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Imperialism of the Philippines by April Wright on Prezi
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Imperialism of the Philippines by April Wright on Prezi
MLA Format Papers: Step-by-step Tips for imperialism Writing Research Essays. 0.1) If you’ve been asked to submit a paper in MLA style, your instructor is asking you to format the page and lg history, present the content in a specific way. Just as football referees dress a certain way, and Japanese chefs cook a certain way, writers in philippines imperialism, certain disciplines follow a certain set of conventions. This document will show you how to karate vs tekondo format an imperialism essay in karate, MLA style. 0.2) If, instead of questions about philippines putting the final formatting touches on Can Actually Kill, your essay, you have questions about what to write, see instead my handouts on writing a short research paper, coming up with a good thesis statement, and philippines, using quotations in the body of your paper.
(no comma between the leaf gabriel garcia marquez author and page number; commas and periods go outside of inline quotes) Works Cited List. (lots of tricky details! sort alphabetically by philippines imperialism, author, not by the order the quotes appear in your paper) For the most complete information, check your campus library or writing center for the MLA Handbook for Writers of Research Papers , 8th ed. MLA Style Format (First Page) How to format the Works Cited page of an MLA style paper. Your word processor comes with default settings (margin, line height, paragraph spacing, and typeface) that will likely need adjustment. For MLA style, you need:
1-inch margins all around 2.0 line height (double-space the whole paper, including title block and storm marquez, Works Cited list) no extra spacing after the title, between paragraphs, or between bibliography items 12-point typeface (usually Times New Roman ) 1.1 Adjusting Document Settings in imperialism, MS-Word (Windows) My copy of Microsoft Word for Windows defaults to. 1-inch margins all around 1.15 line height 10pt spacing between paragraphs Calibri 11-point typeface. Changing to MLA Style (Windows) The default margins in my test run were fine, but if you need to change them: Page Layout - Margins - Normal (1-inch all around) The default line height is too low. Lg History? Change it to 2.0. CTRL-A (select all your text) Home - Line Spacing - Remove Space After Paragraph Change the philippines imperialism typeface to Times New Roman 12-point. Home - Font Face Selector (change to Creating a High School Essay Times New Roman) 1.2 Adjusting Document Settings in imperialism, MS-Word (Mac)
My copy of leaf storm marquez, Microsoft Word for Mac defaults to. 1.25 inch left and right margins, 1 inch top and bottom 1.0 line height no extra spacing after paragraphs Cambria 12-point typeface. In my test run, the left and right margins are too big. To change them: Layout - Margins - Normal (1-inch all around) The default line height is too low. Change it to 2.0. Home - Line Spacing - 2.0 My Mac copy of MS-Word does not add extra spaces after paragraphs. If yours does: Don’t add space between paragraphs of the imperialism same style (check this box) - OK The 12-point Cambria will probably be fine, but to a High Crest change the philippines typeface: Home - Font Face Selector (change to Looks Can Actually Kill Essay Times New Roman)
In the top right of every page, use your word processor’s “Page Header” function add an automatic page number and your surname. 2.1 Adding the Page Header in imperialism, MS-Word (Windows) Insert - Page Number - Top of Page - (choose the right-justified “Plain Number” option) The cursor will jump automatically to the right place for you to maureen walls sister of jeannette t ype your surname . Click anywhere in philippines imperialism, the body of the paper to exit the header area. 2.2 Adding the Page Header in MS-Word (Mac) Insert (in the top menu) - Page Numbers… - (Set “Position” to “Top of Page (header)” and “Alignment” to “Right”) Click just to the left of the new page number, and type your surname . Storm Gabriel Marquez? On my test document, my name was too far over to the left; grab the triangular tab adjuster just above your name, and drag it a notch to the right . In the upper left corner, type your name, your instructor’s name, the course number and philippines, section, and today’s date. Centered on lg history, the next line, type an informative title that actually informs the philippines imperialism reader of difference public and private, your main point (not just “English Paper” or “A Comparison between Hamlet and Macbeth”). Like all the other text in an MLA style paper, the title block is double-spaced . The title is in the same font as the philippines imperialism rest of the paper — it is not boldface, or enlarged. There is difference and private, no extra space above or below the title. A truly informative title will include the general topic, and your precise opinion on that topic. (So, if you pan to compare Hamlet and philippines imperialism, Macbeth, your title should state the unique point you want to make about Hamlet and maureen sister, Macbeth.
Reuse part of your thesis statement.) This handout presumes you already know why you should cite your sources (to establish your authority, to introduce persuasive evidence, to avoid plagiarism, etc.), These instructions focus on how you format the page. (For a resource to help you determine how to cite a specific source, see the MLA Bibliography Builder). To fully cite a source requires two stages. The first happens in the body of your paper (the “in-text citation”) and the second happens on philippines imperialism, a separate page at the end of your paper (see “Works Cited List,” below.) 4.1 Citing a Block Quote (more than three lines) Long quotes can start to look like filler.
Only use a block quote if you have a very good reason to include the whole passage. (You can usually make your point with a shorter quote.) If you do have a good reason to quote a passage that is several lines long: Select the text and click the “ Increase Indent ” icon (see image, right). Can Actually Kill? Place the parenthetical citation (the author’s name and the page number) after the period . (This is different from philippines imperialism inline quotes, below.) There is no comma between the author’s name and the page number. If the quotation runs across more than one page: (Wordsworth-Fuller 20-21) or (Wordsworth-Fuller 420-21). Skip wordy introductions such as, “In his informative guide The Amazing Writing Book , published by Elizabeth Mount College in 2010, the and private noted composition expert Maxwell Wordsworth-Fuller describes the importance of citations in philippines imperialism, MLA style papers.” Cutting the filler leaves more room to develop your own original ideas. (See “Integrating Quotations.”) 4.2 Citing an Inline Quotation. When the passage you want to quote is sister, less than three lines long, use inline style.
Here we have two brief passages, taken from the same page of the same source, so we can handle both with a single parenthetical citation. The parenthetical citation appears outside the imperialism quoted material. The period that ends the sentence comes after the close parenthesis . (This is Creating a High Essay, different from block quotes, above.) In this example, we have changed the first word a little, lowercasing it in imperialism, order to fit it into our own sentence. To let the reader know what we changed, we put  around it. Again, note the absence of lg history, a full sentence that explains who Wordsworth-Fuller is and where the quote comes from. Imperialism? All that info will be in maureen walls, the Works Cited list, so we leave it out of the body of the paper. Let’s imagine we want to reference Wordsworth-Fuller’s general idea about citation as a way to imperialism establish credibility, but we don’t need to Looks Kill include any of the technical details. Philippines? We can save space, and make it much easier on our reader, if we paraphrase: Use paraphrasing for variety, or to make a passing reference without taking up much space.
If we use an author’s idea, rephrased in our own words, we must still cite the idea. A research paper isn’t a research paper unless you end with full bibliographical details on every source you cited. This part can be tedious and tricky; leave yourself plenty of lg history, time to do it. Start a new page . MS-Word Wind: Insert - Page Break - New Page. MS-Word Mac: Document Elements - Break - Page. Title your new page: Works Cited. MLA style calls for no extra spaces above or below the page title; no special formatting. 5.1. How to Create an Individual Works Cited Entry. Exactly what goes into each item in your bibliography depends on what kind of imperialism, item it is. The following pages give you some questions to Creating School answer, then let you push a button to get an imperialism individual works-cited entry.
If you prefer a more narrative explanation, see Purdue OWL’s handouts for how to gabriel garcia create a bibliography entry for a book, an article in philippines, a periodical (such as a journal or newspaper), or an lg history electronic source (such as an philippines imperialism email, web page or a YouTube clip). See also this list of other common sources (such as a personal interview or a movie). 5.2. How to and private Organize Your Works Cited list. Sort the philippines entries alphabetically by the author ‘s last name.
If the author is an organization (such as a government agency or non-profit foundation), alphabetize according to the name of the difference between public school organization . If you are citing a painting, or a composer, then obviously “author” has to be interpreted a little loosely. Unless your instructor ask you to organize your Works Cited list differently, everything should be alphabetized together, in a single list. MLA does not require that you separate works of different kinds, or that you cite works in the order that they appeared in your paper, or that you write annotations to go along with each item. Use double-spaced line height. (in my copy of Word, I select the text and choose Format - Paragraph - Line spacing - Double - OK.) Use hanging indent paragraph format. Philippines? (In my copy of word, I select the text then choose Format - Paragraph - Indentation - Special - Hanging Indent.) 29 May 2011 — new document posted, replacing outdated handout written in Creating a High Crest, 1999.
06 Jun 2011 — expanded section on organizing the Works Cited list, since several readers asked for philippines imperialism clarification. 07 Jun 2011 — reorganized for emphasis. 19 Apr 2012 — added numbers to more subheads. 30 Nov 2016 — added annotated Works Cited sample image. If your college instructor wants you to Can Actually Kill Essay cite every fact or opinion you find in an outside source, how do you make room for your own opinion? Paraphrase, quote selectively, and avoid summary.Dennis G. Philippines? Jerz.
MLA Works Cited Citation Builder. 0 thoughts on “ MLA Format Papers: Step-by-step Tips for Writing Research Essays ” I think you should add an explanation about public and private page numbers. That was what I was looking for, but I couldn’t find the significant area. Section 2 explains how to imperialism put page numbers in the header, and section 4 discusses page numbers in citations. How do you in text cite a website? I didnt really see much about maureen walls that. Very good information, I really needed this incite on research paper formats. It has such thorough details and that make it so much easier to understand.
when you say page numbers (Wordworth-Fuller 20), are you referring to the page number within the MLA document or the page number the text appears on within the philippines authors works? That means the quote is from karate vs tekondo page 20 of the book or article written by Wordsworth-Fuller. Thank you for valuable information. Imperialism? Before my college year in America I didn’t know what MLA Format was, but with this delicate information I will survive my college year. Thank you for useful information about how to write MLA format essay. Karate? Before my college year I didn’t know there were many different forms of essay. Imperialism? When my professor asked me to write MLA format I had no idea how to write it, but with your delicate information I think I will survive my college year. Creating Crest Essay? Thank you again. I’m glad to know you found this page helpful. Philippines? Most instructors will be happy to help if you stop by lg history, during their office hours, and if your prof is too busy for that most universities will have a writing center where you can get help at any stage of any assignment involving writing.
With your delicate information about to write MLA format essay in right way will lead me to successful college year. when you say page numbers (Wordworth-Fuller 20), are you referring to the page number within the MLA document or the page number the text appears on within the philippines authors works? In this case, your paper would be referring to something you found on page 20 of the text by Wordsworth-Fuller. i think you should add an gabriel marquez explanation about page header. that was what i was looking for. Is the imperialism Table of Contents double spaced – MLA? “@pretti_slimm: @Thyler_Jonzy http://t.co/QIf00vlgws try this site looks helpful”I just found a sample paper on Creating a High School, Google. Im in middle school and I have to philippines do this. I have never heard of MLA Format and this helped ALOT. Thanks so much! Hopefully I get a good grade on this paper! I really find this useful (especially fudging the line spacing to 2.1).
Good job! Can you put what information is supposed to be in each paragraph. Emma, I’m afraid I don’t understand the question. I feel like you’ve asked me what emotions are supposed to be in each verse of Can Actually, a song, or what colors are supposed to be in a painting. Philippines? There are many different kinds of songs and paintings, created for different reasons; likewise, there are many different kinds of paragraphs, written for different reasons. that was beautiful. I am writing to lg history request permission to link your webpage, “MLA Format Papers: Step-by-step Instructions for Writing Research Essays” to our website.
Lansdale School of Business. I am glad you found this page helpful. Yes, you are welcome to include a link and philippines imperialism, a brief extract. Thank you so much!! I love the Bib builder!! I’m glad to lg history hear you found it helpful! RT @DennisJerz: MLA Format Papers: Step-by-step Instructions for Writing Research Essays #mlastyle http://t.co/B6pGb3Pkeh. How do you add footnotes to an MLA style paper? Most word processors will have an Insert - Footnote or Insert - Note (footnote or endnote) option. Most short college papers don’t need footnotes. (They aren’t for documenting sources — use an in-text citation and philippines imperialism, a Works Cited list instead.) I suggest you talk to your instructor about whether you really do need to use a footnote.
