Analysis of The Secret River

How Perception Affects Tourism In Thailand Tourism Essay

How Perception Affects Tourism In Thailand Tourism Essay This section is intending to give a review of related speculations and observations those effect to the travel industry. The audit likewise incorporates the idea of gainful picture, the picture of Thailand and legacy the travel industry and furthermore give idea which beforehand has been created by various analysts who undertaking the examination concentrate in comparative methodology. How Perception Affect Tourism The term impression of the travel industry is, for the most part, can be seen in two viewpoints. The first is the psychological picture made by advertising and media. Another part of picture can be created by the buyers. When all is said in done, the goal will showcase itself however much as could be expected so as to convince the explorer to purchase an excursion there (Tuohino, 2002 refered to from Henkel et al, 2006). Voyagers go to the goal so as to devour the items, administrations and encountering to those contribution at the goal. Voyagers will frame their recognitions identified with their desire which depend on their previous experience, companions, the web, showcasing and trip specialist data (Kotkew, Bowen Markens, 2006). In this way, if items or administrations specifically goal surpass voyager desire, which implies they are fulfilled. Then again, explorers are disappointed when their desires are not met (Mcdowall, 2010). As indicated by Crompton (1979), individuals travel for four unique reasons: private issue travel; corporate business travel; seeing family members and companions; and for delight excursion. Along these lines, voyagers have cliché picture of various observation and travel areas, so it is significant for the travel industry advertisers to elevate the goal picture to expand the quantity of vacationers (Sirgy Su, 2000). In addition, the people social having a place and legacy doesn't just influence the manner in which individuals encounter and decipher the items and administrations provided to them, however it likewise impact their dynamic with respect to selections of excursions and goals. Besides, clients have diverse discernment and individual needs, which hold various qualities to a goal. The assortment of client data is an approach to find the client needs and their qualities. Accordingly, clients advantage the goal in the method of clients tastes and inclinations which can straig htforwardly add to showcasing new item and administrations in the travel industry (Reportforu, 2010). Fakeye and Crompton (1991), has laid out the vacationers picture development process (see Figure 1). It tends to be clarified from this Figure the purchasers natural pictures and the prompted picture of vacationer goal can be acquired from somewhere else, for example writing, companions or family members. These messages assume a critical job and impact the assessment of elective travel goals lastly in settling on a choice about the goal they will visit (refered to from Henkel et al, 2006). Hu Ritchi (1993) expressed that the more travelers believe that the goal will fulfill their excursion wants, the almost certain the guests will pick the goals. Figure 1: Faye and Cromptons Tourists Image Formation Process (Tuohino,2002). Conceptualisation of advantageous picture It was portrayed by the past investigation on goal picture that a goals picture could add to the goal making process. During this procedure, voyagers fabricate a goal picture dependent on the educational and powerful data, for example, companions, news and travel office (Rittichainuwat, 2001). Subsequently, a successful goal picture procedure will be significant so as to make the specific goal separation from different nations. Cromton (1979) states that not all pictures can be impacted to explorer dynamic procedure. The examination looks at the connections between the quality of a goal and dynamic procedure of visitors. Along these lines, understanding the evaluative of goal trademark picture identified with goal decision is required in the travel industry advertising. Additionally, Kotler and Barich (1991) states that shopper will frame a picture dependent on advantage or worth that they hope to get from those items or administrations. Sheth, Newman, and Gross (1991) recommended that advertising decision conduct is a multidimensional wonder including numerous qualities: utilitarian, social, enthusiastic, epistemic, and restrictive (see Appendix 1). The investigation additionally expresses that these seven significant components are impacting market decision conduct. In view of the hypothesis and showcasing picture idea, the gainful picture model was created by Tappachai and Waryszak is appeared as underneath. Figure 2: Beneficial picture model (Tapachai Waryszak, 2000) Figure 2 shows explorer utilization esteems which are in the helpful picture model. These five utilization esteems including utilitarian attribute of the goals, Social observation about the goal, passionate of voyager through the goal, epistemic of the goal which explorer can increase new understanding from the goal and restrictive, for example, openness to different nations that will assist guest with deciding about their goals. (Tapachai Waryzak, 2000, refered to from Henkel et al, 2006). By utilizing Thailand for instance to depict the model above, Thailands practical qualities are intriguing deal shopping, assortment of food and excellent view site. The social utilization will be a goal that reasonable for all periods of individuals. The passionate worth is about a position of to unwind and quiet. An epistemic worth is a wonderful culture in Thailand lastly the restrictive worth is for the most part about the area which explorer can without much of a stretch access to different n ations. As indicated by Echtner Ritchie (1993), the goal picture alludes to properties base or comprehensive (symbolism), with every segment containing useful (unmistakable) or mental (impalpable or unique) trademark ( Echtner Ritchie, 1993). The traits points of view are including travelers observations through the qualities of the excursion goal, for example, wonderful design and structures, various social, authentic attractions and mental trademark like safe