rapid growth and development in terms of the economy of the country and it began in the late 19th century. The main aim of the Gilded Age was to make progress in the industrial sector of the economy so that positive changes could be seen in the Gross Domestic Product as well as capital formation of the country. It mainly saw the growth of heavy industries, transport, mining and other such aspects of development which form the backbone of the economy. It was this period during which the US soared past other rival countries like Germany, France and Britain with respect to technology. Wall Street was also established during this period. On the other hand, the Progressive Era sought to bring about political reforms in the country on the basis of the Gilded Age. During the Gilded Age there was a vast amount of widespread corruption as well as glitches in the process of development which needed to be curbed. Movements were begun in the Progr essive Era to bring about the welfare of the people and expose all the corruption. This period also saw the growth of a large number of people that were modernizers and were ready to adopt the path of science and technology. They believed in education and how it was the sole object that could lead people into the future. They had faith in improving substantially, the environment as well as people’s lives with the help of proper government and social interventions. In terms of business, the Gilded Age was the period where the economy witnessed a very high growth in wealth of about 3.8% which subsequently led to a higher growth in national income. The GDP of the economy also doubled with time. More and more careers began to give way and younger people, even younger than 21 began to be hired for jobs in all kinds of blue collar fields. All this took place after the economy had faced a depression also known as the Panic of 1873. Almost twenty years after, the Panic of 1893 struck the American economy however the Progressive Era emerged as a result of the same because during this time, the citizens were trying to handle the stress caused by the depression by trying to put emphasis on employment and hard work. However, all these aspects declined considerably due to lack of finances, and this state carried on till about the First World War During the Gilded Age, none of the parties wanted any kind of involvement on part of the federal government in the private sector except for a few areas like railroads and tariffs which were for the common benefit of the people. The concept of laissez-faire was adopted by the private sector as the economy developed into a capitalist form of market. However, with the Progressive Era dawning upon the economy by the late 19th century, more and more small-scale entrepreneurs, farmers and laborers began believing that they could receive better help from the government. They felt that the government could take out policies for the purpose of their protections against the big industries and thus help in increasing the employment levels of the primary and secondary sectors of the economy. The Gilded Age witnessed the growth of a number of labor movements and unions being formed. These were generally groups of people coming together in order to protest against the current wage rates, hold strikes for unfair conduct and unhealthy working environments. For example, one very significant strike that

Popular Music in Film | Research

Popular Music in Film | Research Introduction This study aims to look into pre-existing popular music in film, its use and place within modern film making, with express interest in determining whether or not it can fairly be compared and judged along side more traditional original scoring techniques as an artistically viable means by which to add depth and further weight to the image, or if it is simply a cheap and easy means by which to score a film. In Ronald Rodmans essay The use of popular music as leitmotif in 1990s film, he states that â€Å"within the hands of a skilled director and music editor, the use of pre-existing popular music can be used to convey narrative events and characters in a way similar to classical Hollywood scoring. However, the two exist at opposite ends of a modernist/post modernist continuum. With the Hollywood score being valued for its original and film specific uniqueness and the found score being valued for its ability to redefine and recycle its self when used well, it offers a â€Å"live again† feeling, that allows the music to transcend its original form, and find new merit within the context of the imageâ€Å". (Rodman, from the compiled essay collection Changing Tunes: The Use of Pre-existing Music in Film (2005: 135) This study does not refer to a specific question requiring a final answer, instead aims to explore whether or not the idea of recycled music truly can transcend its self in skilled hands, and if the use of popular music in film has become used more widely and in a more sophisticated fashion following its emergence in many films of the 1990s. I also intend on looking into the work produced when artists more established within the realms of popular music, try their hand writing original music for film, and if this combination of film specific, more traditional scored music and the different approaches that popular music and those more schooled in its construction can bring to the table with regards to an original score, is truly the definitive way to create an interesting, exciting and truly brilliant piece of work that does what all good scores should achieve, too not only enhance the image, but to stand strong on its own as piece of work in its own right. By exploring the research of others with original research and thoughts of my own, I intend to come to a personal conclusion regarding the matter. This investigation is going to be based around the initial idea that popular music has a valuable and useful place within modern film making, however, due to it often being used in a lazy and not fully thought through manner, it has become some what looked down upon with in the medium, being seen simply as a means for cheap laughs, a pleasant way to pad out the background music of a scene and as a way to add more marketability to a film . In light of this generally accepted opinion of popular musics place in film, and its viewing in such a negative light, I wish to look into how and why this view exists, despite countless examples of it being used to great effect within a film and how in recent years, the trend for recruiting the skills of popular musicians to construct original material specifically for film is not only the next step in popular musics place in cinema, but its creative apex. This