When using MLA format, do you list the leaf garcia marquez book title, the title of the article or both? For guidance on citing individual sources, see the link in item 4, above. This page is philippines imperialism, about formatting the paper once you’ve already written it. I wrote a paper and it looks just like your example. I followed everything to the “t” and my professor says that my header is indented and between public and private, my paragraphs are double indented and the page numbers are in wrong format. What can I do?
Winston, I suggest you talk to your professor. I have been teaching from philippines thiis handout for years, and when a student makes a formatting error on a rough draft, I just ask them to fix it for the revision. But your instructor is the one who designed the assignment and who evaluates your submissions, so he or she is the Essay person to approach with questions. I agree. .let me ask you this. Imperialism? Are your headers indented? The screenshot was taken from a page that I created following the instructions for using MS-Word with a MacBook Pro. Looks Can Actually Kill Essay? I followed the philippines imperialism instructions that are on public and private school, the page. But surely your instructor gave you guidelines, in a handout or an assigned textbook, which is why I encourage you to have this conversation with your instructor. Whether your instructor does or does not agree with the information on philippines imperialism, this page really doesn’t matter, since your instructor created the assignment and evaluates it according to his or her own criteria. Lg History? I suggest you let your your teacher know you are confused about what you did wrong, and ask for an opportunity to make minor formatting changes to philippines a paper that, we hope, met all the major criteria.
We get asked often about what “format” the college application essay should be in. Although not generally… http://t.co/v1TTNxtE4e. seems easy enough. Dennis, what lends itself to Looks Kill science in the APA system? And what lends itself to the Humanities with the MLA? TIA. As compared to philippines MLA papers, APA papers tend to be shorter, and divided up into sections. Authors who use APA style tend to publish more frequently, because their knowledge goes out of date more quickly; so the date is of jeannette walls, prominent in APA citations, and page numbers are rare.
By contrast, people who use MLA style tend to write longer essays that aren’t divided up into standard sections like “procedure” and “conclusions.” Humanities scholarship generally doesn’t go out of date quickly. Instead of conducting experiments, humanists read and write a lot of imperialism, longer essays and books, re-interpreting and quoting passages from them. Can Actually Kill Essay? MLA style makes the page numbers prominent, so that other scholars can easily find and philippines imperialism, re-read those same passages for themselves, and further the work of scholarship as it is conducted in the humanities. Thanks for the reply. Lg History? What do you mean by philippines imperialism, ” MLA style tend to write longer essays that aren’t divided up into walls, standard sections like “procedure” and imperialism, “conclusions.”? Are we not suppose to use conclusions in MLA format? In my English class, we use MLA with conclusions, but what do you mean by “procedure” and “conclusions”? I understand each instructor is karate vs tekondo, different but is it right to use conclusions in an MLA paper…or am I getting confused? Typically papers written in MLA style DO have a conclusion, but it would not be set off in a separate section under the subheading “Conclusion.” MLA papers tend NOT to follow a standard, particular structure. Papers written in the sciences DO have a fairly rigid set of sections, with separate subheadings. But it’s best for philippines you to talk to your teacher about the specifics of any asisgnment.
Ok, thanks. I just wanted to ask and clarify it. Also, doesn’t the maureen walls walls word “humanist” means something else entirely? The Humanist term today implies ‘human’ and is often used for atheists, for example… or am I wrong? I used the term “humanist” to mean “a person who studies the culture of humans,” without intending the philippines imperialism more specific meaning you mention.
At my school, the humanities division includes theologians. this was very helpful i got an A 95 percent. hi my name is Jessie i have to vs tekondo writ a 2 pages Essay about MLA can someone help me. thank u i got an A 97 percent. u a real nigga dennis. This wasn’t helpful at all. Shavez, what were you looking for? This page is philippines imperialism, about formatting a paper you have already written. The first section includes links to pages about how to write essays. Thank you very much for maureen this useful information. As a freshman in highschool, my biology teacher asked for philippines me to write an difference between public essay in mLA format about evolution.
I had no clue what mLA format was,so I searched it up and it brought me here. In middle school I never wrote an philippines imperialism essay in this format before,but I feel very confident to type my first mLA essay and I’m excited to do so! (Right after I finish my draft .) thank you very much! (???)? I’m using a book title and author as my paper heading. How is that formatted? I would tell my own students that a book title and the name of an author is not a good paper title, and I would ask them to write a title that catches the lg history reader’s attention, identifies the topic, and philippines imperialism, identifies what position the karate vs tekondo paper is philippines, going to take on the topic. Looks Can Actually? But if you are not my student, then I’m not the person who will be evaluating your paper. MLA style puts the book title in italics. Other than that, I really don’t have any advice for imperialism you. Very informative. It helped introduce my tired old mind to difference between public and private the MLA format. Imperialism? So, I can better help coach and lg history, prepare my wife for her English course.
Thank you very much. which writing style (MLA, APA) have more importance for students of philippines, social sciences, media sciences and business? I think you should include online resource citation instructions. Click on “Citing” at the top of the page. One of the options on the other end of that link is lg history, how to cite a web page. This article..thing is the only reason I am passing my online college class. Especially the citation builder. Philippines Imperialism? Thank you! cool it was helpful.
is the text or what you wrote supposed to be centered in between and private, the page or to the left margin. How do I cite a photo that I found online? Is it a historical photograph or a photograph published in a book that someone scanned and philippines, posted on line, is it a photograph of something like a sculpture? Is your paper focused on the work of the photographer, the makeup artist who prepared the model, the digital image enhancer who altered the image, the model? There is no single correct way to cite a photograph, because there are many different reasons to cite a photograph. Sister Of Jeannette? Your instructor would be able to philippines imperialism give you more specific advice. In general, though, the 8th edition of the sister of jeannette walls MLA guide would say something like this: Olsen, Jimmy. “Superman Rescues Boy Scouts from Lava Pit.” Photograph. The Daily Planet . July 22, 1956.
If you found the picture on a blog or a Flickr gallery, adjust the citation accordingly. If you found the image as the philippines imperialism result of a Google search for something, you might very well end up finding a page that re-uses someone else’s picture without appropriately giving credit. There are many variables. Sister Walls? Talk to your instructor, who will be the one grading your work, and will therefore be the imperialism right person to advise you on what to karate do. hahahah xD me too same.
I would Like You To Give Simple Instructions Not Complicated Ones , and Include also how much Papers Should be worked on. Khalid, if there is any particular detail you are confused about, please let me know what question you have and philippines, perhaps I can help. There is no specific answer to how much a paper should be worked on. Maureen Of Jeannette Walls? It depends on what grade you want to earn, how much time you have, whether your instructor is willing to meet with you before the philippines imperialism due date, whether your instructor will give you the gabriel garcia marquez chance to revise your work, and many other factors. This article..thing is the only reason I am passing my online college class. Especially the citation builder.
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Imperialism of the Philippines by April Wright on Prezi
net resume format We saw too many job seekers are not looking for already existing resume writing services. There are tons of philippines imperialism, them all round the web. At the same time – we can’t say that it’s a kind of the new trend, BUT more and more job seekers are trying to write their resume by karate themselves. And that’s why we are here and it’s the right place for those – who would like not only to get an outstanding resume, but would GET THE JOB in 2017 without any additional efforts. And before would would like to imperialism, start telling you where you should start, we would like you to ask yourself: Are you ready to Can Actually Essay, spend some time more after you download our resume templates for 2017 in docx and imperialism, tailor them? IF you would say us – YES. Definitely, you have a good chances to be invited for sister, an interview. Because each downloaded resume template in philippines, MS Word – need to Creating, be polished a little bit, before the HR would have chance to see it. Does resume format for 2017 really matter? It’s really interesting question tons of active job seekers asking us, when they are in imperialism, active job search.
And they are not only the ones, who still trying to understand – why do i really need to spend my time picking resume format and trying to adapt or tailor my resumes for that so-called “CV 2017 formats”. Huh, we heard it so many times. Maureen Walls Sister? Even some unprofessional or junior hiring managers still believe that resume format is something useless and would never help or bring some value to HR. Anyway, we are here to imperialism, BUST THIS MYTH. And the first thing we’d like to discuss and or better say spot light: why do you need to follow specific CV formats and lg history, how useful they could be for you. Why Resume Format in 2017 is important. Before you even would like to start writing your resume 2017, you need to philippines imperialism, answer three main questions: Who are you writing your resume to? Does your resume show all your skills in the most positive light? Is it really easy to read? When you will cope with the first three questions above, we would like to move next.
And now we want to tell you a bit more about difference public and private school, how the latest resume format 2017 looks like and what it should include. We saw too many resumes and too many hiring managers, who are still doing their work daily. And they always say the imperialism same stuff below. “When you have tons of resumes in your inbox folder, sometimes you even cant understand what candidate is storm gabriel garcia marquez worth to be invited. BUT it’s like a piece of a good and tasty cake, when you see outstanding resume with a proper resume format. It’s EASY to philippines, read!” The main goal of Looks Can Actually Essay, any resume format is philippines not only make the hiring manager’s life easier, It’s more about how to structure your resume and show the most valuable information about your candidacy at first. Maureen? And based on philippines imperialism what you would like to show, there are different formats, which would help you to GET your JOB . So, we have prepared a small guide about how to format your resume 2017. Follow our tips and karate, get employed. Let’s start. The one of the most popular resume formats during the philippines last 20 years is a reverse-chronological resume format.
It’s easy, it’s old school, it’s fine. But each resume format has it’s own poses and cons. And chronological format is not an exception. Reverse-Chronological. What does it mean for you as for lg history, the job seeker? It means that all the information, which you would like to add and show in your resume must be placed in reverse-chronological order. Most candidates using this type of resume format, because it easy to create and easy to read for the hiring manager. Imperialism? Still, chronological resume format has poses and maureen sister of jeannette walls, cons. And now we would like to share them with you. Chronological resume format 2017: Who Should Use. Candidates with a solid background and philippines imperialism, skills, related to a desired position.
If you are junior or fresh grad – reverse-chronological resume is not a good option for leaf gabriel garcia, you. Candidates with 5+ year of philippines, experience in different areas should use chronological resume, even though – if you worked in international companies on Looks a middle+ positions. Chronological resume format 2017: Poses. Hiring manager see all your work experience from the first day; Good for the candidates with a solid background; Good for the candidates who used to imperialism, work in international companies; Easy to read for a HR; The most common resume format during the last 10 years. Chronological resume format 2017: Cons. If you have any employment gaps, it’s not possible to conceal them using this type of resume format; It’s not good option for the candidates with a short work experience; You need to explain each position in your resume. Now it’s a good idea to share with you a little bit more information about other resume formats. It’s a good idea to screen them all, before you would start writing or editing your resume 2017. Lg History? The next format we would like to discuss with you is a skills-based resume (aka functional) Some hiring managers would say that it’s a new era of functional resume templates, but we do not agree with them.
It’s a new approach in philippines imperialism, resume writing, where you need to pay more attention to your hard and soft skills. While chronological format shows your background, functional resume format shows your skills. And that’s what some hiring managers would like to see at first. You could ask why? Because there are some positions where nobody cares what you did on Essay your previous place of working – they want to know what you can do and imperialism, how well you can do that. That’s where you should represent your skills. Functional Resume Format 2017: Who should use.
It’s a good option for those candidates, who changed their place of working too often and at the same time they gained a huge expertise in a specific areas. Also it’s a good option for those specialists, who has some rare knowledge’s in a specific areas. In their case it’s important to highlight such skills and show HR your value. Functional Resume Format 2017: Poses. Skills – it’s the value HR’s are looking in your resume; Even you have an employment gaps – HR would not see it; Good for the candidates, who changed their positions too often; Soft and Hard skills – the leaf garcia core of your resume. Functional Resume Format 2017: Cons. Hiring manager can’t see the whole picture of 3W ( Where,What,When you used to imperialism, work); Skills is not the only one signal to a hiring manager. In some cases they would like to get more information about a candidate; Hiring manager could not see all value you could potentially bring to difference between and private school, the company, based on this resume format. So, you should understand that functional resume 2017 is a good choice for you only in philippines imperialism, that case, if your skill-set is really strong. Gabriel Garcia Marquez? If your skills are most likely soft and you have nothing to show in your resume – that it’s a good way to think about some other resume format.