spot to visit and furthermore agreeable individuals. Besides, the comprehensive point of view of the goal identifies with goal picture as far as physical trademark, for example, sea shores, mountain, in like manner the mental are the goals air or disposition (Echtner Ritchie, 1993 refered to from Henkel et al). Pole Davies (2003) clarified that each goal have its own image picture. Likewise, the variables like expense and accommodation assume a significant job in dynamic of the goal. In any case, the most grounded impact and help is the picture of the travel industry goal (Davies, 2003). Accordingly, pictures are the brand personality which traveler can be seen. Also, pictures can be both increment and decline the determination of the goal by voyager (Henkel et al). Notwithstanding, Bigne et al. (2001) contended that picture isn't just impacts the goal decision, yet additionally has an effect on the assessment of the goal after the get-away. It tends to be clarified that whether voyager will come back to the goal (Bigne et al, 2001 refered to from Henkel et al). Additionally, a high positive picture of specific goal is bound to be picked by vacationer during the time spent dynamic (Echtner Ritchie, 1993). Taking everything into account, picture assume a significant job for traveler fulfillm ent and the assume picture of goal will impact visitor choice on their get-away goal. The picture of Thailand Goal picture can be both positive and negative picture, if two goals have nearly offering similar qualities for explorer recognition. Subsequently, the more positive picture of a goal place, the more probable that voyager will go there (Rittichainuwat, 2001). Thailand isn't just situating as a place where there is grin because of cordial individuals and a sheltered spot goal, yet additionally extensive as social, characteristic and authentic attractions. Because of the investigation of Yau and Chan on the picture of Southeast Asian, Thailand has been seen as a sensible cost, lovely sea shores and different attractions (Rittichainuwat, 2001). Moreover, Tapachai Waryszak direct an examination about advantage picture normal for Thailand and assembled the aftereffects of research indicated that the practical characteristics of modest shopping, assortment of food, cordial individuals and verifiable locales just as the epistemic trait of encountering rich culture in Thailand (Henkel et al, 2006). Moreover, the exploration between Tourism Authority in Thailand (TAT) and Siam University demonstrated the outcome that there was a positive picture as a characteristic and recorded travel goal (Henkel et al., 2006). This positive picture can be reflec ted by the honor winning goal from various nations, for instance, International Tourisms Bourse Berlin (ITB), granted the four go Asia Awards respecting best assistance accommodates travel to Asia in 2010, the Swedish great travel grant has positioned Thailand as the World Best Tourist Country Be that as it may, Thailand has likewise experienced a negative picture on account of prostitution, contamination which prompted the decay of vacation destinations (Rittichainuwat et al., 2001). Prideaux et al. (2004) has additionally expressed that the picture of Thailand is a suggestive goal. What's more, the picture of Thailand additionally identified with global news inclusion by saying that Thailand is a position of prostitution. These negative pictures can, clearly, influence guests and might cause them to would prefer not to visit Thailand. This likewise prompts the reason for some wellbeing and good issues in Thailand (Henkel et al., 2001). Nonetheless, the Tourism Authority of Thailand (TAT) never advances Thailand as a sex the travel industry goal (Prideaux et al., 2004). Suwanmolis learn about global media inclusion of prostitution in Thailand, the outcome f

31 Poets Recommend 31 Poetry Books to Read in August Critical Linking, August 2, 2019

31 Poets Recommend 31 Poetry Books to Read in August Critical Linking, August 2, 2019 Critical Linking, a daily roundup of the most interesting bookish links from around the web, sponsored by David Baldaccis One Good Deed. The Sealey Challenge was, initially, just a conscious effort to return to the habit of reading poetry, says Sealey, who has since stepped down as ED of Cave Canem. I posted across social media to ask if anyone wanted to join me in reading a book a day in August. Folks did, and the challenge caught on. Now, it’s in its third year. Now it’s tradition. Sealey is no stranger to building communityâ€"Cave Canem’s programming is all about creating a legacy of Black poetry through workshops, mentorship, readings, and support. So it’s no wonder the challenge has caught on like wildfire. Both poets and poetry readers alike use the hashtag #TheSealeyChallenge and post photos of the books they’re reading during the month, creating a storm of poetry on social media. The author of this piece legit slipped into the DMs of each of these poets to get their recommendations. Mad props for those efforts! Now go read some poetry. I spent a lot of time, over the next several days, smiling while tearing up. I tried to reply to everyone; I hope I did. So many peopleâ€"strangersâ€"told me they’d never previously spoken with anyone about being bisexual. I tried to cause no harm: Thank you for telling me this, Id say. I’m not a therapist, I have no training, but here are places where there are people trained to talk, and listen. You’ve helped me feel less alone, they said. I felt less alone, too. I wished I’d started talking about this part of my life a lot earlier than I had. All the bravery kudos to R.O. Kwon and anyone else sharing their truths to empower others. My book, The Library: A Catalogue of Wonders, began as an essay on writers’ libraries but quickly grew to encompass public and fictional ones as well. Ancient, modern and imaginary libraries have all accumulated compelling and irresistible stories. Mysterious filaments connect fictional libraries to each other, and to real libraries. Here are my favourites. Im almost ashamed admit how much time I spent pondering what my favorite fictional libraries might be. Almost. Sign up to Today In Books to receive  daily news and miscellany from the world of books. Thank you for signing up! Keep an eye on your inbox.