investigation, through the course of its three main chapters, intends to look closely at popular musics place within modern cinema, how it has arrived there, where it can go from here, and if it can be seen as important and useful as classical means of film scoring. I intend on looking into the following points through out the course of this investigation: Chapter 1 Popular music and Modern Cinema How the genesis of both popular music and cinema are inherently linked to one another and a cross-pollination between the mediums has always been inevitable How popular music as score differs from traditional scores in what it does within a film. The potential (both positive and negative) that pre-existing material brings to a film, from its ability to comment add extra levels to a film through its lyrical content and its already established place in the public subconscious through to the historical and social abilities it has in helping define eras and public attitudes when necessary. I shall look at the use of The Doors song ‘The End in Apocalypse Now (Francis Ford Coppola, 1984) in order to explore this The powerful imprinting effect that the correct piece of popular music and the correct visuals can have on one another, combining in such a way that they elevate both song and scene to a completely new level of meaning, operating on many more levels than they would have done separately. I Shall look at Roy Orbisons ‘In Dreams within the movies Blue Velvet (David Lynch 1982) Chapter 2 Popular music as Leitmotif Look into how popular music has adopted the traditional film scoring technique, leitmotif. Explore the manner in which popular musics use denotatively and connotatively through leitmotif differs from the classic score, how it is not relied upon the actual repetition of specific themes that connect characters and narrative, but rather the repetition of styles of music or their social context. Investigate two films that use popular music as leitmotif, Shaun of The Dead (Edgar Wright,2004) and Pulp Fiction (Quentin Tarantino, 1992) and how their employment of the technique differs to one another. Chapter 3 The Popular Musician as Composer Investigate, through existing examples within movies, of popular musicians being either being used to write film specific music for cinema or actually constructing an original score tailor made for a film, and if these approaches herald different results and opportunities to scores constructed by more traditional composition methods. Conclusion Discuss an over view of my investigation, come to a personal evaluation of whether popular musics place within cinemas audio landscape is viable as artistically expressive and appropriate as a method of scoring. Chapter 1 Popular Music and Modern Cinema Popular music, since the late 1970s has come to hold a particularly interesting and powerful position amongst the many visual media forms that exist, and though a large majority of these forms that have mutated and cross pollinated as a result of the rise of various technologies and the prominence of popular music as a form of cultural expression, are mainly used as tools of marketing (music videos, television spots and advertisements), it possess a unique functioning purpose within the medium of film, â€Å"only in dramatic film and television are popular songs used in order to help tell a sustained narrative story a role that has traditionally been played by commissioned musical score† (Wright, Popular music and Film, 2003:8) Its hardly surprising that popular music has come to be used as such within film, though at their most fundamental levels they operate as two quit different forms of expression, the trajectories both have moved along through the early twentieth century show striking similarities to one another, to quote Ian Inglis in his introduction to Popular Film and Music (2003) â€Å"The genesis of both came about as a direct result of late nineteenth century technological developments, both predominantly rely on a new type of mass audience sharing a common interest, both started with humble beginnings as novelties to expand and become some of the largest industries in the world with colossal annual turnovers, both have been approached and consumed from perspectives that have allowed them to evolve from simple tools of popular and mass culture into examples of more high and elite cultureâ€Å". (Inglis, 2003:1) It is no longer required in modern film making to contain a score written specifically with the images and narrative in mind, a movies musical landscape is now just as likely to be entirely filled with pre-existing songs (be they popular or more esoteric) as it is to feature a more traditional score, often a combination of the two will be employed by a director. In order to greater appreciate the role that using pre-existing popular music in a film can have on, not only the narrative implications, but the way an audience will respond to the movie going experience, one must lay out the inherent differences and opportunities that popular music can bring when compared to a traditional classical score. Music written and scored with a film in mind is specifically catered to the needs of the images on screen, often a film will be scored late in a films production schedule, there for it is necessary to bend and fit to the constraints of the image, the composer is almost a slave to the film at hand, taking full responsibility for fleshing out every nuance and emotion that a scene requires. They must adapt and fit around what is (normally by the time a composer is brought on board) a fairly concrete structure of how the narrative events take place. On the other hand, when a director chooses to use pre-existing material in a film, the scenes have usually been designed in such a way as to bend around the song. Pre-existing material can not be manipulated in the same manner of a piece tailored to fit a narrative, however, through the use of shooting and editing a sequence with music in mind, it allows a certain unity and rhythm to emerge from the combination of the two. Looking at whether or not one of these approaches to film scoring is more artistically viable is a more complex question that at first it would appear. â€Å"The most fundamental observation that can be made about music in any audio? Visual medium is that it enjoys a rather direct route to our subconscious. Humans are by nature more visually orientated, we digest visual information more consciously and more critically than we do aural information† (Wright 2003:10) Since its musics uncanny ability to override the logical front of our brains and plug directly into our emotional back allies, it tends to offer the driving