Combination resume format is philippines imperialism a mix of functional and chronological formats. Looks Can Actually? If you are not satisfied to use the one resume format, you have a good option to try a combination resume. So, when you are hesitant which resume format you should choose, combination resume is the best option in your case. It would help you to show your candidacy in the most positive light and philippines imperialism, do let the hiring manager miss valuable information. Combination Resume Format 2017: Who should use. When you decided to start you job searching process, the first things you trying to reach out are: how your resume should looks like and what resume format you are going to lg history, use.
And it’s important to understand that if you are not sure that functional or chronological resume format is right for you – combination resume is what you need! Combination Resume Format 2017: Poses. Using a combination resume format, you have a good chance to mix a functional resume format with a chronological resume without missing a structure; Skill added to a chronologically structured places – that’s what all HR’s would like to imperialism, see in storm marquez, your resume. You grew up and skill did not left on the same place; You don’t need to follow rules now. Philippines? If you decided to of jeannette walls, use mixed resume format – you can include anything you want your resume.There is only one thing – it should be easy to read and HR should understand what you want to imperialism, tell. Combination Resume Format 2017: Cons. As well, as poses – each resume format has it’s exceptions and Can Actually, combination resume format is philippines not an lg history, exception.
You need to understand that. HR’s don’t like this type of resume format, because of the mix of skills and responsibilities. Some resumes are really hard to philippines imperialism, read, because of huge amount of skills for gabriel marquez, each position you have obtained. Anyway, we do believe that this type of resume format could be interesting for all job seekers. Imperialism? But some candidates could highlight their level of expertise using some other formats. So, it’s all up to karate, you. RESUME 2017 FORMAT – BEST PRACTICES. As you have already understood – writing an outstanding resume is not an easy job you can do. Resume writing – it’s not a rocket science. Philippines? But still – you need to know some rules, which could help you and leaf storm gabriel garcia marquez, a HR, who is going to read your resume to understand each other. Below, we have discussed different types of resume formats you can choose to start writing your resume right now.
But now we would like to share with you some knowledge’s, which could help you not only let the HR read your resume 2017 till the imperialism end – but give you a call. Gabriel Marquez? Because the imperialism main goal of any resume – is to give you a call and an invitation for Looks Can Actually Kill, an interview. That’s why each we’re going to imperialism, tell you a few words more about how to polish your resume the best way! Here we’re going to talk about how long a resume should be. Are there any trends, which would tell us how long my resume should be? Are there any rules there? There are some questions you can see above, which all the job seekers asked themselves before they start writing their resume. And today we would like to give you some useful advices and bust some myths. So, here we go. Remember the main rule – resume is not a part of storm gabriel garcia marquez, your academic paper, it’s not your coursework and it’s not something you wrote just to send via application form. Your resume is a good selling document.
Because only resume would help you to imperialism, get a call from a hiring manager and Kill Essay, sit in front of philippines, him/her during your first interview. Resume – should include the most relevant and interesting information about between public school, you. Imperialism? Something, that HR would like to read and have a good reason to call you. And when we come back to “length” question – we would like to suggest you to use one-page resume format. In some cases, specially candidates with a huge career path – resume could be more that one page. But still – it should include the most relevant information. Some facts here. You could ask us – is that possible to maureen sister walls, put everything into a resume with one page? NOT ALL – just a part of the most important information. It’s good to know that an philippines imperialism, average hiring manager spend around 6 – 10 second to scan your resume. During that time he/she understand if you are interesting candidate and you will get a call – or your resume will immediately be in vs tekondo, trash pile.
So, now you see that nobody will spend 2-5 minutes to read all your resume. !Pay attention to imperialism, a resume 2017 format rules. Difference? They are not the same as in imperialism, 2016, but still most of them were not changed. Sometimes, we do spend so much time answering the same question to difference between school, job seekers, who asked us about philippines, what exactly font should they use crafting their resume. And due to this reason – we decided to karate vs tekondo, create a special article in imperialism, this post highlighting the information about resume fonts and which one you should choose to get what you need. Karate? And you are looking for philippines imperialism, a job, aren’t you? When you just start writing your resume, you don’t think about what font you would like to use.
But after resume was already written – it’s where the magic comes. You start doing experiments with the font in your resume and in final result – your resume 2017 is karate vs tekondo not possible to read. BUT any resume must be easy to read. Another interesting side of philippines imperialism, all the leaf garcia marquez fonts you are going to use in your resume is an ATS (Applicant Tracking System). It’s a special software, most huge companies are using them to sort candidates to help them make their hiring and scanning process easier. ATS using some special recognition algorithms to scan your resume and to find some keywords in imperialism, your resume.
And it would be really pity, if such machine would not be able to scan your resume, because of the custom fonts. You should keep it in leaf gabriel garcia, your mind, when you will be close to philippines, get the a High Crest font you need. Interesting to imperialism, know that most candidates don’t know what is the best font size for your resume. Sister Of Jeannette Walls? Some of them still do believe that even using one-page resume format – you can use 9pt font size. It’s not a good idea at all. Philippines Imperialism? It’s an difference public and private, irritating factor, which in some cases will be fatal for you as a candidate on that position. So, what is the best font size should i use? We did lots of experiments and defined that the most useful and philippines, acceptable size is Looks Can Actually Kill Essay between 10.5pt to 12pt . Imperialism? Based on the length of your resume you could switch to a High School Crest, bigger one, but not vise verse.
Easy to Read – How to Achieve That Goal. Before we will start, we would like to share with you some results of imperialism, our observation. The main goal was to understand how hiring manager scan a resume and what are the most attentive places in difference between and private, your resume. You will be surprised, but you need to pay more attention to imperialism, such things like: This is all text formatting things, which are necessary for the success. Walls? It’s not about how to make you resume colorful, it’s more about how to highlight the most important information in your resume. Margins are really important factor, when we’re talking about philippines, how to format your resume in vs tekondo, the right way.
You could find that funny, but most of resumes are still printed by philippines imperialism hiring managers. And does it mean for you as job seeker? Seems like too short margins were cut during the print, because printer is vs tekondo not able to recognize such details. At the final result, HR is sitting in his/her chair and trying to read only a PART of philippines imperialism, resume without all the vs tekondo text you hardly tried to include. AND it’s based on the true stories. We are NOT joking here! So, there is philippines imperialism just ONE and SIMPLE rule to avoid situation above.
Writing your resume 2017, set the margins to one inch from the both sides. A High Essay? It’s would help you to philippines imperialism, save your resume in cases, when recruiter would like to print it first. Spacing – how to use them formatting a resume. When we’re talking about how to public, balance between the imperialism readiness of your resume and how much information your resume could contain – it’s about spacing. You need to remember the gold rule here – “single-spaced”. If you need to separate some logical block from one from another – use the blank line between them. It’s easy and at difference between public school, the same it’s easy to philippines, read.
Before you start writing your resume 2017, you should make sure that all the resume section you would like to include – are formatted proper way and leaf gabriel, will be easy to read by a hiring manager. We got too many questions about how the imperialism different resume sections in your resume should look like. And what should you craft or highlight there to make your resume outstanding. Sometimes it’s a really tiny edits, which could help you to get the job. And it’s not a good idea to storm garcia marquez, ignore them. Resume header is the most attentive place of any resume.
More than 60% of HR’s attention are in resume title and your name. After the first scanning, they moved to other sections. That’s why the first impression is so important here. You need to check if all the necessary thing from the philippines imperialism list below are already included: All these information must be easy to read and navigate. Don’t let the hiring manager skip you resume only because he or she couldn’t find your Name. Most of candidates are asking the same question, when they start writing an objective statement resume section. Lg History? And the main question is: “What should i write here? What do they expect to philippines imperialism, see here?” Resume Objective is the place, where you have a good chance to show hiring manager why you decided to obtain desired position and what are your nearest plans.
It’s not a place to share your life store, it’s more about why you send resume and why you would like to work here. It’s one of the sister most important place of your resume. Here you need to show what you did on your previous places of working. Show your skills and achievements for philippines imperialism, each place you used to work. Pay attention to the resume format you decided to pick, because you need to show your skills, based on the format you decided to pick. Looking for resume templates 2016? Featuring Top 7/28 of resume tips 2016. Featuring Top 7/34 of resume format 2016. All about eye-catching resume 2016. Read the latest resume trends on how to karate, polish your resume using proper format in 2016. Hiring manager need up to 10 seconds to scan your resume.
Boost your resume to be in YES pile candidates. Writing a resume in 2016 differs from the previous years. See how much in our post. Here you can see how to prepare for an interview in 2016. What should you do and philippines imperialism, what should you not to land the job.
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Imperialism in the Philippines - Imperialism
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Film Noir: A Study in Narrative Openings, Part 1. Film noir is one of those filmic terms which critics lovingly use, but if forced to could not give a unified meaning. Like other borrowed terms (mise en scene, genre, realism), when applied to film the definition becomes hazy. Film noir has been referred to as a genre, a cycle, a movement, a mood, and a style. In a more recent study James Naremore refers to film noir as belonging to a history of imperialism, “ideas” tied to “commercial strategies and aesthetic ideologies,” an idea we have “projected into the past” (as a retro genre term, like horror, which is usually referred to critically prior to its use by the industry as a term, i.e. Creating School? pre-1930). Those referring to it as a genre are inclusive, stretching the definition to include contemporary films ( Chinatown , Roman Polanski, 1974, Night Moves , Arthur Penn, 1975, Body Heat , Lawrence Kasdan, 1981, Dead Again , Kenneth Branagh, 1991), The Last Seduction , John Dahl, 1994, The Usual Suspects , Bryan Singer, 1995, Bound , Andy, Larry Wachowski, 1996, L.A. Confidential , Curt Hanson, 1997, and The Black Dahlia , Brian De Palma, 2006); those referring to it as a cycle or movement are exclusive, restricting the films to philippines, a specific period (usually somewhere between the maureen walls of jeannette years 1940 and 1960). Within this group there is a further distinction, with some critics being more inclusive than others. When defined as a mood the imperialism films are selected cross generically ( The Lost Weekend , Billy Wilder, 1945/The Problem Picture, Leave Her to Heaven , John Stahl, 1945/Melodrama, Val Lewton’s nine RKO films from gabriel marquez 1942 to 1946/Horror, Pursued , Raoul Walsh, 1947/Western, Beat the philippines Devil , John Huston, 1954/Comedy, Bladerunner , Ridley Scott, 1982/Science Fiction, Sin City , Tarantino/Rodriguez 2005/Science-Fiction/Animation.
If one were to make a list of every film referred to as film noir by lg history, one critic or another the philippines total would certainly exceed 300. My predilection is to define film noir as a specific period, a movement, between the Creating a High Essay years 1940 and 1958, which gives weighted balance to philippines imperialism, social/cultural issues and industry factors (post-World War 2 malaise/uncertainty, changes in the family structure, Cold War paranioa, exodus of German/Austrian talent to the US during the rise of Nazism, etc.). There is little reason to go over this area since it has been treaded over to death. It is important, however, in my structural account of between public and private, film noir openings, to philippines, discuss it in an historical context. I have decided to narrow my area of study to the years 1940 to 1950 –which could be considered as the classic period (or moment) of film noir. My reason here is that this period is more representative of the classic film noir because it remains closer to its original sources and impetus and had not yet attained the status of retro/neo-noir. (See Paul Schrader’s seminal article on the film noir for a list of the karate vs tekondo motivational factors and phases.) Discussing the films in context implies a consideration of film noir’s relationship to classical Hollywood cinema. In analyzing the films closely various common schemata became apparent. Contextualizing them only seemed natural.
My decision to study film noir openings was not approached a priori but discovered itself when a concerted viewing of over forty film noir revealed a pattern of forceful and emphatic openings. Therefore the aim of the essay is not only to contextualize film noir but to add insight into its aesthetic by approaching film noir in a new and (hopefully) illuminating way. I will elaborate on my definition of “opening” a little later. To define film noir as classical or anti-classical is a risky endeavor. Philippines? A case in point is David Bordwell’s writings on the subject. According to lg history, his unbiased sampling of 100 classical films only 20% of classical cinema employs the flashback, and usually for brief exposition ( The Classical Hollywood Cinema , p.42). How does film noir fit in to this model? Realizing Bordwell’s shifting paradigm which allows for large variances of “bound alternatives,” both linear and non-linear narrative structures are to be considered as part of the imperialism classical style. 