Doblar Conjugation in Spanish, Translation, and Examples

The Spanish verb doblar has several different meanings. It can mean to fold (like laundry or paper), to bend (like metal), to turn (like turn left or right while walking or driving), to double (like to duplicate), or to dub (like to translate a movie from one language to another). Doblar is a regular -ar verb. That means that it is conjugated similarly to other regular -ar verbs like cortar, enseà ±ar and cenar. In this article you can find doblar conjugations in present, past, conditional, and future indicative mood, present and past subjunctive mood, imperative mood, and other verb forms. Present Indicative Yo doblo Yo doblo la ropa despuà ©s de lavarla. I fold the laundry after washing it. Tà º doblas Tà º doblas la carta para ponerla en el sobre. You fold the letter to put it in the envelope. Usted/à ©l/ella dobla Ella dobla las ganancias de su negocio. She doubles her business' profits. Nosotros doblamos Nosotros doblamos la cuchara de metal. We bend the metal spoon. Vosotros doblà ¡is Vosotros doblà ¡is a la derecha en la esquina. You turn right at the corner. Ustedes/ellos/ellas doblan Ellos doblan la pelà ­cula al italiano. They dub the movie to Italian. Preterite Indicative In Spanish there are two forms of the past tense. The preterite describes completed actions in the past. Yo doblà © Yo doblà © la ropa despuà ©s de lavarla. I folded the laundry after washing it. Tà º doblaste Tà º doblaste la carta para ponerla en el sobre. You folded the letter to put it in the envelope. Usted/à ©l/ella doblà ³ Ella doblà ³ las ganancias de su negocio. She doubled her business' profits. Nosotros doblamos Nosotros doblamos la cuchara de metal. We bent the metal spoon. Vosotros doblasteis Vosotros doblasteis a la derecha en la esquina. You turned right at the corner. Ustedes/ellos/ellas doblaron Ellos doblaron la pelà ­cula al italiano. They dubbed the movie to Italian. Imperfect Indicative The imperfect tense describes ongoing or repeated actions in the past. It can be translated as was bending or used to bend. Yo doblaba Yo doblaba la ropa despuà ©s de lavarla. I used to fold the laundry after washing it. Tà º doblabas Tà º doblabas la carta para ponerla en el sobre. You used to fold the letter to put it in the envelope. Usted/à ©l/ella doblaba Ella doblaba las ganancias de su negocio. She used to doubleher business' profits. Nosotros doblà ¡bamos Nosotros doblà ¡bamosla cuchara de metal. We used to bendthe metal spoon. Vosotros doblabais Vosotros doblabais a la derecha en la esquina. You used to turnright at the corner. Ustedes/ellos/ellas doblaban Ellos doblaban la pelà ­cula al italiano. They used to dubthe movie to Italian. Future Indicative Yo doblarà © Yo doblarà © la ropa despuà ©s de lavarla. I will fold the laundry after washing it. Tà º doblarà ¡s Tà º doblarà ¡s la carta para ponerla en el sobre. You willfold the letter to put it in the envelope. Usted/à ©l/ella doblarà ¡ Ella doblarà ¡las ganancias de su negocio. She will doubleher business' profits. Nosotros doblaremos Nosotros doblaremosla cuchara de metal. Wewill bendthe metal spoon. Vosotros doblarà ©is Vosotros doblarà ©is a la derecha en la esquina. You willturnright at the corner. Ustedes/ellos/ellas doblarà ¡n Ellos doblarà ¡n la pelà ­cula al italiano. They will dubthe movie to Italian. Periphrastic  Future Indicative   Yo voy a doblar Yo voya doblar la ropa despuà ©s de lavarla. I am going to fold the laundry after washing it. Tà º vasa doblar Tà º vasa doblar la carta para ponerla en el sobre. You aregoing tofold the letter to put it in the envelope. Usted/à ©l/ella vaa doblar Ella vaa doblar las ganancias de su negocio. She isgoing to doubleher business' profits. Nosotros vamosa doblar Nosotros vamosa doblar la cuchara de metal. Wearegoing to bendthe metal spoon. Vosotros vaisa doblar Vosotros vaisa doblar a la derecha en la esquina. You aregoing toturnright at the corner. Ustedes/ellos/ellas vana doblar Ellos vana doblar la pelà ­cula al italiano. They aregoing to dubthe movie to Italian. Present Progressive/Gerund Form The gerund or present participle is the English -ing form. It is used sometimes as an adverb or for progressive tenses like the present progressive. Present Progressive ofDoblar està ¡ doblando Ella està ¡ doblando las ganancias de su negocio. She is doubling her business' profits. Past Participle The past participle is often used to form perfect tenses like the present perfect. Present Perfect of Doblar ha doblado Ella ha doblado las ganancias de su negocio. She has doubled her business' profits. Conditional Indicative The conditional tense is used to talk about possibilities. Yo doblarà ­a Yo doblarà ­a la ropa despuà ©s de lavarla si tuviera tiempo. I would fold the laundry