force in telling us how to feel about events within a film. It can be used with great effect to inform us how we should feel about characters or places, it can instantly set time periods or moods, â€Å"precisely because in most cases it is completely removed from the specific logic of a films story line† (Wright 2003:10). However, it is this powerful, yet extremely subtle ability to steer an audiences emotions within a film that makes the score so depended on a plethora of various factors, be they cultural, historical or otherwise. What a person is going to feel when exposed to different sounds is extremely subjective, how one person responds may not correlate with how another would when exposed to the same thing. â€Å"All popular music contains visual elements; all film relies, in varying degrees, on musical elements† (Inglies 2003:3) A director can take great advantage of that fact that pre-existing popular music will often have already existed within the consciousness of the public for long enough that a response will have been built up in their mind, especially with regards to songs containing specific, concrete lyrics. An example of the successful combination of a songs lyrics and a sequence edited perfectly to its rhythm would be the opening montage of the Zack Snyder directed Watchmen (2009), the sequence, which shows the unfolding of an alternate historical timeline of the 1960s, moves along at a constant, smooth and meditative crawl, all the while Bob Dylans â€Å"The times they are a-changing† echoes out, the lyrics seeming to directly reference the events taking place and the mid tempo, simple yet mournful and effective guitar/harmonica parts perfectly compliment the mood and set the tone; there is a heavy sense of sadness, a great part of the story centres around the fact that a new generation of costumed heroes are now faced with a society that no longer has time for them, that fears them even and in this sequence we look back into the halcyon golden days of the older generation of costumed heroes, when it was more innocent, but we view the often depressing events that lead to the current state of affairs within the narrative. In other instances, the right song placed with the right images can elevate both beyond their limits as separate mediums, fleshing out one another in new and exciting directions. For example in David Lynchs masterpiece Blue Velvet(1986), a few keys scenes, use pre-existing material to truly haunting and terrifying effect. Most famously perhaps is the scene where Jeffery Beaumont (Kyle Maclachlan) is serenaded by the suave, menacing, porcelain white, rake thin figure of Ben (Dean Stockwell). Ben lip-synchs along to Roy Orbisons classic â€Å"In Dreams†. The song, a ballad that tells a story of lost love, had already become a well known hit by the time Lynch made Blue Velvet. Recorded in 1963 (twenty three years prior to Blue Velvets release) it peaked at number seven on the billboard charts. Within the dark, unsettling noir universe that Lynch had created for the film, the song took on something of a far more disturbing meaning. The ironic juxtaposition of Orbisons ethereal voice, haunting melody and the dream like music accompanying it, along side the creeping dread and ominous shadow of impending violence smothering the sequence help elevate the mood and capture it brilliantly. Blue Velvet itself felt a lot like a dream, or a nightmare, and the songs lyrics resonated with a compelling and strange clarity within the films mood. The whole film was about looking below the surface of something seemingly perfect and finding that it was rotten to the core, here, in this context, a remarkable beautiful piece of music is suddenly something more, theres something darker at its heart. A truly inspiring choice of popular music for a scene, and a prime example of the amplification of a scenes mood the correct piece of pre-existing music can have. The innocent, whimsical connotations and feelings evoked by â€Å"In Dreams† sits in a perfect, jarringly uncomfortable unity along side the hellish, violent world at â€Å"Blue Velvets† heart. The impact of the sequence is unmistakable, one can not imagine the scene playing out with any other song and similarly after viewing the sequence, one can not hear the song without imaging Ben swaying and singing or Frank Booth (Dennis Hooper) becoming lost in sadness, then insane with rage upon hearing the song hes obsessed with. From a commercial aspect the song was incredibly useful in revitalising Roy Orbisons then lagging career, though he was at first shocked upon viewing the way his music had been used, the song and film bolstered interest back into the singers work. Although, on the other side of the coin, â€Å"it is precisely because the message in music is so implicit, because it influences us somewhat subliminally, that we find its failings so noteworthy[†¦] The stakes are high: when it works, it moves us, but when it fails, we cringe at the attempt† (Wright 2003:12). Because popular music tends to exist within the moment, it changes and mutates at the same rate as fashion or hairstyles, the risk of using a popular song from a certain time can immediately give a film a shelf life. Obviously, over time, all films begin to look dated compared to their modern equivalents, however, popular music evolves at such a lightning pace that the wrong piece (or some times, the right piece for that moment in time) can often make a film seem laughable or extremely out dated within a short space of time (See many, many, many films from the 80s) It therefore, appears that producers and directors run significant risk when making a conscious decision to use popular music as score. Which does seem to beg the question, that if music written for the film can be tailored to fit a films needs precisely and pre-existing material tends to loose its relevance within years, why do people still use popular music? From a cynical point of view it could be suggested that its more often than not with financial reasons in mind, its common knowledge that only one in ten productions will return a substantial profit, however its the huge profit of that one that makes up for all the others, so the added bonus of having an easily marketable sound track is always going to be a draw in terms of money. However, pre-existing music has its own artistic merits within film as a choice of soundtrack. Since most popular songs chosen for film (such as â€Å"In Dreams† mentioned earlier) have already existed within the public consciousness for considerable time enough for people to build and attach their own set of feelings and emotions to a song, the use of popular music brings with it a ready prepared set