This is understandable, since both linear and lg history non linear narrative structure have appeared in classical cinema, but it is also apparent that the flashback structure is used more often, and philippines elaborately, in the film noir. Hence it is a schemata more common to karate vs tekondo, the film noir than, say, the comedy. Does this make film noir less classical? Bordwell discusses film noir under the section “Bounds of Difference” and lists four ways in which film noir is seen to challenge classical cinema ( The Hollywood Classical Cinema , p.76). He then states his belief that these four elements are not really anti- classical but exist on the most extreme side of the bound alternatives. He concludes: “These films blend causal unity with a new realistic and generic motivation, and imperialism the result no more subverts the classical film than crime fiction undercuts the orthodox novel” (p.77). And Private School? In his book Narration in the Fiction Film he is even clearer on philippines imperialism this:
In sum, film noir is not outside the pale, as many of its admirers prefer to think. Creating Crest Essay? It is a clearly codified option within classicism, a unified set of syuzhet tactics and stylistic features no more disruptive of classical principles than the conventions of imperialism, genres like the musical or the melodrama (p.198). I agree with Bordwell in this respect. Although certain noir elements may strain classical form they remain codified. Therefore the motivation for the deviant schemata still falls under one of the four pertaining to classical cinema: compositional, realistic, intertextual, or artistic ( The Hollywood Classical Cinema , p.19). The elements which diverge most from classical style fall under the most common type of garcia marquez, intertextual motivation: generic. Hence a typical downbeat noir ending is no more anti-classical than the song and dance which interupts the narrative in a musical or the direct camera address in the 1930s ‘Anarchistic comedy’ (according to Henry Jenkins, a form of comedy derived from the philippines imperialism ‘Vaudeville Aesthetic’). So why is it that film noir is seen by many as a challenge to classical style? The answer lies in karate vs tekondo, an earlier comment: that most noir schemata exist on the most extreme side of the ‘bound alternative.’ Take for example film noir’s consistent and complex use of the flashback, its (at times) baffling narrative structure, its intricate and symbol laden lighting patterns, compositions, and camera movements, its ambiguous morality, and its assault on philippines imperialism clearly defined story/character motivation.
These elements remain within the bounds of classicism because they are motivated realistically and generically, but they appear anti-classical because they counter the dominant style and hence force the spectator to work harder by searching for less used or more complex schemata. Also, although these schemata were not invented by film noir they do find their highest concentration within it. To quote Bordwell: Of course, the classical style defines certain spectatorial activities as salient, and the historical dominance of that style has so accustomed us to lg history, the activities that audiences may find other schemata more burdensome ( Classical , p.8). Bordwell’s inclusive system may lead one to ask the imperialism question, if indeed classicism encompasses such broad stylistic variance then is it really saying anything as a classification? Defining classical cinema is not an maureen easy task. When dealing with such a vast body of work an exclusive method would result in too many omissions. The inclusive method, while saying less about philippines imperialism, individual films, remains the only system capable of difference between, managing such a vast undertaking.
I have accepted Bordwell’s system, faults and philippines imperialism all, because of difference, its implications. Bordwell feels strongly that classical cinema is not as illusionistic and formulaic as many would believe. Watching classical cinema involves the spectator in an active process where deductions and inferences are made based on incoming information. Imperialism? This is a participation necessary to between public school, the completion of the artwork. Bordwell also believes, as I do, that despite film noir’s unified mood (in a general sense), it is not as homogeneous a body of work as many critics would lead you to believe. An example is the fine essay by philippines, J.A.
Place and maureen walls of jeannette L.S. Peterson, “Some Visual Motifs of the Film Noir which tends to homogenize the visual style of film noir (concentrating on lighting and composition), while acknowledging that they are ‘diverse films’ that can not be grouped together through “pat political or sociological explanations” (p. 325). Bordwell’s definition of classicism ranges far enough to include the baroque/mannerist strain of any art form. Other genre critics, notably Jack Shadoian in Dreams and Dead Ends: The American Gangster/Crime Film and Tom Schatz in Hollywood Genres have discussed the imperialism evolutional quality inherent in film cycles and genres.
Each genre/cycle has various stages it undergoes, from the formative stage where conventions are realized, to the classical stage where they are honed and Looks Can Actually perfected, to a baroque stage where formal and stylistic experimentation occurs, to a final reflexive and parodic stage. Imperialism? In a sense, Bordwell’s inclusive definition of lg history, classical cinema (all Hollywood films made between the years 1917 to philippines imperialism, 1960) can be understood through Noel Carroll’s reworking of George Dickie’s Institutional Theory of Art. Difference Public School? Carroll states that something qualifies as a work of art if it can be appreciated as a repetition, amplification, or repudiation of an earlier artwork (1979). With respect to Bordwell any film which repeats, amplifies, or repudiates classicism, while remaining within the said parameters, belongs within the classical style. Philippines Imperialism? In effect, this becomes the bound alternative. In discussing classical narration Bordwell says: “Typically, the opening and closing of the lg history film are the philippines imperialism most self conscious, omniscient, and communicative passages” ( Narration in Fiction Film , p.160). Keeping in school, mind film noir’s tenuous relationship with classicism I aim to discuss the noir opening and how it is an amplification of the philippines typical classical opening. All openings in classical narration are important, but in film noir they seem to take on an added importance, thereby remaining within the classical paradigm but amplifying it. The importance may rest on several levels: dramatic (quickly pulling us into the diegesis), narrational (retarding/withholding information or setting the story in motion), stylistic (setting the tone for the balance of the film), and thematic (revealing the themes and currents underlying the film).
Marc Vernet describes the opening of film noirs as being marked by a disarming ‘quietude’ which seems paradoxical when compared to leaf storm garcia, the violence and brutality which follows. “Without doubt, this air of safety is more or less relative since one may identify the distinctive traits of the film noir in its very first images” (Vernet, p. 3). Of course not all film noirs come shooting out of the starting gate. As is the imperialism case with any cluster of sister of jeannette, films there will always be divertions, exceptions, and inclusions which are less representative. To quote Jack Shadoian: The gangster/crime genre is an involved system of family relationships. Philippines Imperialism? Specific films tend to violate, extend, adapt, and sometimes dismiss the conventions that in a High Crest Essay, part color and motor them even as they are evoked and put into play. Imperialism? (p. x) Returning to the earlier discussion of Bordwell’s broad definition of classicism, if you replace the words “gangster/crime genre” with “classical Hollywood cinema” this quote serves the Bordwell/Carroll parallelism of repetition, amplification, and repudiation very well. Before beginning the analysis a definition of what I mean by “opening” is in order. In trying to come up with a working definition I attempted to keep it as simple and karate vs tekondo sensible as possible by allowing the openings to describe themselves. I came up with the following: an opening is the first completed action, event, or important exposition rendered by the film.
For example, the train ambush in White Heat (Raoul Walsh, 1949), the murders in The Dark Mirror (Robert Siodmak, 1948), and The Spiral Staircase (Robert Siodmak, 1946), the hired killing in philippines imperialism, This Gun For Hire (Frank Tuttle, 1942), and the pardoning of Roy Earle in Creating a High School Essay, High Sierra (Raoul Walsh, 1941). Although the variances are great in terms of length (from 45 seconds to 17 minutes) and manner of assembly (one shot/several shots, one scene/several scenes) they are almost always clearly demarcated by fades, dissolves, or wipes and usually have a microcosmic Aristotlean structure (beginning, middle, and end and, yes Godard, in that order). In the majority of the films with a flashback structure the complete “prologue” leading to philippines imperialism, the flashback constitutes the difference between public opening. At times this meant having a lengthy opening, but for the following reason I felt this was inevitable: since the prologues functioned as complete sequences it seemed natural to keep them intact. Subsequently (with the exception of imperialism, Knock on Any Door , Nicholas Ray, 1949) I could not find a comfortable “out” point.
What would become of the remaining portion of the prologue? The most difficult film to establish an opening for was Mildred Pierce (Michael Curtiz, 1945). The brief 35 second murder scene which opens the film may appear to be a cohesive scene, an opening, but the manner in Creating a High School Essay, which it fuses to the next scene, in tone and temporal order, suggests otherwise; and, once the subsequent scene begins it must be followed to its conclusion: the imperialism beginning of the flashback. It’s common knowledge that the karate beginning of a narrative must have a magnetic lure. In discussing the imperialism insulation and “public privacy” accorded to us by the darkened theatre house V.F. Perkins suggests that film is self consciously aware of the psychological distance between the film world and the real world “…by allowing the spectator time at the beginning and end of the movie to shed and reassume his self consciousness” (Perkins, p.134). Indeed many films draw us into their world with slow, inviting camera movements, usually beginning from afar and then moving forward (sometimes in conjunction with dissolves), often literally bringing us into the diegesis through the frame of a window or door: The Bride of Frankenstein (James Whale, 1935), Journey Into Fear (Norman Foster, 1943), The Big Clock (John Farrow, 1948), Conflict (Curtis Bernhardt, 1945), Nocturne (Edwin L. Marin, 1946), Body and Soul (Robert Rossen, 1947), Night of the Creating a High Essay Hunter (Charles Laughton, 1955), Psycho (Alfred Hitchcock, 1960).
The dramatic pull of openings is in no better evidence than the film noir. Seeing film after film it became apparent that the emphatic opening is a film noir convention. (And my study did not include The Killers (Robert Siodmak, 1946), and Touch of Evil (Orson Welles, 1958)! Based on my findings the openings can be divided into philippines imperialism, four general types: Group A consists of films with a flashback structure. It is subdivided into two types: the framed flashback (Group A1), where we begin in the present, go to an extended flashback and then return to the conclusion in the present (the classic A B A structure), and the interspersed flashback (Group A2), where the narrative oscillates between the Looks Can Actually Essay present and the past. The majority of the framed flashbacks are of the A B A variety. The transitions from present to past and back are clearly demarcated by a dissolve, wipe, or fade, and philippines from a story standpoint we never actually leave the initial location (a police station in D.O.A. , Rudolph Mate, 1949, The Dark Past , Rudolph Mate, 1948, and Murder, My Sweet , Edward Dmytryk, 1944, an armored truck in Criss Cross , Robert Siodmak, 1949, and a swimming pool in Sunset Boulevard , Billy Wilder, 1950) because the leaf gabriel flashback has taken place inside a character’s mind. Although cued subjectively, by the lead protagonist, once the flashback begins the narration takes on an objective or omniscient point of view. As Bordwell says:
Character memory is simply a convenient immediate motivation for a shift in chronology; once the philippines imperialism shift is accomplished, there are no constant cues to remind us that we are supposedly in someone’s mind. ( Classical , p.43) The variances within the second type, the interspersed, depend on the number of times the narration returns to the present. The slight variances from the A B A model will be mentioned in context. The films from maureen walls Group B1 maintain a linear narrative in accordance with classical Hollywood style. All the openings are revelatory in some way. Imperialism? At the least, they all introduce the difference between and private school lead protagonist in their milieu and/or dilemma. Many of them go further by philippines imperialism, revealing important emotional and maureen walls of jeannette psychological character traits and a few go a step further by interweaving them with the theme(s) of the imperialism film. In classical Hollywood style (if you want a message call Western Union) this is karate vs tekondo motivated by the need to philippines imperialism, start and leaf gabriel garcia move the story forward (narrationally). The films in philippines imperialism, Group B2 also have a linear structure but begin more emphatically with a highly expressive/stylistic opening which functions as a microcosmic prologue to the film’s style and/or theme(s) and currents. In these openings thematic and stylistic revelation dominate over School character/story revelation. Since space prohibits a close reading of all the openings I have selected one or two representative films from each group which I will discuss in depth in Part 1 of the essay ( The Dark Past , Sorry, Wrong Number , This Gun For Hire , White Heat , The Set-Up , The Letter ), and imperialism will then continue with a greater sampling of films treated in less detail, in the second part of this essay ( Journey Into Fear , Murder, My Sweet , The Strange Love of Martha Ivers , Body and Soul , Criss Cross , Champion , D.O.A. , Sunset Boulevard , Laura , Double Indemnity , Mildred Pierce , Out of the Past , Knock On Any Door , High Sierra , The Maltese Falcon , The Glass Key , Cornered , Scarlet Street , Gilda , The Stranger , The Big Sleep , The Lady From Shanghai , Key Largo , Caught , The Spiral Staircase , Notorious , The Dark Mirror , and The Asphalt Jungle . Maureen Of Jeannette? The thrust of my analysis will be to describe the action and formal elements of the opening and interpret them in terms of stylistic and thematic intent.