after washing it if I had time. Tà º doblarà ­as Tà º doblarà ­as la carta para ponerla en el sobre, pero no la enviarà ¡s. You wouldfold the letter to put it in the envelope, but you will not send it. Usted/à ©l/ella doblarà ­a Ella doblarà ­alas ganancias de su negocio si trabajara mà ¡s. She would doubleher business' profits if she worked more. Nosotros doblarà ­amos Nosotros doblarà ­amosla cuchara de metal si fuà ©ramos mà ¡s fuertes. Wewould bendthe metal spoon if we were stronger. Vosotros doblarà ­ais Vosotros doblarà ­ais a la derecha en la esquina, pero es el camino incorrecto. You wouldturnright at the corner, but it's the wrong way. Ustedes/ellos/ellas doblarà ­an Ellos doblarà ­an la pelà ­cula al italiano si lo hablaran bien. They would dubthe movie to Italian if they spoke it well. Present Subjunctive The present subjunctive is used to express a desire, doubt, denial, emotion, negation, possibility, or other subjective situations. Sentences that employ the present subjunctive require two clauses. Que yo doble Mi madre espera que yo doble la ropa despuà ©s de lavarla. My mother hopes that I fold the laundry after washing it. Que tà º dobles El cartero pide que tà º dobles la carta antes de ponerla en el sobre. The mailman asks that you fold the letter before putting it in the envelope. Que usted/à ©l/ella doble El jefe espera que ella doble las ganancias de su negocio. The boss hopes that she double her business' profits. Que nosotros doblemos Pedro no recomienda que nosotros doblemos la cuchara de metal. Pedro does not recommend that we bend the metal spoon. Que vosotros doblà ©is El navegador sugiere que vosotros doblà ©is a la derecha en la esquina. The navigator suggests that you turn right at the corner. Que ustedes/ellos/ellas doblen Pablo pide que ellos doblen la pelà ­cula al italiano. Pablo asks that they dub the movie to Italian. Imperfect Subjunctive There are two options for conjugating the imperfect subjunctive: Option 1 Que yo doblara Mi madre esperaba que yo doblara la ropa despuà ©s de lavarla. My mother hoped that I fold the laundry after washing it. Que tà º doblaras El cartero pedà ­a que tà º doblaras la carta antes de ponerla en el sobre. The mailman asked that you fold the letter before putting it in the envelope. Que usted/à ©l/ella doblara El jefe esperaba que ella doblara las ganancias de su negocio. The boss hoped that she double her business' profits. Que nosotros doblà ¡ramos Pedro no recomendaba que nosotros doblà ¡ramosla cuchara de metal. Pedro did not recommend that we bend the metal spoon. Que vosotros doblarais El navegador sugerà ­a que vosotros doblarais a la derecha en la esquina. The navigator suggested that you turn right at the corner. Que ustedes/ellos/ellas doblaran Pablo pedà ­a que ellos doblaran la pelà ­cula al italiano. Pablo asked that they dub the movie to Italian. Option 2 Que yo doblase Mi madre esperaba que yo doblase la ropa despuà ©s de lavarla. My mother hoped that I fold the laundry after washing it. Que tà º doblases El cartero pedà ­a que tà º doblases la carta para ponerla en el sobre. The mailman asked that you fold the letter to put it in the envelope. Que usted/à ©l/ella doblase El jefe esperaba que ella doblase las ganancias de su negocio. The boss hoped that she double her business' profits. Que nosotros doblà ¡semos Pedro no recomendaba que nosotros doblà ¡semosla cuchara de metal. Pedro did not recommend that we bend the metal spoon. Que vosotros doblaseis El navegador sugerà ­a que vosotros doblaseis a la derecha en la esquina. The navigator suggested that you turn right at the corner. Que ustedes/ellos/ellas doblasen Pablo pedà ­a que ellos doblasen la pelà ­cula al italiano. Pablo asked that they dub the movie to Italian. Imperative The imperative mood is used to give orders or commands. There are both positive and negative commands. Positive Commands Tà º dobla  ¡Dobla la carta para ponerla en el sobre! Fold the letter to put it in the envelope! Usted doble  ¡Doble las ganancias de su negocio! Double your business' profits! Nosotros doblemos  ¡Doblemos la cuchara de metal! Let's bend the metal spoon! Vosotros doblad  ¡Doblad a la derecha en la esquina! Turn right at the corner! Ustedes doblen  ¡Doblen la pelà ­cula al italiano! Dub the movie to Italian! Negative Commands Tà º no dobles  ¡No dobles la carta para ponerla en el sobre! Don't fold the letter to put it in the envelope! Usted no doble  ¡No doble las ganancias de su negocio! Don't double your business' profits! Nosotros no doblemos  ¡No doblemos la cuchara de metal! Let's not bend the metal spoon! Vosotros no doblà ©is  ¡No doblà ©is a la derecha en la esquina! Don't turn right at the corner! Ustedes no doblen  ¡No doblen la pelà ­cula al italiano! Don't dub the movie to Italian!