of emotional triggers that a film or scene can build on top of, this always for a scene to carry more emotional clout than if an unheard and unknown score made for the film was used in its place. â€Å"The right song in the right place can be an extremely powerful device† (Wright 2003:13) Though it is indeed true that the use of popular music can run the risk of making a film seem out dated fairly quickly, the act that pre-existing popular music does capture and retain the mood of the time period it was created in can be an extremely useful tool when the subject matter of a film is specific to a certain era, it can instantly and effortlessly conjure up the mood of a certain point in history in a way that a composed score would struggle to achieve. Familiar examples of music from the desired era summon up not only the musical memory of the time, but come complete with the attitudes and ideas that were linked to that period (Wright 2003:13). For example, the 1960s for many cultural and historical reasons stills resonates powerfully within the public consciousness. Francis Ford Coppolas Apocalypse Now (1979) partly achieved a faithfully accurate depiction of the ear through the careful use of songs strongly linked to that decade, but more than that, the songs chosen often reflect the bizarre situations Captain Willard (Martin Sheen) finds himself in and the deepening sense of dread that consumes him as he heads further down the river and into the stories nightmarish underbelly. This effect is starkly illustrated in the films famous beginnings, as Willard stares blankly at a ceiling fan in his room, the Doors song ‘The End plays non-diegetically along with the sound of helicopter blades. Not only does the song help to evoke feeling and images of the 60s, but it also comments upon an uncomfortable and unsettling notion that haunts the film, as Matthew Caley describes it in his essay Heavy Rotation â€Å"The opening sequence invokes the notion of a terrible re-occurrence the end becoming the beginning, signifying the heaviest of burdens† (Pop Fiction, Caley 2005:38) Some events, in this case the Vietnam war, can never be overcome on a personal level. Another important difference between the use of popular music as score and traditionally composed pieces is that, for the most part, traditional scores are used non-diegetically, as seemingly separate entitles, floating above the action, where as very often, popular music is used diegetically within the frame. This could be in part that we are almost conditioned to think of songs as more than simply visual accompaniment, we hear a song and nine times out of ten well imagine a performance going along with it, we see the band, the singer and the stage, lyrics also cry out for attention and want to be hear and analysed. Simply underscoring a scene with a popular song, can in some cases distract the audience from the main narrative drive, and as soon as an audience is lost from the film, it becomes increasingly difficult to get them back involved. So, to counter this, more often than not the source of a piece of popular music will normally be within the frame, be it a car radio or a CD p layer or (as was the case in Blue Velvet) some one singing. In this way, we no longer find the presence of a separate medium looking for attention problematic, the characters can hear what we are hearing, a logical justification for the songs presence has been given. This can also happen on a wider scale through out a film, when the set up provides a musical or semi-musical means by which to accept the constant presence of diegetic music, for example in High Fidelity (Stephen Frears, 2000), the narrative revolves around Rob Gordon (John Cussack) who runs a small, alternative-music store, and his employees. The overt musical setting always for many chances for popular songs to appear diegetically within the movie, however, once the action is removed from the apparent source of these songs, they act as score instead, but because the viewer has been given enough logical justification for their presence, their use in these situations does not direct attention from the action, or seem co ntrived and indulgent in their use. With out the earlier conditioning provided by the films location allows use, this may not be the case. â€Å"Given all these difficulties, music, with its ‘back door access to our consciousness, is a powerful tool [†¦] it stealthily pilot The audiences mood ad emotional response to a films content† (Wright 2003: 20) What it is that succeeds when popular music is used as accompaniment in film is subject to many different factors, most extremely subtle. Precisely how it effects a person is of course on an individual level and cant realistically be hammered down to a science in any way, but the successful use of music often engages in a way that is simultaneously original, but resonate with a timeless quality. Popular music is an ever changing form of expression in and of itself, and as too, the landscape and language of cinema grows and changes over time it is fair to say that what in principle can be regard as the rules to determine what does and does not work as musical accompaniment to film, will remain the same. An interesting angle that has also been undertaken by many modern film makers (perhaps not consciously) is the mimicking of techniques used in more traditional film scores when using pre-existing material, the most prevalent of these could possibly be the use of popular song as Leitmotif, which I will now explore in chapter two. Chapter 2 Popular Music as Leitmotif Firstly, the term leitmotif is, according to Groves Dictionary of Music defined as such: â€Å"A theme, or other coherent idea, clearly defined so as to retain its identity if modified on subsequent appearances, and whose purpose is to represent or symbolise a person, object, place, idea, state of mind, supernatural force or any other ingredient in a dramatic work, usually operatic but also vocal, choral or instrumental† A term used original to denote a process occurring in the operas of Richard Wagner, it has been adopted by film scholars as a means by which to describe a similar role in the classical film score, â€Å"a way of producing subtle sensations and associations in the listener (or viewer)† (Costantini: http://filmsound.org/gustavo/leitmotif-revisted.htm). In essence, the leitmotif is any melody, progression or harmony that occurs more than once during the film, and is normally attached to characters or actions as a means to evoke a memory in the viewer via a subconscious attachment of the repeating music to the images on screen. Leitmotifs also have the power to be both denotative and connotative in they