Broken down, there are general questions I asked of all the openings: what can we infer from them and what is the driving motivation behind them? For the latter question I was guided by Bordwell’s system: 1) compositional: common sense elements which are required for a particular narrative to function, for example, “a story involving a theft requires a cause for the theft and philippines imperialism an object to be stolen” (p. 19) 2) realistic: the plausability factor 3) intertextual: factors relating to the conventions operating within that type of art, with generic being the most common, and 4) artistic: when aspects of the vs tekondo art form call attention to itself through technical virtuosity, showmanship, or strategies that expose the ‘invisibility’ of classical style through reflexivity, parody, etc. (Classical, p.21-23). Imperialism? In support of and in leaf garcia, addition to imperialism, these motivational factors I employed a triad of broad semantic and syntactical parameters: narrational (when an element relates directly to the plot and its ordering), sensational (an element which is less concerned with plot than spectacle and lg history exploitation), and reverberational (elements which are laid out for the expressed purpose of setting up (or foreshadowing) a mood, atmosphere, tone, or motif).  I am also indebted to philippines, the theoretical insights of E.H. Gombrich, Noel Carroll, and V.F. Perkins. Some of the Creating Crest Essay more specific questions asked include: Is the opening reflexive? Does it have a symbolic or structural link to the conclusion?
What is the relationship between directorial and generic style? From group A1 have selected Rudolph Mate’s The Dark Past (framed flashback) and Anatole Litvak’s Sorry, Wrong Number (interspersed flashbacks). Case Studies. Group A1: Framed Flashback. The Dark Past (Rudolph Mate, 1948)
Description : The film begins with a series of dissolves from an philippines overhead shot of the city, to Creating a High School Essay, tall buildings, to a crowd of people. Philippines? The images are cued by L.J. Walls Sister Walls? Cobb’s (Dr. Andrew Collins) voice-over narration. The camera follows people boarding a bus. The V.O. comments on the routine daily activities we all must endure. Imperialism? Inside the bus the camera tracks left to right along the maureen walls walls faces of the passengers while the V.O. interprets their thoughts. As the bus stops and passengers disembark the V.O. informs us “this is where I work.” Cut to an optical point of philippines, view  tracking shot toward a building. Several police officers greet Dr. Collins/camera as they walk by. Two dissolves bring us into the police station.
The camera continues to dolly forward through a corridor, tilting up to capture the Can Actually Kill Essay respective departmental signs above each door. Imperialism? We arrive at his office, “Police Psychiatrist” just as he says “… experts at understanding people.” The camera tilts down from the sign, the door opens and the camera enters the room. Moments later the doctor enters the frame to pick up a sheet of paper from his desk, ending, for storm gabriel, the moment, the subjective narration. As the imperialism doctor and police officer speak Dr. Collins looks out the window at a new group of prisoners being escorted into difference between public, the precinct (seen as his POV ). His V.O. Philippines Imperialism? begins and bridges a cut to the viewing room. As each prisoner is identified he externalizes their thoughts in V.O. The fourth prisoner, an 18 year old, catches his interest. After he analyzes the young prisoner we shift back to objective narration and he attempts to convince the arresting officer that the young prisoner be sent to the psychiatric ward.
They return to the doctor’s office and the officer asks: “Doc, why should you care about difference, a kid like Larrapoe?” To prove his point the imperialism doctor begins to relate the story of Al Walker (William Holden), an infamous criminal. The camera dollies in karate vs tekondo, slightly to the seated doctor and his voice bridges the dissolve to the flashback: “Wasn’t too long ago, not more than a couple of years ….” Interpretation and Insights : Bordwell distinguishes two types of spatial establishing paradigms: immediate and gradual ( Classical , p.63). The former begins within the locale, usually on a small detail, then pulls back to reveal the entire space. The latter takes us into the space incrementally (the series of dissolves being the classic example). The Dark Past establishes its location gradually. This opening is important stylistically and thematically. Stylistically the subjective POV shot which brings us into the police station and into imperialism, his office primes us for the film’s most important and impressive scene, Al Walker’s surrealist/subjective recollection of the childhood incident which triggered his Oedipal Complex. This scene, however, is much more distanced stylistically from the maureen of jeannette film than the subjective POV shots in the opening. The subjective strategy in philippines, the opening is Creating a High Crest Essay similar to the opening of Rouben Mamoulian’s Dr.
Jekyll Mr. Hyde (1932). The oscillating point of view in philippines, the opening primes us for the rest of the film. Storm Gabriel Garcia Marquez? The point of view in the opening shifts from subjective to objective. This also occurs in the flashback, which is triggered subjectively (by Dr. Collins) but takes on philippines imperialism an omniscient point of view and a subjective POV of another character (Al Walker). We can infer many of the film’s themes from the opening. Its documentary tone (partly on location photography, V.O. Karate? narration, deglamorization of the police, “This is where I work”) cues us for the social commentary.
One of the film’s most blatant statements is the need to recognize the individual within the mass. At two points in the opening the philippines V.O. narration interprets the thoughts and feelings of various people. From this we can infer the subsequent importance that psychoanalysis will play in solving the leaf garcia marquez story’s obstacle (Al Walker’s Oedipal block) and philippines the significance placed on psychiatry as a means of correcting and public preventing deviant social behavior. Dr. Collins places the burden of such control squarely on the back of society. From this vantage the motivation for the opening is imperialism narrational, slightly artistic (didactic) and also reverberational, since many of the film’s themes are established in the opening.
Comparing the opening of The Dark Past with that of Mate’s other film noir, D.O.A. , becomes interesting because it exposes the link between form and content. Both films begin with a similar action: a man making his way through a police station. In The Dark Past the camera POV is subjective. In D.O.A. it is not; instead the public camera follows the man from philippines behind his back. The reason for difference, this strategy is to keep the man’s identity unknown, thereby emphasizing the theme of fate and philippines coincidental tragedy.
The character’s anonymity could likewise have been withheld with a subjective camera position, but that would have taken away from the randomness and Creating a High School Crest Essay universality of the protagonist/event. Therefore the camera style which opens D.O.A. indicates the imperialism film’s central theme: fate and chance happening. In The Dark Past we need a character to lead us. Dr. Collins becomes our authority figure (as he says, “It takes an expert to catch another expert”), informing us and convincing us of the importance of leaf storm gabriel, society’s role in the prevention and reformation of crime and philippines criminals. Group A2: Interspersed Flashbacks. Sorry, Wrong Number (Anatole Litvak, 1948) Length of lg history, Opening : 9’15” (After a 25 sec. Philippines Imperialism? intertitle prologue)
Description : The film begins with a dissolve from the prologue to a shot of the city at night. A subsequent dissolve brings us into a dark, deserted office. Looks Can Actually Kill Essay? The camera dollies toward a door; the words “Henry J. Stevenson Vice President” become visible. Another dissolve brings us inside the room. The camera continues to dolly forward toward the desk; on imperialism it rests a telephone, with its receiver off. Lg History? There is a dissolve to another location. Leona Stevenson (Barabara Stanwyck) is lying in imperialism, her bed, phone in hand, attempting to reach her husband, Henry J. Looks Can Actually Essay? Stevenson (Burt Lancaster). The camera pans to her night table as she reaches for a cigarette and imperialism lighter (a marriage photo and maureen walls small clock are visible). Her behavior toward the operator is forceful, demanding, and impatient.
Before hanging up she accidently connects into another line. The camera dollies to a close up as she realizes that the two men are planning a murder. Philippines Imperialism? Before the victim’s address is given the connection is maureen walls sister of jeannette lost. Leona hangs up. Cut to a medium shot. She graps the phone again and calls the operator, insisting that the operator trace the philippines imperialism call.
She reaches for a tissue paper on her other night table; the karate vs tekondo camera pans with her but remains on the table long enough to imperialism, reveal a crowd of medicine bottles. Cut back to Leona. The camera now becomes assertive. (An omniscient camera movement unmotivated by character or any other classical motivation, i.e. reframe, follow a character, a moving vehicle, etc.) It dollies to her open window, across the length of her room (dissolve) down her staircase, and to a bell high up on the downstairs wall which she uses to lg history, summon her servants. Throughout this assertive camera movement we hear her offscreen voice complaining that she has been left alone for the night and that nobody cares for philippines, her. We cut back to Leona. She receives a phone call from her father in Chicago. A painting of her father bridges a dissolve to him. The camera pans around the den while they talk. He tells her daughter that the vs tekondo house is like a morgue without her, meanwhile there is a party going on in the philippines imperialism next room. After their talk we dissolve to a clock in Leona’s room and to another location. Interpretation and Insights : This powerful opening is extremely evocative of the film’s themes and primes us, with its visual style, for the harrowing conclusion.
The use of the mobile camera is its most striking feature. However, it is not used for showmanship but to enhance the character’s mental and physical claustrophobia, her isolation, to complement the dialogue, and to expose subtle visual clues. For example, one of the several clues overheard by Leona about the murder plan is that it is to take place at 11:15 PM because the 11:15 train that passes on the nearby bridge will camouflage any screams. Karate Vs Tekondo? After the disturbing phone call the camera leaves her bedside and imperialism tracks to the open window. It is dark, but visible in the distance is a lit bridge. Between Public And Private? The camera continues to dolly across her room and then down the staircase leading to the bell on imperialism the wall. The movement not only leaf marquez establishes the philippines imperialism space but emphasizes her isolation. It is simply mirroring her emotional state as she complains to the operator about her loneliness. This camera movement around her room and down the stairs foreshadows the even more complex 1 minute 45 second crane shot in the final scene. The shot opens on Looks Kill a clock. Philippines Imperialism? It pans to a close up of garcia marquez, Leona on her bed.
She is talking frantically on the phone. The camera slowly cranes up and away from Leona, out of the second story window, down around a tree and to the ground, capturing the dark silhouetted figure searching and then entering through a side window. Litvak employs the Bazinian schemata of the imperialism moving camera to difference public, maintain the “integrity” of spatial unity. However, in philippines imperialism, this case its function is not to suggest the “ambiguity” of reality but rather to stress its very reality –a killer stalking its helpless victim. Rather than crosscutting, the uninterrupted camera movement from Leona in her deathbed to the killer visualizes the exact distance between them, augmenting the suspense by difference between and private school, showing us both the spatial and temporal contiguity of killer/victim, life/death. Like the later Rear Window , the opening of Sorry, Wrong Number visually reveals important character and story elements. Within the first few moments we infer that she is married (the photo), bedridden and imperialism ill (the medicine bottles), alone and isolated (the slow tracking shots), and lg history wholly dependent on the telephone. The moving camera captures her physical isolation in her immediate spatial environment; the telephone captures her emotional as well as physical isolation from the outside world. The operator, her link to the world, the police officer, society’s symbol of protection, and her father, her own personal protector, all prove utterly useless in realizing her pleas for imperialism, help. (Her father says that the conversation she overheard was probably a radio program, a reflexive allusion to difference between public and private school, Lucille Fletcher’s original radio play.) It is no coincidence that she is murdered while on the telephone with her husband. According to Noel Carroll, one of the imperialism reasons why movies hold such a powerful attraction for audiences is because of its “erotetic” (question/answer model) narrative (1985). Movies generate a variety of questions which are answered during the progress of the film.
This question/answer model engages the audience in an inductive process whereby they must absorb incoming information and infer what may happen. Carroll distinguishes between two of many types: the micro question and the macro question. A micro question is one which is between public and private answered in the same scene or in philippines imperialism, one of the immediately succeeding scenes. A macro question remains unanswered for the majority of the film, often until the final scene. The most obvious example being Citizen Kane ‘s “Rosebud.”
The opening of Sorry, Wrong Number poses one of Kill Essay, each. The micro question –where did Henry J Stevenson go after work?– is answered in the subsequent scene (the first flashback). The more important is the macro question: who is the victim of the planned murder? Although the conclusive answer only comes toward the end, we are certainly encouraged to infer a guess. The opening provides two noteworthy clues: the visual emphasis on Leona’s isolation and helplessness, and the pointed delineation of her overbearing, domineering nature, her illness, and her wealth: plenty enough motivation for murder in the film noir world! This Gun For Hire (Frank Tuttle, 1942) Description : The film begins with a fade in to imperialism, a dingy hotel room, an immediate establishing of the space.
A man, Raven (Alan Ladd), is sister lying on philippines his bed. The camera is at a slight low angle. In the foreground hangs a coat and just below an alarm clock on a night table. The alarm clock rings. Raven awakens, shuts the alarm and sits up on his bed. Diegetic piano music is heard. Looks Kill? He looks at his watch, removes a letter from his coat pocket and checks an address (insert shot). Cut back to philippines imperialism, a low angle medium shot of Raven.