Tour de France Drug Abuse - 4890 Words

The question of drug use among athletes in what was previously considered by the unknowing public to be a rather pristine sport, cycling, is important in that it will affect all future Tours and will place them and the athletes under scrutiny. To begin with, in Europe until the 1998 scandal occurred, despite a few exceptions, cycling was considered a drug free sport. The 1998 drug scandal tarnished the Tour de France and the reputation and image of other sports. The media response to the scandal took differing positions on what should be done next to clean up cycling. The scandal also affected advertisements, sales, and without question the 1999 Tour and Lance Armstrong. Since even the most naà ¯ve fan no longer trusts the cyclists,†¦show more content†¦Without that backing, the Tour and cycling would struggle awkwardly. If the war against drugs is not waged and won, a sport which has enjoyed a quantum leap in popularity could be plunged in a dark era particularly be cause of its tarnished reputation in 1998. (Velo-News 197) To avoid that dark era, Tour de France director general Jean-Marie Leblanc is taking a tough stand against the cheaters. In an interview with the Paris daily, France-Soir, Leblanc said, In the future I would not let a team start the Tour which had had a positive drug test in the weeks preceding the race (Velo-News 198). He was referring to Festina rider Christophe Moreau, who started this years Tour, despite testing positive for an anabolic steroid five weeks earlier (Velo-News 198). Nowadays, everybody is concerned and affected by performance boosting drugs. The British newspaper, The Daily Telegraph, interviewed ordinary cyclists who train at a 5km circuit near central Paris. One rider Jean Liguez said, Drug taking is an open secret. 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The Silver Linings Playbook Chapter 10 Free Essays

string(22) " painted a blood red\." I Don’t Know How This Works After some more lifting in the basement, I put on my trash bag and run my ten miles. Afterward, I shower, spray some of my father’s cologne, and walk into the mist – just like Mom taught me to do back in high school. I roll on some underarm deodorant and then don my new khakis and my Hank Baskett jersey. We will write a custom essay sample on The Silver Linings Playbook Chapter 10 or any similar topic only for you Order Now When I ask my mother how I look, she says, â€Å"Very handsome. So handsome. But do you really think you should wear your Eagles jersey to a dinner party? You can wear one of the Gap shirts I bought you, or you can borrow one of your father’s polo shirts.† â€Å"It’s okay,† I say, and smile confidently. â€Å"Dr. Patel said wearing this shirt was a good idea.† â€Å"Did he?† my mom says with a laugh, and then she removes an arrangement of flowers and a bottle of white wine from the refrigerator. â€Å"What’s this?† â€Å"Give these to Veronica and tell her I said thanks. Ronnie’s been a good friend to you.† And then Mom looks like she is going to cry again. I kiss her goodbye, and with my hands full of flowers and wine, I walk down the street and across Knight’s Park to Ronnie’s house. Ronnie answers the door wearing a shirt and tie, which makes me feel like Dr. Patel was wrong after all and I am underdressed. But Ronnie looks at my new jersey, checks the name on the back – probably to make sure I am not wearing an outdated Freddie Mitchell jersey – and says, â€Å"Hank Baskett is the man! Where did you get that jersey this early in the season? It’s great!† which makes me feel so much better. We follow the meaty aroma through their swanky living room and their swanky dining room to the kitchen, where Veronica is feeding Emily, whom I am surprised to see looking much older than a newborn baby. â€Å"Hank Baskett’s in the house,† Ronnie says. â€Å"Who?† Veronica answers, but she smiles when she sees the flowers and the wine. â€Å"Pour moi?† She stares at my puffy cheek for a second, but doesn’t mention it, which I appreciate. I hand her what my mother has sent, and Veronica kisses me on my un-puffy cheek. â€Å"Welcome home, Pat,† she says, which surprises me because she sounds sincere. â€Å"I hope you don’t mind, but I’ve invited someone else to dinner,† Veronica adds. She winks at me and then lifts the lid off the single pot on the stove, releasing a warm tomato and basil aroma. â€Å"Who?† I ask. â€Å"You’ll see,† she says without looking up from stirring her sauce. Before I can say more, Ronnie is lifting Emily from her high chair, saying, â€Å"Meet Uncle Pat,† which sounds strange until I realize he is talking about me. â€Å"Say hello to Uncle Pat, Emily.† She waves her little hand at me, and then I have Emily in my arms. Her dark eyes examine my face, and she smiles as though she approves. â€Å"Pap,† she says, pointing at my nose. â€Å"See how smart my girl is, Uncle Pat,† Ronnie says, petting the silky black hair on Emily’s head. â€Å"She already knows your name.† Emily smells like the mashed carrots that coat her cheeks until Ronnie wipes them clean with a wet napkin. I have to admit that Emily is a cute kid, and I instantly understand why Ronnie has written me so many letters about his daughter – why he loves her so much. I start to think about having children with Nikki someday and I become so happy that I give little Emily a kiss on the forehead, as if she were Nikki’s baby and I was her father. And then I kiss Emily’s forehead again and again, until she giggles. â€Å"Beer?† Ronnie says. â€Å"I’m not really supposed to drink, because I’m on medications and – â€Å" â€Å"Beer,† Ronnie says, and then we are drinking beers on his deck as Emily sits in her father’s lap and sucks on a bottle filled with watered-down apple juice. â€Å"It’s good to have a beer with you,† Ronnie says, just before clinking his Yuengling Lager bottle against mine. â€Å"Who’s coming over for dinner?† â€Å"Veronica’s sister, Tiffany.† â€Å"Tiffany and Tommy?† I say, remembering Tiffany’s husband from Ronnie and Veronica’s wedding. â€Å"Just Tiffany.† â€Å"Where’s Tommy?† Ronnie takes a long swig of his beer, looks up at the setting sun, and says, â€Å"Tommy died some time ago.† â€Å"What?† I say, because I hadn’t heard. â€Å"God, I’m sorry to hear that.† â€Å"Just make sure you don’t bring up Tommy tonight, okay?