way they present emotions and link to the image. The music denotes characters or/and situations through a link with music, then a repetition of the music, it can also create more subtle connotations when â€Å"foreshadowing or contradicting the images on screen† (Rodman, changing tunes 2006:124) For example, many of the scores composed by Ennio Morricone for director Sergio Leones spaghetti westerns, prominently feature the use of leitmotif to establish characters. In The Good, The Bad and The Ugly (1966), the use of a recurring two note melody is a frequent motif, played on three separate instruments to represent the three main characters of the film: flute for Blondie, ocarina for Angel eyes and human voices for Tuco. Through the denotative use of the notes A and its fourth interval upwards D, a Spanish flavour is achieved within the music, along side the three separate instruments help create a potent connection with the characters and ambience of the images on screen. The link between this leitmotif and the images it scores are so prevalent, that it is practically impossible to separate the two from one another, they are forever inescapably tethered together through this denotation, however, as leitmotif works connotatively as well, the describing traits that the music presents can exist outside the images context. Though we will always link that two note motif visually with the characters of The Good, The Bad and The Ugly, we too will always link the emotions, mood and feeling of the film (A romanticised, stylised version the west, heroism, treachery, adventure) with the music , and these connotations can carry on beyond the context of the films images, having been emotional hardwired in to our minds via the ‘back door access connotations within music can supply. It is interesting to note that upon its release as a soundtrack album, Morricones score performed very well, reaching number four on the billboard charts and becoming frequently sampled , re used and referenced by many popular musicians since (including, Gorrilaz, R.E.M and The Pogues) and thus, could be argued that it has moved from its initial use as a film score, more into the public consensus as popular music, possibly even a cultural touchstone, even if its original interests where not defined that way. As popular music has evolved beyond a simple form of entertainment and entered into the musical landscape of cinema as a method of scoring, its denotative/connotative properties have made it possible to assume the role of leitmotif when used correctly in films, it is this utilising of an established method of scoring†¦and utilising correctly, that gives yet more weight to popular music as artistically viable. When used as leitmotif, popular music tends to be given more denotative power than a traditional score, though also still able to connotate subtle meanings. The difference being that the denotation is more subtle, nuanced and relies more heavily on the viewers familiarity and competence with the music prior to experiencing it in the film. To explore this, I shall examine two popular modern films that heavily rely on popular music as score, both using it as leitmotif, in different ways however. Shaun of the Dead (Edgar Wright, 2004) and Pulp Fiction (Quentin Tarantino, 1994). Shaun of the Dead is presented as being a romantic comedy†¦with zombies, the film garnered hugely favourable reviews upon its release for its blend of witty Douglas Adams-esque British humour and the classic elements of the zombie genre found in the work of George A Romero. Like director and writer (along with Simon Pegg) Edgar Wrights earlier work on the television series Spaced, Shaun of the Dead uses a compilation score (along with a few tracks written specifically for the film) consisting of popular tunes. The same song does not reappear frequently through the film to reinforce character or situation as leitmotif may be used in a traditional score, instead the films leitmotif is to be drawn from a perceived prior knowledge that the viewer must have with the songs, which allows an emphatic, direct meaning (via lyrics, song titles and often a reference to horror genre) to achieve denotative references, often used to comic effect to act as leitmotif through the film. The stipulations of leitmotif are also achieved via the songs connotative effect on the viewer via their subtle (sometimes not so subtle) descriptions of a scenes mood, or a character trait or often the films overall theme. For example, the film opens with an excerpt from ‘Ghost Town by the Specials over a black screen, before cutting to a medium close up of Shaun (Simon Pegg) sat, mouth agape, a brain dead expression stapled to his face, in a pub (we there for automatically make the assumption that the music is being heard diegetically by the characters as well, emanating from a jukebox or something similar). The song immediately makes clear the mood of the film, the very title of the track is ‘Ghost Town, straight away subtly suggesting the coming events of the films narrative, The lyrics (though originally written about the large scale unemployment feared to be brought by the policies of Margret Thatcher) twist and lend perfectly with one of the films core themes, the idea that modern British society is dulling down, decaying, zombifing itself and wasting away in to nothing more than the aforementioned ‘Ghost Town of the songs title. The style of music itself also captures the spirit of the film, connotating on an almost subconscious level to the viewer what to expect in terms of the films mood, the up beat Ska style is certainly light hearted almost comical in its bouncy rhythms, but a sinister vein runs through the song, similarly, the film, though a comedy at heart, has moments of real horror as the zombie crisis escalates towards the end of the film. It is also extremely British in sound, as the film is too, extremely British in its writing and acting. Other examples of songs being used for their inherent referencing/or placement within the horror genre are ‘Zombie Nation by Kernkraft 4000 and ‘The Blue Wrath by I Monster. Both these songs differ wildly in their stylistic traits, but by their nature of both taking reference points from supernatural angles (zombies, monsters) they are linked to the leitmotif structure the film uses. ‘Zombie Nation in particular, though used for only a very short space of time, prescribes to a similar denotative/connotative use as Ghost Town does. Denotatively in its title it directly name checks not only the main antagonistic force of the movie but also the movies entire scene set up and connotativley it also refers to the perceived notion of a zombifed Britain, using