After securing that his gun is loaded he places it and the letter inside his briefcase and lg history begins to leave. The sound of the philippines imperialism window shutting draws his attention to a kitten. He pours the kitten some milk then leaves to wash his hands. In the meantime a young maid enters. The kitten spills a can, prodding the maid to frighten the kitten. Raven returns; angered, he slaps the maid and forces her out of the room. He pats the kitten then gets up to leave. Two dissolves later he is entering an apartment building. A young girl seated on the stair case greets him as he makes his way upstairs. He meets with a man, a blackmailer who is lg history under the impression that Raven is there to give him money in philippines imperialism, exchange for an incriminating letter.
A woman is also present. She leaves the room. After listening to the man ramble Raven removes the gun from his briefcase and shoots the man once. Creating A High School Crest Essay? The woman enters the room. Raven remarks, “They said he’d be alone.” She runs back into the bedroom but Raven shoots her once through the door. He checks to make sure she is philippines dead, confirms the Creating Crest letter, places it in his briefcase and leaves. In the hallway the innocent girl says, “Mister, I dropped my ball.” Two shot counter shots lengthen the moment. Raven makes a movement to philippines imperialism, go into his briefcase for karate, his gun, stops, and philippines imperialism decides to retrieve the ball. The scene fades out. Interpretation and Insights : Here is an karate vs tekondo example of film noir excelling within the classical paradigm. This opening has all the earmarks of the philippines classical Hollywood sequence: clearly demarcated scenes (in the hotel room, in the apartment, and in the hallway), transitions (fade in and fade out) and difference public and private one completed action, culminating in philippines, a beginning, middle, and end.
There is nothing excessive or overtly symbolic, as every action has a narrational purpose. However, the opening remains richly evocative of noir character, environment, and visual and aural schemata. The noir visual look is leaf established as early as the first shot of the philippines imperialism film. The low angle and cluttered frame immediately suggest the claustrophobic noir environment. Several of the subsequent shots are again framed from a low angle, emphasizing the enclosing ceiling and walls. The room, replete with harsh shadows (they seem painted), murky walls and chipped plaster, characterizes the ‘seedy’ noir world.
The deathly still aura lingering within the room foreshadows the impending murder. Not even the repetitive piano music can cut through the Looks Can Actually Kill Essay aura of silence. The opening establishes not only imperialism Raven’s character but, since this was his first starring role, Alan Ladd’s screen persona. Raven, the hired killer, is Creating School awaken by an alarm clock: just another day at the office. His demeanor is quiet and gestures graceful and calculated. A loner, Raven has a stronger affinity for cats than humans. Philippines Imperialism? (As he says later, “they’re on their own, they don’t need anybody.”) He is the Looks Can Actually Essay consumate professional, always turning in a “neat” performance. Philippines? While the blackmailer rambles on Raven remains silent. Before revealing his gun he flashes the blackmailer a sardonic half smile, a hired killer’s confident, fond farewell. Raven’s professionalism and “neatness” is evident in Kill, his style: one bullet per victim.
He is imperialism thorough, making sure that the leaf garcia marquez woman is stone cold dead and that the letter is philippines authentic before leaving. On the lg history way out he is interrupted by the young girl. The shot counter shots establish that the girl has seen Raven’s face well. The completist, Raven contemplates killing her but decides against it. This conclusion plants a provocative rhetorical question in the audience’s mind: would he go that far? As Willard Cates (Laird Cregar) later finds out, Raven is a man you do not want to philippines imperialism, double cross. By the end of the opening Raven’s (and Ladd’s) screen persona is between public indelibly carved: the laconic “cold angel” with boyish good looks masking a tough, uncomprimising interior. White Heat (Raoul Walsh, 1949) Description : The film begins with a series of dissolves from macro to micro: an philippines aerial pan of the city, to lg history, a “California Highway State Line” sign, to a long shot of a train. From the train there is a L-R swish pan capturing a car in transit. Cut to the interior of the car.
Four men are seated in the car. James Cagney (Cody Jarrett) is in the front passenger side. The camera dollies in slightly to frame on Cody. He nudges the imperialism driver, motioning him to lg history, speed up. Three cuts ensue, from the car to the train and back to the car. The camera pans to follow the car screeching around a bend. Cut to a head on shot of the philippines train as it chugs past the lg history camera left. The scene momentarily changes to the interior of the train to observe the other half of Cody’s gang at work.
The scene returns to the exterior. Philippines? The men quickly exit the car and execute their respective duties. Karate Vs Tekondo? In the philippines imperialism ensuing shots the train comes to a halt, the mail compartment is dynamited open and the heist a success except for a few casualties. Two train employees are ruthlessly shot down by Jarrett simply because they know his name. After the second man is shot he falls onto a lever, which accidentally releases hot steam into the face of one of Cody’s men. Cody looks down at him writhing in pain and then yells out, “Come on, let’s get outta here.” He runs off screen right and the other men pick up the injured man.
There is a dissolve to a radio newsman reporting the hold up. Interpretation and Insights : The motivation for this opening is narrational (animates the lg history narrative) and compositional (logical causal factors). In the first few shots director Raoul Walsh relies heavily on audience’s mental set. Any person who has seen at least one or two gangster films recognizes the philippines imperialism connotative meaning of the maureen walls fourth shot in the film. The car, the imperialism dress code of the four men and the presence of lg history, James Cagney cue us into the crime milieu. This shot, in combination with the previous shot of the train, are all we need to infer that a hold up is in progress.
This fourth shot is the philippines imperialism most important single shot in the opening. Lg History? Not only does it cue us to the crime milieu, but it subtley hints at Cody’s psychosis. Cody is imperialism framed in medium shot. He looks at his watch. The camera dollies in slowly to karate vs tekondo, a close up as he nudges the driver and motions for him to speed up. Imperialism? After this action is completed the camera remains on the close-up for an extra beat. Knowing director Walsh’s classical style, where each camera movement has a function, the nature of this shot has an emphatic purpose above any immediate narrational function. Lg History? For example, the lingering close up may inform us that this character is the leader of this gang, but, being James Cagney in 1949, the imperialism audience undoubtedly know this already.
There is an intense look on Cody’s face, and he even looks away once, suggesting unease and restlessness. This lingering close-up has no other function, therefore we can infer that it must signify something. I will submit that this is a subtle nuance but, is vs tekondo it too subtle for Hollywood? In the philippines imperialism Carrollian sense this opening challenges us, at difference public and private, this early point, to infer Cody’s psychosis (or in the least his viciousness) from the close up and Cody’s behavior during the hold up. If interpreted in a certain way, the opening can be seen as a reflexive commentary. White Heat has as much in imperialism, common, if not more, with the 1930’s gangster cycle as with the film noir. Cody Jarrett, like Roy Earle in leaf storm gabriel garcia marquez, High Sierra , is a throwback to the prohibition era: a man behind the times; it is 1949 and the gangster collective has given away to the individualistic noir anti-hero. The train hold up is reminiscent of the era of the western, when train hold ups were common. If this allusion is conscious, then it is a reflection of the philippines anachronistic current running throughout White Heat . I will now move on to the two examples from Group B2 (linear/powerfully emphatic), The Set Up and The Letter . Group B2: Linear/Powerfully Emphatic.
The Set-Up (Robert Wise, 1949) Description : (There is a title sequence of a boxing fight. All that is visible are the boxer’s legs. One of the fighters collapses to storm gabriel marquez, the canvas. Fade out.) Fade in.
The opening shot begins high above street level, parallel to a street clock in the right foreground; it reads 9:05. Philippines Imperialism? On the extreme right we see a hotel’s neon sign. On the lg history street level in the background is another huge sign: “Paradise City” (the wrestling/boxing arena). The camera cranes forward past the clock and philippines imperialism toward street level. Another neon sign becomes visible: “Dreamland.” On the soundtrack we hear jazz music and maureen walls sister walls a loud teenager selling the evening paper complete with fight card. There is a cut to philippines imperialism, a man selling only fight cards. Looks Kill Essay? (From his drawl we can correctly infer that he is an ex-boxer.) The youngster walks in screen right, directly in front of the man and continues selling his paper. The camera dollies in to a two shot.
The man pleads: “Hey, I gotta make a buck too.” The brash youngster replies: “Ah, go take a walk.” Cut to the dejected man. Camera pans with him as he exits frame right and fixes on a group of people purchasing tickets. The central figures are a blind man and his male companion. Camera pans with them left as they enter the philippines imperialism arena. Another man enters frame left and the camera follows him to another group of people. Walls? A quick reframe settles on a shot of philippines, two women. A High School? The following conversation takes place: First Woman (without hat): I don’t know why I let George talk me into coming. Second Woman: (very sarcastically) Why Harriett, I thought you liked the fights. First Woman: Like them, last time I kept my hands over my eyes the philippines imperialism whole time.
The camera reframes right (the corner of the building) to another shot of two men standing at Can Actually Kill, the fight poster discussing who to place bets on. Stoker Thompson’s (Robert Ryan) age is the butt of philippines imperialism, a joke. They exit frame left and the camera turns slightly and dollies in to the poster. Leaf Gabriel Garcia? The Stoker Thompson vs. Tiger Nelson fight line commands center frame.
An arm enters frame left and strikes a match over Thompson’s name. Camera reframes left to follow the imperialism match to Kill Essay, the cigarette. Another two shot, of a short, balding man and a taller, sweaty and unkept man. (The taller man is Tiny, Stoker’s manager and the other Red, his corner man.) They enter the “Ringside Cafe.” Tiny meets alone with another man and in a series of shot reverse shots we discover that he has thrown the night’s upcoming fight for the short money ($50.00). Tiny and philippines imperialism Red leave the cafe. Tiny cheats Red on his cut by telling him that their share was only a High School Essay $30.00.
We also find out imperialism, that to save Stoker’s cut Tiny has not informed Stoker about the set up. Red remains unsettled at the idea of Stoker being kept in maureen sister walls, the dark. The camera follows them to a point then dollies in imperialism, quickly to Stoker Thompson’s name on the fight poster. Vs Tekondo? (The camera then pans 90 degrees to philippines imperialism, a hotel across the street, signalling the subsequent scene with Stoker and his girlfriend in walls sister of jeannette walls, the hotel room.) Interpretation and Insights : This impressive opening is motivated narrationally and reverberationally. Philippines? It informs us of the major drama and poses a central macro question: will Stoker follow suit and lose as usual or will he upset the balance with a victory? One of the interesting features of this opening is that it introduces several minor but key characters.
The punch drunk vendor for example, who we later find out is one of Stoker’s biggest fans, remains a constant reminder of storm garcia, where Stoker may be heading. More importantly perhaps are the host of philippines imperialism, characters who will reappear during the fight scene as key spectators. Throughout the fight scene there are reaction cuts to the spectators. Director Robert Wise does not paint a pretty picture of the boxing fan (or human nature). Wise portrays the fan as a blood thirsty savage who vicariously indulges his/her deep, primordial urges (catharsis?). For example, the difference between public and private blind man, who has the philippines fight recounted to him blow by blow by Can Actually Kill, his friend, remarks in a viscious tone: “Why don’t he work on that eye.’ The worse culprit is the hypocritical woman who in the opening laments going to the fights and then behaves like an animal during the fights. Whereas most of the noir openings introduce the lead character in the flesh, in The Set Up Stoker’s presence is imperialism felt equally strong through other means: his name on the fight poster, the people who discuss him, and the punch drunk vendor. The expositional nature of the opening goes beyond plot advancement (narrational motivation) to the more complex reverberational motivation.
Most of the film’s themes are echoed within the opening: corruption, lost dreams, father time, and lg history the cruel and hypocritical side of human nature. The opening shot cranes past a large clock, establishing the “real time” structure while symbolizing the inevitable reality every aging boxer must face. Visible are the signs “Paradise City” and “Dreamland,” a not too subtle reference to the washed up boxer’s lost dreams. Imperialism? The punch drunk vendor trying to eke out a living selling fight cards is overshadowed by the aggressive youngster, exposing the vs tekondo capitalist version of Social Darwinism. Stoker’s manager Tiny has a highly dubious moral and ethical system.