† â€Å"Sure,† I say, and then drink a few large gulps of my beer. â€Å"So how did he die?† â€Å"How did who die?† says a woman’s voice. â€Å"Hi, Tiffany,† Ronnie says, and suddenly she is standing with us on the porch. Tiffany’s wearing a black evening dress, heels, and a diamond necklace, and her makeup and hair look too perfect to me – as if she is trying too hard to look attractive, like old ladies sometimes do. â€Å"You remember Pat, right?† I stand, and as we shake hands, the way Tiffany looks into my eyes makes me feel really funny. We move back into the house, and after some small talk, Tiffany and I are left alone on opposite ends of the living-room couch as Veronica finishes cooking the meal and Ronnie puts Emily to bed. â€Å"You look very pretty tonight,† I say when the silence grows awkward. Before apart time began, I never ever complimented Nikki on her looks, and I think this really hurt her self-esteem. I figure I can now practice complimenting women on their looks so it will come naturally to me when Nikki returns, although Tiffany really does look pretty, even if she is trying too hard with the makeup. She is a few years older than me, but has a fit body and long, silky black hair. â€Å"What happened to your cheek?† Tiffany asks without looking at me. â€Å"Weight-lifting accident.† She just stares at her hands, which are folded in her lap. Her nails have been recently painted a blood red. You read "The Silver Linings Playbook Chapter 10" in category "Essay examples" â€Å"So where are you working now?† I say, thinking this is a safe question. Her nose crinkles, as if I had farted. â€Å"I got fired from my job a few months ago.† â€Å"Why?† â€Å"Does it really matter?† she says, then stands and walks into the kitchen. I down the remainder of my second beer and wait for Ronnie to come back. Dinner is elegant, with candles going and fancy plates and special silverware, but awkward, as Tiffany and I are completely silent while Veronica and Ronnie talk about us as if we aren’t there. â€Å"Pat is a big history buff. He knows everything about every single U.S. president. Go ahead. Ask him anything,† Ronnie says. When Tiffany fails to look up from her food, Veronica says, â€Å"My sister is a modern dancer and has a recital in two months. You should see her dance, Pat. So beautiful. My God, I wish I could dance like my sister. If she allows us this year, we’re all going to her recital, and you should definitely come with us.† I nod carefully when Tiffany looks up for my response, thinking I’ll go just so I can practice being kind. Also, Nikki would probably want to go to a dance recital, and I want to do the things Nikki likes from now on. â€Å"Pat and I are going to work out together,† Ronnie says. â€Å"Look how fit my buddy is. He puts me to shame. I need to get in that basement with you, Pat.† â€Å"Tiffany loves the shore, don’t you, Tiff? The four of us should take Emily to the beach one weekend in September after the crowds have left. We could have a picnic. Do you like picnics, Pat? Tiffany loves picnics. Don’t you, Tiff?† Ronnie and Veronica trade facts about their guests for almost fifteen minutes straight, and then finally there’s a lull, so I ask if any of them knows anything about the Vet being imploded, and to my surprise Ronnie and Veronica both confirm that it was demolished years ago, just like my father said, which worries me tremendously because I have no memory of this or the years that have supposedly transpired since. I think about asking how long ago Emily was born, because I remember getting a letter and picture from Ronnie soon after her birth, but I get scared and do not ask. â€Å"I hate football,† Tiffany offers. â€Å"More than anything in the world.† And then we all eat without saying anything for a while. The three courses Ronnie had promised turn out to be beer, lasagna garnished with baked asparagus, and key lime pie. All three are great, and I tell Veronica as much – practicing again for when Nikki comes back – to which Veronica replies, â€Å"Did you think my food would be bad?† I know she means it as a joke, but Nikki would have used the question to prove just how witchy Veronica can be. I think about how if Nikki were here, after we went home, we’d stay up talking in bed like we used to when we were both a little drunk – and sitting now at Ronnie’s dinner table, the thought makes me feel sad and happy at the same time. When we finish our pie, Tiffany stands and says, â€Å"I’m tired.† â€Å"But we’ve hardly finished eating,† Veronica says, â€Å"and we have Trivial Pursuit to – â€Å" â€Å"I said I’m tired.† There is a silence. â€Å"Well,† Tiffany finally says, â€Å"are you going to walk me home or what?† It takes me a second to realize that Tiffany is talking to me, but I quickly say, â€Å"Sure.† Since I am practicing being kind now, what else could I have said – right? It is a warm night, but not too sticky. Tiffany and I walk a block before I ask where she lives. â€Å"With my parents, okay?† she says without looking at me. â€Å"Oh.† I realize we are only about four blocks from Mr. and Mrs. Webster’s house. â€Å"You live with your parents too, right?† â€Å"Yeah.† â€Å"So no big whoop.† It is dark, and I guess it’s about 9:30 p.m. With her arms crossing her chest, Tiffany walks pretty quickly in her clicky heels, and soon we are standing in front of her parents’ house. When she turns to face me, I think she is simply going to say good night, but she says, â€Å"Look, I haven’t dated since college, so I don’t know how this works.† â€Å"How what works?† â€Å"I’ve seen the way you’ve been looking at me. Don’t bullshit me, Pat. I live in the addition around back, which is completely separate from the house, so there’s no chance of my parents walking in on us. I hate the fact that you wore a football jersey to dinner, but you can fuck me as long as we turn the lights out first. Okay?