the title in a less literal sense, the style of music (a repetitive dance song) also, through heavy irony, helps subtly convey the idea of a brain dead society, (though, thats not to suggest that dance music is inhere ntly brain dead, more that, the repetitive nature of its genre along with the social image of hordes of silent, blank eyed individuals, twitching along in unison trapped in some nightclub runs a neat parallel with the zombie hordes occupying the move) A sequence which has since gained a great deal of attention and become something of a ‘classic comedy moment, takes place towards the end of the film, trapped by the marauding, relentless zombie hordes into the Winchester pub, Shaun and his friends are forced to deal with the now un dead pub landlord, during the course of the melee the jukebox starts to play the Queen hit ‘Dont Stop me Now. The juxtaposition of the songs upbeat, positive, energetic refrain against not only harrowing and almost certainly doomed situation the characters find themselves in, but also the beaten down, bloody, bruised and emotionally frayed survivors creates a sublime moment as song and image seamlessly combine, creating comedy from unexpected irony. The songs place here however, does not conform to the regular leitmotif that has been used through the film (song as denotative via lyrics or song title), and initially the lyrics seem ironic in their positive mantra, however, the song can also be seen as a comment on Shauns now fully developed character traits. Up until now hes been something of a loser, unable to pull his life together and it takes the apocalypse to rally his leadership qualities, from this angle, the songs positive message seems more sincere in its use, we

Detective Fiction & Sir Arthur Conan Doyle Essay -- Literature

According to the English crime writer P.D. James (1920-) â€Å"for a book to be described as detective fiction there must be a central mystery and one that by the end of the book is solved satisfactorily and logically, not by good luck or intuition, but by intelligent deduction from clues honestly if deceptively presented.† (James. 2009: 16). This is traditionally conducted via a detective; a figure deployed within the narrative structure ‘whose occupation is to investigate crimes’ (Oxford. 2006: 202). Therefore detective fiction represents an enigma, a puzzle to be solved through an intriguing series of events and clues presented by the writer to its audience; that are taken on a journey through a process of reasoning, elimination and conclusion to solve a mystery. The narrative formula allows the audience to engage on an exploration of self-discovery as â€Å"the mystery’s solution supplies a temporary sense of self through which the reader is offer ed an apparatus for negotiating the boundaries that define identity.† (McCracken. 1998: 50). Detective fiction can be defined and situated into various different categories; â€Å"one is taxonomic†¦placing it in relation to other types of popular literature†¦Westerns, science fiction, spy tales and so on. John G. Cawelti’s (Adventure) has grouped these types into larger categories called ‘archetypes’ which are convenient for making an initial distinction between two major kinds of detective fiction, ‘Mystery’ and ‘Adventure.’ (Rzepka. 2005: 9). This raises the question of how detective fiction appeals to past and present audience’s and its position as part of a mass market publication in contemporary society. In order to answer this question it is important to briefly summarise the rise o... ...http://www.gutenberg.org/wiki/Detective_Fiction_(Bookshelf). [Accessed 20th April 2012] Routledge Encyclopedia of Narrative Theory. (2007) Detective Fiction, Herman, D. Jahn, M. & Ryan, M. [On-line] Available from: http://books.google.co.uk/books?id=wWNnBndF9uEC&pg=PA103&lpg=PA103&dq=generic+conventions+of+detective+fiction&source=bl&ots=nN3XjelCQo&sig=w_epfgfc-_S9UUZhgH65xBIxMbY&hl=en&sa=X&ei=p7KfT-H_GafE4gTW_-y2Aw&ved=0CFAQ6AEwBg#v=onepage&q=generic%20conventions%20of%20detective%20fiction&f=false. [Accessed 19th April 2012] Sir Arthur Conan Doyle Literary Estate. (2000) The Official Website of the Sir Arthur Conan Doyle Literary Estate. [On-line] Available from: http://www.sherlockholmesonline.org/. [Accessed 20th April 2012] The Sherlock Holmes Company, (2010). [On-line] Available from: http://www.sherlockholmes.com/. [Accessed 21st April 2012]

Rudolf diesel

Rudolf Diesel was born on March 18, 1858 in Paris France the second of three children of Elise and Theodor diesel. Diesel spent is early childhood in France but because of the Franco-Prussian war in 1870 his family was forced to leave and moved to London. At 12 years old his parents sent him to live with his aunt and uncle because they wanted him to attend royal country trade school where his uncle was a math teacher and to become fluent in German. At age 14 he wrote a letter to his parents saying how he wanted to be an engineer after finishing his education at top f his class, and then he enrolled at the new industrial school of Augsburg.Two years later he received a merit scholarship to attend the Royal Bavarian Polytechnic of Munich which he accepted instead of listening to his parents and starting work. Diesel could not graduate in July 1879 because he fell ill to typhoid (a bacterial disease resulting from ingestion of food or water exposed to feces). While he was waiting to tak e his exam he got engineering experience at sluzer bros machine works. After graduating in 1880 diesel went to work for his college professor Carl Von Linde o develop a refrigeration and ice factory, and became the director of the plant one year later.In 1890 he moved to Berlin where he started working toward better fuel economy for steam engines, he tried using ammonia vapor to gain his desired fuel economy but the engine blew up during testing. Later he tried to increase fuel economy by using the Carnot cycle which led him to his own theory of compression ignition engines, in these engines the fuel was not put into the cylinder until the end of the compression stroke and the fuel was ignited by the high temperatures from ompression.He obtained multiple patents for his design in the United States and Europe. After boarding a boat in 1913 to attend a meeting he was missing when the boat docked. A couple days later they found his body in the ocean but let the body back to sea after g etting his id card and other things he was carrying. I think he was murdered because Hubert akroyd Stuart had put out a patent a couple years before diesel for a compression ignition engine but was told that diesels was slightly different so it was 0k. This is a clear motive for revenge!!