Not only philippines does he cheat Red, in all likelihood his only friend, but his fighter. The boxing world once again stands in as a micrososm of corruption in society. The first few shots establish the space of the film: hotel, fight arena, and cafe. Outside of a few scenes with Stoker’s girlfriend Julie, the film is confined to this area. Metaphorically, Stoker’s own life has also been confined to a similar “space”: dingy hotel rooms, arenas, and bars/cafes. A recurring camera movement during this opening, the quick pan and/or reframe, will play a key role in a High Crest, another of the philippines imperialism film’s great scenes. After winning the fight Stoker is left by himself to garcia, answer to imperialism, the irate gamblers. He tries to elude them but is eventually cornered in a dark alley. He struggles but is pinned to the ground by vs tekondo, several men. The leader, Little Boy, gives the signal to commence the savage beating and the camera quickly pans to philippines, a shadowed reflection of a jazz band on a nearby wall, the frenzied music standing in for lg history, the beating. (This exact same tactic is used in The Sweet Smell of Success (Alexander Mackendrick, 1957) and, with variation, by philippines imperialism, Sam Fuller in Underworld USA , 1961.) An unusual feature of the film is its strict accordance to “real time.” The film is 72 minutes.
The credits last just under one minute. Karate Vs Tekondo? The clock in the opening shot reads 9:05. The final shot cranes back past the same clock, now reading 10:16, perfectly accounting for imperialism, the remaining 71 minutes of screen/story time. There is lg history a fade out at the end of the credit sequence, a fade in to the film and a final fade out at the end. Philippines Imperialism? (Since the credit sequence is bridged by maureen, fades it is temporally distanced from the film and hence its action –a boxer being knocked out– serves as a metaphor for imperialism, Stoker’s less than successful boxing career.) Outside of these three fades all other transitions in difference public school, the film are straight cuts. At that period in the evolution of the language of film style the fade/dissolve/wipe were common transitional schemata depicting varying time lapses. The unadorned cut was used to join shots which succeeded each other in continuous temporal order. This usually meant either shots within one established locale or scenes occurring simultaneously (crosscutting). Being a former editor Robert Wise was as conscious of this as anyone.
Therefore, to emphasize the temporal structure of the film (screen time=story time) Wise begins and ends on a clock and uses the ‘straight’ cut exclusively. I can not be sure, but would be willing to philippines, bet that The Set-Up is the only Hollywood film of the 1940’s not to employ a fade, dissolve, or wipe (excluding the beginning and end). What intrigues me the most about this realistically motivated aesthetic choice is the rhetorical question of whether or not the audience at that time consciously made the connection between the exclusive use of the cut and the temporal structure of the film. It is obvious that this was a conscious choice on the part of the filmmaker’s, but how did the audience react? The use of the fade/dissolve/wipe was a part of the 1940 audience mental set, but how closely attuned to their own mental sets were they? They could perceive their presence but how about their absence? Were they conscious of the lack of a fade, dissolve, and wipe and a High School Crest Essay accord that to the strategy of real time, or was it something they felt intuitively? My guess is that the philippines latter would be more likely, hence certain mental sets may be intuitively felt more than cognitively realized. In fact I would say that, on a cognitive level, the opening and closing shots of the clock trigger the lg history temporal strategy of the film more than the exclusive use of the cut. (That is, to an average viewer.)
On one of my viewings of The Set-Up I kept track of the cuts and philippines imperialism counted 630. Allowing for a margin of error, this works out to an approximate average shot length of 6.8 seconds, faster than the average of that period (9) but well within Bordwell’s bound alternative. Leaf Gabriel? My brief research reveals the limitations of such studies. The 6.8 ASL might persuade someone who hasn’t seen the film to infer that The Set-Up does not employ much mise en scene (long takes, depth of field, mobile camera, intricate blocking) but rather that it derives more of its stylistic meaning from the editing. The cutting in The Set-Up is excellent, and imperialism used for more than just moving the story along, but the ASL does not reveal that a great percentage of the cuts, (approx. Vs Tekondo? 311) occur during the fight scene, which takes up approximately 24 minutes (one third) of screen/story time.
Away from the fight scene –and fight scenes are always cut quickly– the ASL is philippines much higher. Indeed there are several intricate and important long takes in The Set-Up . Therefore the ASL is not always an accurate indication of shooting style for someone who has not seen the film in question. A better assessment of the film’s statistical measures would be a scene by vs tekondo, scene average, which would then reveal precisely where and when the average shot length varies. The Letter (William Wyler, 1940) Description : Although the opening lasts 15’45” I will only describe the philippines most important section, the first 5’45”. Lg History? The film begins with a night shot of the moon. The shot dissolve to a sign –“Rubber Co. Singapore, Plantation No. Imperialism? 1”– and then to Essay, a tree trunk.
The camera tilts down the trunk to a bucket collecting sap. The camera cranes up and away from the tree and philippines left to right across the worker’s sleeping area. Workers are seen lying on hammocks, sleeping, resting, playing chess, etc. The camera cranes up to a second level and continues over the straw roof; (Dissolve) the Creating School camera is still tracking L-R. A cottage is visible in the background. Imperialism? A gunshot is heard. Lg History? A man stumbles out of the philippines door onto the front porch; a woman is walls of jeannette walls seen following behind him. A second gunshot is heard and philippines (cut) to dogs awakening to the sound. Three shots of the workers ensue. The third gunshot is followed by a closer shot of the incident. The man, in leaf storm marquez, the foreground, falls down below the frame while the woman (Bette Davis as Leslie Crosby), dressed in black, follows him down the philippines stairs, emptying out the leaf storm garcia marquez revolver.
She slowly brings her gun hand down and drops the philippines imperialism gun. Lg History? The camera dollies in to a close-up. Her face is philippines imperialism still, emotionless. Cut to the disturbed workers. The fourth shot is a close-up of a man looking out from behind bamboo bars. He glances upward and and private there is philippines a cut to his POV : the moon moving behind a dark cloud. Cut back to the close-up. The frame is now considerably darker and growing increasingly darker. Cut to a medium shot of Leslie, also in high angle and in partial darkness. Cut to a reverse shot above her left shoulder; Leslie looks down at the corpse lying at the bottom of the steps. During the course of the shot the light pattern and intensity alters according to the position of the moon and lg history the clouds.
As the philippines imperialism frame lightens Leslie’s harsh shadow becomes visible across the corpses’ back. Can Actually Essay? She turns quickly and glances up to the sky. Cut to her POV of the moon coming out from behind the clouds, with a cut back to Leslie. She returns her attention to the corpse. Cut to a frontal shot. The back lighting casts her in a semi-silhouette. Cut back to the reverse shot; Leslie exits frame left (up the philippines stairs). Cut to gabriel marquez, a servant running toward the cottage and philippines stopping at the sight of the corpse. Leslie invites the servant into the cottage.
She orders the servant to send someone to inform her husband, working on a nearby plant, and lg history the district officer about the incident. The servant remains in the living room. Leslie walks to her bedroom, opens the Venetian doors and calmly shuts them behind her. The camera remains fixed on philippines the Venetian doors long enough to capture the nuance as Leslie turns the lights on. This brings us up to the 3’45” mark of the opening. Between Public And Private? The next few shots are of her husband and district officer being summoned and their arrival at the cottage. The husband, Robert Crosby (George Marshall) attempts to open the bedroom door but finds it still locked: “Leslie darling, its Robert.” Seconds later the philippines imperialism door slowly opens and Leslie cautiously exits the room. My reason for ending at this point will soon become apparent. Interpretation and Insights : This is one of the rare openings where reverberational motivation overpowers all else.
The murder, which triggers the story and maureen sets the drama in gear, is secondary to imperialism, the overlaying symbolism. The symbolism centers on Creating a High School Crest Essay the timeless theme of the doppelganger, a common motif in expressionism and film noir. Imperialism? It pervades the gabriel garcia marquez entire film and is animated in philippines imperialism, a variety of interesting ways (to varying degrees of originality and subtlety). The moon, the image on which the film opens and closes, is used as a symbol of both oncoming death and the imminent duality of human nature. Karate? Its position in relation to the clouds establishes the light/dark, good/evil patterning which dominates the film in nearly every facet: actual shifts in lighting intensity, lighting patterns, chiaroscuro, clothing, characters, and narrative structure. In one way or another these elements are established in the opening. The opening and closing scenes of the film mirror each other.
One begins and philippines the other ends with a shot of the moon; also, the death of Mr. Hammond in the opening is visually linked to Leslie’s death in the final scene by the same moon/clouds lighting pattern. The shift in light intensity within a continuous shot occurs several times in the opening (close-up of the worker behind the bamboo bars, the reverse shot of Leslie, the Venetian doors) and is repeated throughout the film. Symmetrical shadows are also used to reflect the splintering of the soul. The light/dark patterning is also reflected in the clothing. This will become most evident later in the film but is cued in the opening. During the murder Leslie is wearing a long, dark dress. The victim, Mr. Hammond, is wearing a dark top and white trousers. All the other characters surrounding Leslie wear either all white (or light) or predominantly light clothing (her servant, the workers, the district officer, her husband, and the lawyer).
Allowing for obvious symbolism, what has been established thus far is that Leslie is all evil, Mr. Can Actually Essay? Hammond “grey” and the others all good. This may seem too facile, obvious, or coincidental, until a subsequent event resoundingly confirms the symbolism. Philippines? Moments after the murder Leslie sends for her husband and district officer and Creating School Essay waits inside her locked bedroom. We do not see her again for philippines, two minutes as the lg history scene switches to the exterior. In story time this intervening period is not long, perhaps fifteen or twenty minutes.
Her husband arrives and she exits the bedroom. Leslie is philippines imperialism now wearing a white blouse and storm marquez a black skirt, the imperialism reversal of Mr. Lg History? Hammond’s clothing pattern. I did not detect this subtle change until the fourth or fifth viewing. The probable reason is that the intervening two minutes obscures one’s memory for such detail. The color coded symbolism becomes obvious in the scenes between Leslie and Mrs. Hammond (Gale Sondergaard): Leslie dressed in philippines, white and Mrs. Hammond in black. Leslie’s shifting color pattern is an externalisation of her immediate mental state.
It is no coincidence that the Creating School Crest Essay final two shots of the philippines imperialism film are of a veil hanging over between and private school a chair and imperialism of the moon. The fact that there is only one micro/macro question in this opening (Is Leslie a murderess?) is emblematic of Looks Can Actually, its motivational factor. A narrational or compositional motivation deposits salient questions. The more subtle reverberational motivation can also expose concrete questions, but when it dominates as strongly as in philippines imperialism, The Letter it establishes mood and lg history foreshadowing elements, rather than obvious narrational/plot questions. It relies heavily on intuition, retroactive thinking, and, sometimes, repeated viewings. 1 For instance, in a Hollywood film you will never encounter a shooting style as radical as an Eisenstein (short shots) or Jansco (excessive long takes). The bound alternative Bordwell speaks of rests somewhere in between the extremes ( Classical , p.62). 2 This triad of semantic and philippines imperialism syntactical parameters was developed in conversation with Ian Jarvie while a graduate student at York University.
3 A subjective camera shot is described by gabriel garcia marquez, Edward Branigan as “a shot in which the camera assumes the position of a subject in order to philippines, show us what the Creating a High School Crest Essay subject sees” (p.103). There are many nuances when dealing with a subjective POV , but for my purposes this is fine. Branigan calls this an optical POV . Throughout the paper I will use subjective and optical interchangeably. For complete bibliographic references see end of Part 2. Donato Totaro has been the editor of the online film journal Offscreen since its inception in 1997. Totaro received his PhD in Film Television from the University of Warwick (UK), is a part-time professor in Film Studies at Concordia University (Montreal, Canada) and a longstanding member of AQCC (Association quebecoise des critiques de cinema). A Left-Handed Form of Human Endeavour: Narrative Comparisons Contrasts Between the Noir Heist Films The Asphalt Jungle and The Killing.
Film Noir: A Study in philippines, Narrative Openings, Part 2. Singapore Sling : Postmodern Noir, Narrative, and Destructive Desire. History and Time as a Fork in the Square. “Notes” on Notes on Looks Kill Essay the Cinematographer. Susan Sontag: Against Interpretation?
1997 2017 Offscreen, ISSN 1712-9559.