† I’m too shocked to speak, and for a long time we just stand there. â€Å"Or not,† Tiffany adds just before she starts crying. I’m so confused that I’m speaking and thinking and worrying all at the same time, not really knowing what to do or say. â€Å"Look, I enjoyed spending time with you, and I think you’re really pretty, but I’m married,† I say, and lift up my wedding ring as proof. â€Å"So am I,† she says, and holds up the diamond on her left hand. I remember what Ronnie told me about her husband having passed away, which makes her a widow and not married, but I do not say anything about that, because I am practicing being kind instead of right, which I learned in therapy and Nikki will like. It makes me really sad to see that Tiffany is still wearing her wedding ring. And then suddenly Tiffany is hugging me so that her face is between my pecs, and she’s crying her makeup onto my new Hank Baskett jersey. I don’t like to be touched by anyone except Nikki, and I really do not want Tiffany to get makeup on the jersey my brother was nice enough to give me – a jersey with real stitchedon letters and numbers – but I surprise myself by hugging Tiffany back. I rest my chin on top of her shiny black hair, scent her perfume, and suddenly I am crying too, which scares me a lot. Our bodies shudder together, and we are all waterworks. We cry together for at least ten minutes, and then she lets go and runs around to the back of her parents’ house. When I arrive home, my father is watching television. The Eagles are playing the Jets in a preseason game I did not know was on. He does not even look at me, probably because I am such a lousy Eagles fan now. My mother tells me that Ronnie called, saying it’s important and I should call him back immediately. â€Å"What happened? What’s on your jersey? Is that makeup?† my mother asks, and when I do not answer, she says, â€Å"You better call Ronnie back.† But I only lie down in my bed and stare at the ceiling of my bedroom until the sun comes up. How to cite The Silver Linings Playbook Chapter 10, Essay examples

To what extent does the ending ensure a sense of closure to the film Essay Example

To what extent does the ending ensure a sense of closure to the film Essay Director Paul Haggis successful debut Crash (2005) tells the individual stories of a seemingly unrelated group of individuals in the story space of two days; it immediately begins with the result of a car crash, but the story stems from the shift back in time to the day before the incident. By doing this Crash skilfully and deliberately reaches beyond the conventions of narrative film, as it does not begin with a balanced equilibrium; it is this and numerous stylistic effects that makes for an increased sense of closure as each interweaving story is summed up individually yet also in the wider context of the film and the issues it presents.In this short period of time in fast paced Los Angeles and through the chance encounters of the characters- for example, when a racist police officer is forced to save the life of a white woman whom he had previously black mailed and violated out of racial discrimination- the films underlying morals and themes come to the fore. As the film takes th e audience slightly back in time, we engage with the almost parallel lives of the characters and their problems encountered out of bigotry and fear, and it is as these interweaving stories become connected that the pace of the film slows down and closure hinted at.Through plot- which is defined by Bordwell and Thompson as all the events that are directly presented to the viewer in a narrative film1- for example in its parallelisms and through stylistic effects, particularly in the closing five minutes which I will focus on, Crash successfully brings its narrative to a subdued close and reveals the underlying key themes. The ending is satisfying to the viewer in that individual stories are resolved- not necessarily within themselves but in the wider context of the film- thus ending with an emphatic moral note as opposed to a stable situation and happy ending.This closing five minute sequence offers insight into the lives of the characters once they have crashed into each other one wa y or another, as the camera watches over them individually at a distance. Through style- notably non-diegetic sound which plays throughout the whole sequence and ties together the various lives of the characters- the audience is presented movingly with each of the characters reflections in hindsight to their actions and their experiences. The audience is thus encouraged to identify with characters and understand the story and its underlying messages.The sequence begins with the story of Jean Cabot (Sandra Bullock): the audience sees her embracing her house-keeper as she says: do you know what? Youre the best friend Ive got. This marks her poignant revelation of her unfulfilled and unhappy life, which had been for so long masked by lavish lifestyle and her career-obsessed husband. Complete focus is on her character as a close up of her face in the centre of the frame begins the sequence; as the slow non-diegetic sound slowly builds up, the camera slowly tracks into her face, allowing for extreme close up. The combination of the reflecting music, the slow tracking of the camera and the intimate close up of her face gently reinforces her emotion and signifies, almost dramatically the turning-point in her life. As the close up focuses on her sad emotional state, the touching music (In the deep, by Kathleen York)- which happens to eventually cosmically relate all the intertwining stories- begins on the line thought you had all the answers. This serves again to emphasise her disillusionment with life, resulting in this emotive realisation, thus in many ways closure to her character. Mise-en-scene here is working as part of the plot as it signifies and mostly heightens the significant realization of this named character.After a relatively long take, the camera jump cuts to the story of another character and an establishing shot of Officer Tom Hansen (Ryan Phillipe) burning the car -where out of subconscious racial discrimination he fatally shot an innocent teenager ( Larenz Tate). We see him at a distance angrily throwing rubble onto the fire out of grief; the distance the camera allows for emphasises his helpless state at a significant time in the story, conveying the underlying consequences of his racial prejudice. Again by using an establishing shot here the audience now has a sense of time and space, as they have already been introduced to this storyline through plot.The jump shot might usually serve to create a disjointed or abrupt change in plot, yet through continuation of the same slow non-diegetic sound- which completely takes over synchronous sound- it