Free Essays on Germany And The Escalation Of WWI

The Great War began on August 3rd 1914, but was triggered on June 28th, when a member of the Serbian militant group called the "Black Hand," Gavrilo Princep, assassinated Austrian archduke Frances Ferdinand and his wife. The assassination was a result of the nationalism caused by the molding of the Yugoslavian provinces into Serbia. The Serbian government, which had a vested interest in the downfall of the Austrian Empire, was implicated as being involved in the plot and quickly became the reason for war. Though Germany declared war on France on August 3rd, it is important to remember that Russia was the first to mobilize, considered an act of war. This was quickly followed by France, and finally Germany. Though Germany was the most prepared for this war, they did not want to hurt their industry and did not want to fight a two front war. Austria, outraged with the assassination of the archduke, saw a chance to annex a critical portion of their new neighbor Serbia. The loosely held Empire was the last of its kind, and in danger of loosing its control. This was due to fierce nationalism in the Balkans, due to the occupation of Bosnia (Sarajevo). On July 13th, 1914, the Austrians made an ultimatum saying all Serbs must leave Albania. The Serbians were not willing to agree to a demand aimed at hurting their government, and immediately mobilized for war. On July 28th, three days after Yugoslavia refused to yield to their demands, the Austrians officially declared war. Austria’s only hesitation came in Yugoslavia’s defensive treaty with Russia, and for this Austria turned to Germany. Germany told Austria to begin the war, and if it evolved into a larger conflict they would support them. Clearly, Germany was not the instigator on this front. The following day, on July 29th, Russia began mobilization with the intent of protecting Yugoslavia from Austria. Tsar Nicholas II ruled the Russian Empire as an absolute monarch until ... Free Essays on Germany And The Escalation Of WWI Free Essays on Germany And The Escalation Of WWI The Great War began on August 3rd 1914, but was triggered on June 28th, when a member of the Serbian militant group called the "Black Hand," Gavrilo Princep, assassinated Austrian archduke Frances Ferdinand and his wife. The assassination was a result of the nationalism caused by the molding of the Yugoslavian provinces into Serbia. The Serbian government, which had a vested interest in the downfall of the Austrian Empire, was implicated as being involved in the plot and quickly became the reason for war. Though Germany declared war on France on August 3rd, it is important to remember that Russia was the first to mobilize, considered an act of war. This was quickly followed by France, and finally Germany. Though Germany was the most prepared for this war, they did not want to hurt their industry and did not want to fight a two front war. Austria, outraged with the assassination of the archduke, saw a chance to annex a critical portion of their new neighbor Serbia. The loosely held Empire was the last of its kind, and in danger of loosing its control. This was due to fierce nationalism in the Balkans, due to the occupation of Bosnia (Sarajevo). On July 13th, 1914, the Austrians made an ultimatum saying all Serbs must leave Albania. The Serbians were not willing to agree to a demand aimed at hurting their government, and immediately mobilized for war. On July 28th, three days after Yugoslavia refused to yield to their demands, the Austrians officially declared war. Austria’s only hesitation came in Yugoslavia’s defensive treaty with Russia, and for this Austria turned to Germany. Germany told Austria to begin the war, and if it evolved into a larger conflict they would support them. Clearly, Germany was not the instigator on this front. The following day, on July 29th, Russia began mobilization with the intent of protecting Yugoslavia from Austria. Tsar Nicholas II ruled the Russian Empire as an absolute monarch until ...