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American Imperialism in the Philippines « carlos-m net
How To Label Artwork in an Exhibition. Once you’ve hung artwork for philippines imperialism, an exhibition, how are you going to pass on the details of the works to lg history visitors? There are several different options for philippines, labeling your work in this setting, though each should let visitors know: The artist’s name The title of the work The medium of the work The size of the work The price of the Can Actually Kill Essay, work (if applicable) Here is an example: The Starry Night, 1889. 73.7 cm ? 92.1 cm (29 in philippines imperialism ? 36? in) Below are some options for professionally labeling your artworks in an exhibition setting. Often galleries and museums will use vinyl to display an artist’s name and / or the title of the School Crest, show near the philippines, entryway. Next time you visit an institution, have a look. Custom-cut vinyl lettering is easily removable and will not damage walls.
You can see an example of what vinyl-lettering on walls walls, a wall looks like here and here. Since vinyl lettering can be cut very small, you can adhere the information for each piece directly beside each artwork. Using a font that is 12pts or less would generally suit this purpose. You can talk to vinyl cutters to discuss options for sizing, colours, and philippines, fonts. A couple of vinyl cutters in Vancouver include:
Making a map of the gallery is a good option if you want to keep the walls around your work entirely clear of other information or distractions. Using a floor plan of the gallery, number your works and provide a corresponding list. If you do not want to go to the expense of having custom vinyl cut for labels, you can use traditional printer labels to display your information. Some people stick these directly onto the wall, but unless the wall is perfectly flat and smooth, this usually looks a bit unprofessional. You can instead stick your labels onto mat board or foamcore, then using a ruler and ex-acto knife cut the edges away so that the label is flush with the Creating a High School Essay, mount. There is now a new post on The Practical Art World that explores Artist Labels in philippines depth, including examples. Looks! Check out philippines Examples of Artwork Labels! 73 thoughts on “ How To Label Artwork in gabriel an Exhibition ” Thank you. This was very helpful and timely as I am having an exhibition in June. how ur posts are showing continue reading feature in home page ?? my doent shws tht way?
I’m not totally sure… mine is this way by default. It might be an option you can choose when composing a post: when you are editing or writing a post, there should be a menu on imperialism, the side that lists post formats. Mine defaults to “standard.” Hope that helps. Otherwise, you can try emailing the folks at WordPress. Lg History! They are very helpful! This was very helpful. Philippines Imperialism! My students are having an exhibition tomorrow and we used your website as a reference. Congrats from a fellow Vancouverite.
Aweome! This took me way too long to find. Vs Tekondo! I couldn’t figure out what the labels were called! I kept searching for philippines, Art ID cards. Clear Shipping Labels work well. Avery supplies a template. Use a word program. and print it. Gabriel Garcia! When you stick it on imperialism, the wall just the words show up. Leaf Storm Gabriel Garcia Marquez! Cheap but professional looking. Thanx Tim!!
Brilliant idea!! Do they stick to the wall though? Will only be up for about 3 days. Help! But what do you call it? Magnificent site. Lots of helpful info here. I am sending it to several pals ans also sharing in philippines imperialism delicious. Karate Vs Tekondo! And obviously, thank you on your effort! Superb post and the information given in this blog is really good.
Would one include the brand of paper used in the tag? For example, would one say “Watercolor on Watercolor Paper” or “Watercolor on Strathmore Paper” or something else? Thanks! It’s up to you… most people would just say “watercolour on paper,” though you can always specify the brand if you would like to imperialism let your clients know that you have used archival materials. Thanks for walls walls, your quick reply! You just made my job easier #128578; We have a lot of art, and philippines, everyone want to know details, and I can never remember all of the names, details, etc.
I don’t want to put something permanent on maureen walls sister of jeannette walls, the walls. Does anyone have a suggestion? How would you label a piece which is a series of 4 works all of the same size? Would it be e.g. “27?27 cm x 4” or the total surface area of the philippines imperialism, series on the wall? It’s your choice, but in the interest of clarity, you could say: each 27 x 27 cm. and / or something like: installation 27 x 112 cm. What does the measurement include?
The drawing itself (for example) or does it also include the matte around it? Usually it would be just the size of the artwork itself, not the Creating a High School, mat or frame. You can list both the artwork size and the outer frame size if you wish… that way if someone knows their wall size, it’s easy to determine if the work will fit. what if you are having a solo show? should your name still be on every label? It’s totally up to you. I would lean towards YES- it can’t hurt and philippines, it will reinforce your authorship. (PS, sorry for School Crest Essay, the delayed reply… have been away from the computer all summer.) Thank you for philippines imperialism, this information! I am labelling art for art homework but was confused as to how to difference public and private do it. But I have a question: how should you label it if you’re labelling it in a single line?
Should all the information be separated by imperialism, commas? There is no hard rule, but yes, separating the info with commas would work well. Cheers! If I have a piece that is acrylic on Creating a High, paper that I have used gesso on, should I specify that? Thank you for this helpful article! Many times when I have entered a small gallery, at philippines, the entrance there is an 8.5 x 11? or 8.5 x 14? piece of paper with thumbnails and brief descriptions of the artist’s work on display. Is there a descriptive word or term for that page of leaf storm garcia marquez, thumbnails? Thank you for this info, I’ve got the philippines imperialism, foamcore now I’ll go get the labels. When labeling tags for framed prints, should I use the frame dimension or the actual paper print dimension? Normally you would just put the karate, actual paper size.
If the frame was “part of the work” you could list the entire frame size as part of the imperialism, piece. thank you 4 this information. I have found using black foamcore cut to Kill a 45 degree angle and then just printing the labels and philippines, spray mounting them works really well. (Makes the label appear to maureen walls sister be floating.) Also using a light spray adhesive makes the labels reusable. Philippines! Make the labels a standard size and pull off the old paper and put the new ones on. It’s enormous that you are getting ideas from Creating Crest Essay this. post as well as from philippines imperialism our argument made here. What if there is no wall and your art is on an easel? How do you attach a label?
Is the order of the dimensions important? Height x width (x depth if applicable) is the standard for fine art. Here is a more in-depth write up on the subject: Thank you so much for that definitive answer!! Have been stressing oover the correct way to label multiple artworks with diverse mediums and styles in Creating a High School one exhibit.
Does this system apply to imperialism Prehistoric and Ancient Near East works? There are usually no attirbuted artists? Should the work have where it was excavated (pertaining to my previous question)? I’ve seen several labels that include the excavation location, and neglect to include the dimensions, as well. And what of diameter if there is a diameter? How would you address that on vs tekondo, a label? Where do you put the year it was made?
Thankfulness to my father who told mme regarding this website, this blog. is genuinely awesome. This post has been so helpful. I have two follow u questions – 1. what average size do you recommend for philippines, a single wall plaque? 2. should the wall plaque be in difference between public and private school a specific location and a specific distance from the painting? Hi! I work at an art gallery and we will be having an exhibit this coming Thursday (It will be Friday on your place since I’m in imperialism the other art of the world) and was wondering if I can do the labels by using Word?
We’re planning to between public school put a thumbnail photo of each artwork in their corresponding label and philippines imperialism, I find it kinda difficult to do it via Word. Hope you get what I mean and this question isn’t that confusing at all. Haha Thanks! where can you get precut matboard cards to Essay put printed labels on, or do you have to cut your own? I’ve been getting my labels printed directly on imperialism, 8-ply beveled matboard from gallerytags.com . They look much more professional than labels or business cards. I got invited for a local art show and they say to provide info cards for my artwork.
What does that mean? An info about my works or infor about me, like a business card? Am confused. Of Jeannette! Also this will be my first time, so am at philippines, loss and nervous. Please help! Hi Marian, I’m not sure- probably best to ask for clarification. I’m all very new at maureen walls, this, so have several questions: – For a collaborative artwork, do you just list the philippines, artists alphabetically? Write ‘Collaborative work:’ and then list the lg history, names? Are there any conventions around this?
– For a triptych, do you write ‘Triptych’ after the title? Or not include that anywhere? – When providing dimensions of a triptych, do you write the total dimensions of the panels when squished together? Or the dimensions including desired spacing (if you even have a desire about spacing!)? Or the imperialism, dimensions of just one panel followed by ‘triptych’? I want it to make sense but have no idea what is normally done. Thanks in advance. Claire. There are no straight rules for listing names in a collaborative art project, but alphabetical (by last name) might be a fair way to do it. For example, “Jane Doe and John Smith”.
Many people indicate that a work is a triptych, so that viewers recognize it as one piece. You could put it in Looks Essay brackets after the title, for example, “Sunset” (triptych) The total dimensions of a triptych depend on your preference. Does it have to be installed exactly the same each time? Then I would put the total dimensions, for philippines imperialism, example, “90 x 20”. If there are three parts that can be hung in different ways, you could put “30 x 20 (each panel)” or something similar. I’ve been getting my artwork information printed directly on beveled 8-ply matboard at gallerytags.com . Looks real professional with no sticker edges or cutting required. They’re not the cheapest option, but their definitely the leaf storm gabriel garcia marquez, nicest looking labels I’ve seen. Hi, I use 1/8 ” balsa wood strips in philippines imperialism the handcrafted picture frames that I make. These frames are rather nice and apealing to the eye in that the designes that are crafted with a single edge razor blade is awesome.I would like to karate vs tekondo have a lable that I could include all of the information.
Example Handcrafted by name date, month and year when constructed. Where can I purchase these labels? I want the type that Artists use with a glue on back. What size label are you looking for? That amount of info could fit on philippines, a 2.5?4? label easily. Vs Tekondo! gallerytags.com can make you custom sizes also. Imperialism! They will take your info and print it directly on 8-ply matboard up to 12?x24?. Very professional looking. Give them a try. This is very helpful. And Private School! Would you do anything differently if labeling the back of a printed copy that will be handed out philippines (vs. art displayed on karate, wall)?
Bonus question: on back of artwork, would you place information at top, bottom, in a corner? Thank you for sharing your knowledge. I want to get this just right. As far as I know, the information would be the same regardless of where it is philippines posted (although, if you are including price, you probably don’t want that on the work.) As for placing the information on the back of the difference public school, work, I’ve seen it on any four corners, but I don’t think there is a “right” place. Cheers! What if the philippines imperialism, piece is part of a series? Is this correct:
From the series: Los siete enanos, Champion. From the series: Los siete enanos, Fly Little Bird. What do you think about punctuation? How does one label a 4 part series displayed together. The work has one title, but each piece is then labeled No.
1, 2, 3 and lg history, 4. Is that relevant info to philippines imperialism place on the label? Where would it go and how would it be worded? Hi Maci, you could just make one label instead of four, with the title listed like: That should make it clear to the viewer that it is sister of jeannette a four part series. Hi the size of the philippines imperialism, art work is it measured from maureen walls of jeannette frame boarder to imperialism frame boarder or from the paintings work prior framing? Also, what is the maureen walls walls, correct procedure to acknowledge the art work in the stile of another artist work? Hi Renato – usually the size of a work does not include the frame, unless the frame is philippines imperialism part of the artwork. There is no correct procedure for maureen walls of jeannette, acknowledging the philippines imperialism, style of another artist in your own work – use your best judgement!
Do you list size of frame as width by depth or depth by Creating a High Crest Essay, width? Hi, Ive been searching, But what is the standard size? 5?7? or larger? Im doing several showcases this year and philippines imperialism, I want them to lg history look perfect! Thanks! Is there a recommended font? I’m doing a show and the venue will not permit the info card to philippines imperialism be hung on the wall. My work is acrylic on canvas. Maureen Of Jeannette Walls! Any suggestions? See my Facebook page.
Gilded Age Nameplayes by Nancy Sunfield. The finest nameplates for your framed art. How does one label artwork where the title is unknown? I have two pieces from a larger series by a now-deceased artist. Imperialism! The artist named the *series*, but no one knows if the individual pieces were named. I’ve been told that “Untitled” is to be used only when the artist has specified that as a title, and should not be used when the title of the piece is not known.
How would one create a label for artwork of a deceased artist where the Can Actually Essay, medium is unknown? Hy thanks for precious info, i m having a corner exhibit at caroussel du Louvre this we in Paris, could you tell me where to put the info of numbered as a photo for exemple is philippines numbered 4/8 next to the size ? Next to the price ? As it s an international fair art show would u recomend i put sizes both in walls of jeannette walls centimetres and inches ? Merciiiii. Thank you for your information! I have 2 querstions. #1. For pieces where the philippines, imageis17x24 and you have a 1inch border, making the paper size 18 x24.
What size do you use in the description? #2. When you jury or apply for a show and you are labeling your piece.. Do use image size, paper size or frame size?