almost seems to act as reflection, to sum up the story line rather than to expand on it. A balanced, almost symmetrical frame follows as the camera cuts to a medium close up of Officer Tom Hansen now in the middle of it. As the camera remains static however he walks slowly forward and to the right of the frame; this allows the balance to be disrupted, thus subtly emphasises his vulnerabi lity in the frame.2 This relates to his weakness in the story, as his position in the frame becomes vulnerable at a time in the story when his previous position of power and success has been substituted for a position of regret, reflection and shame. By showing his character in this way, the tone of the scene is extremely toned-down and as the story allows for the characters reflection, so the mood and mise-en-scene allows for audience reflection of racial prejudice.As the Officer walks forward in a few more frames of the shot, it is also noteworthy to point out the objective camera angle. By employing this camera angle the audience happens to look in as opposed to involving themselves in the action. This distances the audience somewhat and forces them to empathise with this character.Lighting works together to connote sadness; the predominant darkness and orange filter used suggests that all the light comes from the background fire, thus selectively lighting parts of the characters face and not much else. This slightly dappled light falling onto the characters face remains even throughout this shot and so slight changes in his harrowing expression of emotion are easily registered by the viewer; this again serves to emphasize his emotional state over actions or setting. And so the almost sombre tone of the scene is intensified. Through subdued lighting his emotional state is heightened to the audience who can now build an identification with him in his sadness. The plot merely shows the Officer walking away from the scene of the crime, yet through non-diegetic sound- connoting sadness and a poignant atmosphere- , through intimate close ups of his face and also through shallow depth of field created- by selectively focusing entirely on his face- the plot infers successfully his feeling of remorse and realisation.As the non-diegetic music and the calm paced shot length continues into the next sequence- as it were into other final accounts of the characters stori es- the audience is able to relate the characters, thus identify feeling of sadness and a sense of closure in all the accounts. After several shots of these various characters in their states of reflection in the closing five minutes of the plot the music begins to slow to a close; as it does this the audience sees Anthony (Ludacris) letting the Chinese immigrants go, after previously agreeing to sell them. This part in the plot signifies his revelation in looking beyond money for the greater cause. Yet, it is at this exact point of the music ending that we hear him say to one of the immigrants: dopey fucking Chinaman. Here- mainly through the combining of sound and plot- the films message and story is presented effectively; that moving at the speed of life even after having crashed into one another the issue of prejudice will always haunt in the world todaybla bla bla.In the closing sequence of the plot the audience is again encouraged to relate the different characters, thus bring ing messages of the film to the fore; it shows that our actions although they may seem insignificant, actually relate to the wider context and serve to affect others in undesirable ways. This is also possible through the rhythmic relationship of the shots in the sequence; although this sequence employs numerous jump shots to signify a change in sub-plot, through continuity editing and continuation of the non-diegetic sound, the viewer is not left disorientated, but instead is able to follow the interweaving plot. Through continuity editing- particularly continuation of asynchronous music and rhythmic relations of shot length in this sequence- the individual stories of the various characters come together and form the wider narrative of the film. By doing this the audience is able to understand the plot in its successful attempt to relate each individual to its wider context, and show the often subconscious effects of racism on society as a whole.As the sequence comes to an end and a s the individual stories of the characters are given room for contemplation and reflection by the characters and the viewer, the mood of the scene becomes much more upbeat; with jerky guitar riffs contrasting with the previous sombre piano sound. By doing this the viewer can at this point look beyond the emotional stories of the individual characters and think more closely about the messages presented in the film. It allows a less serious light to be shone onto the subject, but at the same time leaves it in our minds for contemplation, as the scene closes with a car crash resulting in one of the drivers saying what the hell is wrong with you people?As the various drivers are left on the road fighting with each other, the camera slowly pans out of the action, leaving a birds- eye shot angle looking down on it. This remarkable angle combined with lively yet reflective music- as it reads these little black clouds keep walking round me- humorously presents the audience with a finality t o the story, yet keeps the actual issues unresolved. It realistically produces closure to the plot and story, as it has successfully addressed various issues so that they are understood by the audience; yet it is presented as an ongoing problem- as the narrative goes full-circle- thus leaving the audience with room for reflection themselves.By looking at the closing five minutes of Crash, through style and plot the story and essential issues of post 9/11 America are presented unflinchingly to the audience. To reveal the wider issues in the story, Crash has effectively depicted the every day life of a diverse group of characters, who as it turns out have more in common with each other than they initially thought. By the interaction of mainly sound and editing with the plot, Paul Haggis story is told with force, allowing the audience to contemplate and reflect on various issues- namely racial prejudice in the world today- along with the narrative characters.