Comparison of Eisenhower, Johnson and Kennedy essays

Comparison of Eisenhower, Johnson and Kennedy essays Dwight Eisenhower demonstrated the least amount of leadership when it came to civil rights. He did appoint Earl Warren as Chief Justice and did not support the decision and believed that changing the law could not change the hearts of men. (Davidson 1146) He is probably remembered most for his support of Orval Faubus in the Little Rock Central High crisis. Eisenhower was forced to call in the National Guard to control the angry John Kennedy appointed several African Americans to federal courts but many of his hopes for civil rights were never achieved. After trying to settle an integration issue at the University of Mississippi by appealing to people, Kennedy had to send in federal troops to settle the rioting. However, by then two individuals had been killed. Things became more complicated with Martin Luther King defended civil disobedience. (1169) When King announced a march on Washington, Kennedy tried to dissuade him from it. When that proved impossible, Kennedy "made the march his own" (1170). His support did win him favor among African Americans but at the same time it distanced Kennedy from southern whites and other races in the north. Kennedy was in Dallas rallying support from southerners when he was Lyndon Johnson was the most successful when it came to legislation concerning civil rights. He was responsible for passing the Civil Right's Act of 1964, which prohibited discrimination in public places. This bill has been noted as one of the greatest moments in the history of American reform. (1171). In 1965, he sent the National Guard to protect a group of demonstrators who were gathered to walk from Selena to Montgomery, Alabama with Martin Luther King. In addition, the Voting Rights Act was passed in ...

Pre-modern Indian History Essay Example | Topics and Well Written Essays - 2000 words

Pre-modern Indian History - Essay Example Taxila commanded the royal road which is the modern Kabul, formerly the valley of river Cophen connecting Gandhara to the kingdom of Magadha in the east. The Taxila town also commanded the Kashmir river valley up to the Indian Ocean in the south (Xinru, 21). Considering the command areas the Taxila held, it is believed that they also had rules over the land between Babylonia in the west and China in The East. During this ancient period, there was the Greek, Achaemenid and Kushan ages. In the Kushan age there were Sirsukh, Jaulian and the Mohra Moradu tribes (Edwin, 4). This paper will explain the establishment of the Kushans Empire and their numerous social, religious, economic and political engagements in the ancient Asian history. The Taxila Kushans In the early days, the Kushans were mainly nomads who belonged to the Yuezhi clan residing on the grasslands of the eastern Tarim Basin region, in present-day Gansu province in China (Xinru, 19). The Yuezhi tribe was believed to be comp rised of jade and horse traders who moved with their herd guarded by an estimated 100,000 to 200,000 military men. They were forcefully evicted from their original residence by the stronger Xiongnu tribe. Reports claim that they first migrated west and then south to Transoxiana a region north of Oxus River which is today referred to as Amu Darua (Xinru, 10). They further migrated to the Bactria region in the northern part of India. The Kushans of the Yuezhi clan were notably dominant creating a supreme rule over others tribes (William, 11). In the 1st century AD in the territories of ancient Bactria on both sides of the middle course of Oxus, the Kushans Empire under the leadership of king Kujula Kadphises was originally established after a successful invasion and control of the Bactria region. This was favored by the then existing rivalry between the Parthians and the scytho-Parthians (Xinru, 12). Through his enormous troops of military men, King Kujula Kadphises comfortably took c ontrol of the southern prosperous region which is the northwest part of ancient India traditionally known as Gandhara. Reports suggest that he rued the empire up to the year78 AD. On his death his able son Vima Taktu succeeded him and expanded the kingdom further in to the northwest part of south Asia. He later appointed and installed generals to these lands who were to exert the Kushan rule on the inhabitants (Smith, 45). Kujula Kadphises grandson Vima Kadphises took the helm of leadership after the death of his father in 95. He is credited with the greatest expansion of the Kushan Empire by acquiring vast lands that were to fall under the Kushan control. Reports claim that he expanded the lands to Afghanistan and North West India. Due to the empire expansion, some Kushans later relocated and settled in central Afghanistan and the northwest of the Indian subcontinent up to the lands of Saketa and Sarnath which are found on the Varanasi or Banares areas. It is also reported that the y held diplomatic relations with the Han of China, the Roman Empire and also the Sassanid Persia. During his reign, the Kushans are believed to have acquired a lot of wealth due to the connections and control they had over the Silk Road (Edwin, 24). His successor Kanishka 1 continued with the rule with records crediting him for his territorial administration from two capitals:

Components of Qualitative Approaches Assignment

Components of Qualitative Approaches - Assignment Example The three topics all involve the use of qualitative information. To investigate the political opinions of citizens of country A, a researcher has to set interviews that will convert the qualitative attributes into quantitative measures. For example, the interview may have questions like â€Å"Do the candidates you intend to vote for know your economic challenges?† The responses can be assigned numeric indices to measure their level of strength as shown in the example in the table below: While using interviews to gather information from the people, few challenges were met. Some of them were, only a small number of these interviews could take place because they vary in time (University of Portsmouth, 2010). Comparison of in-depth interviews may be difficult since the results may be unique. Due to the size of the sample, in this case, is small, the results are unlikely to be representative of a particular population. The interview process may be time-consuming, in terms of both data collection and analysis. There were many inconsistencies in the results due to bias amongst the people’s tastes and preferences. The following measures were recommended to be more effective in ways of collecting and interpretation of data especially through interviews. To avoid the inconsistencies, the data should be recorded in the agreed upon ways (Phil Rabinowitz, 2013) e.g. if the agreed upon way is using laptops, then laptops should be used to collect all results. Organization of the data is also a very important process that helps during the analysis. For example, the use of Geographical Information Systems is necessary especially when collecting data for investigating the political opinions of citizens based on different regions in that country.