Important information Essay Example for Free

Important information Essay Unstructured Interviews are a method of interviews where questions can be twisted or adapted to meet the interviewee intelligence, understanding or belief. They do not offer a limited, pre-set range of answers for a respondent to choose from as by structured interviews, but instead like listening to how each individual person responds to the question. â€Å" The emphasis here is on acquiring deep knowledge and authenticity of peoples life experiences â€Å" (Gubrium and Holstein, 2001) . Unstructured Interviews have a lot of set backs as compared with structured interviews, which make this stlye invalid and unreliable,some of these are ; . Unstructured interviews are time consuming as the conversation can go on and on,there is interviewer effect, this is when the interviewee answer is effected by the interviewer presence of the due to either his/her race, ethnicity, colour, or answer to certain questions, the information collected is prone to digression and much of the data collected could be unnecessary,unstructured interviews are usually small scale so it is hard to generalise with the results as only a small number of the interviewees can be interviewed, data collected is hard to categorise as there is likely to be a variety of different answers, coding will require more work when choosing categories for the respondents. Unstructured interviews has continued to be used by many employers since the data collect is said to be valid as it is an exact account of what the interviewee has said, the interviewer can also find out important information which didnt seem relevant before the interview and ask the interviewee to go further into the new topic,unstructured interviews are also more suitable for sensitive subjects such as domestic violence† (http://en. wikipedia. org ) as many people would lie in a more formal interview and also their answer may not be on the preset questioner . â€Å" Often, the subject matter is personal, intimate and emotional, and the objective is to achieve some kind of deep disclosure â€Å"(Johnson, 2001) In general structure or unstructured interviews depend wholely on the the interviewer Refference 1) http://en. wikipedia. org 2) (Gubrium and Holstein, 2001) . 3) â€Å"(Johnson, 2001).

Considering Dysarthria: A Speech Disorder On the Margins :: Biology Essays Research Papers

Considering Dysarthria: A Speech Disorder 'On the Margins' The goal of this paper is to portray dysarthria, a language impairment, as a disorder that is "on the margins" of the category of speech disorders. The argumentation will be that since dysarthria shares common underlying neurological causes with motor diseases rather than with other language impairments, it is set apart from other language impairments and evidence for the overlap of the motor modality with the language modality. Language is arguably one if not the most complex functions produced by the human brain, and one that is all but transparent as to the underlying neurological structures and processes in that so much is going on at the same time that it is hard to tell what is what. What we do know is that there are different areas of representation for different aspects of language. An area in the left hemisphere above the perisylvian fissure in the frontal lobe anterior to the motor cortex roughly controls production and fluency of speech; another area, in the temporal lobe of the same hemisphere roughly controls comprehension and word retrieval. Other regions next to and between these areas carry related functions, and lesioning to them results in variations of the symptoms caused by lesioning one of the central regions described above(1).. These areas are known to us as the "language areas." However, they can be completely intact in a person that is suffering from severe language impairment. Are there other "language areas" then? Strictly speaking, no, loosely speaking, yes. Language is more than a mental function where structures are established, words are retrieved and sound associations are made. The final execution of language is purely a question of complex motor control. Disruption of this complex interaction of motor signals towards the formation of speech is known as dysarthria (2). It is sometimes confused with impairment resulting from injury to the "language areas" (1), illustrating the point that the process of producing language is multi-layered, and that it is often hard to tell what is what. The symptoms of dysarthria may be slurred speech, nasality of sound, or quiet and slow speech (3).. These different impairments reflect the sub-sections in the 'motor symphony' that produces speech: The lips, tongue, teeth and jaw shape specific sounds; the soft palate channels air into either the nasal or oral cavity, producing different sound qualities; the larynx (voice box) makes the air vibrate through the vocal folds to create voice; and finally, the respiratory system powers this process (3).

Wong Kar Wai’s “In the Mood for Love”

IN THE MOOD FOR LOVE Set in front of the conservative backdrop of 1960's Hong Kong, Wong Kar Wai's In the Mood for Love tells the intimate tale of two people who, by fate, seem to land themselves in each other's company due to the common bond of the absence of their spouses. The plot of the film is by no means anything original, but it is deeply accentuated by the style in which the film is shot. With unconventional camera angles, an inconsistent musical score, and deep, luscious colors, In the Mood for Love brings a seemingly real perspective to a very personal story. Mr. Chow (Tony Leung) and Mrs. Chang (Maggie Cheung) coincidentally, move in to their small neighboring Hong Kong flats on the same day. Mr. Chow, a newspaper editor with an unseen, but presumably traveling, wife, and Mrs. Chang, a secretary, also with an unseen business executive husband. The two often find their paths crossing as they frequent the same streets, restaurants, and noodle shop. It is when they discover that their spouses are having an affair that they begin to see each other. Unlike very fast paced, show-all, American films, the relationship that blossoms between Mr. Chow and Mrs. Chang is not one of immense passion and love, but more of a deeper unsaid understanding. It is the simple gestures such as the conversations, the gazing into one another's eyes, and the holding of hands where the real relationship lies. This could not be clearer when, in a climactic moment of the film, they briefly caress each other's hands in the back of a taxi. The film is accentuated by the unconventional, but highly innovative camera work throughout. Often times the camera remains stationary while the characters move about, and sometimes out of the frame. It's as if to remind the audience that we are looking through a peep hole rather than through a movie screen, and that there are things that we will not be able to see. Throughout various portions of the film, like the rice cooker scene, for example, you can hear the characters speaking, but you will actually have to visualize what they are doing. The position at which the camera lies throughout the movie is also noteworthy because of the strange angles it is put at, such as under a bed, over a person's shoulder, through metal grating, and in general, low to the ground. It seems that Wong Kar Wai is telling us â€Å"no, that's too easy. You need to look at this from a more difficult position, as if you were eavesdropping on these very private moments†¦Ã¢â‚¬  The rich colors and costumes of the film play a very large part in how the story is told as well. In the first scene, at the appearance of Mrs. Chan and her very colorful dress, the audience is immediately drawn to her and continues to watch her throughout the rest of the film. From then on each dress, one right after the other, begins to astonish the viewer with its lush colors and interesting patterns. This immediately sets Mrs. Chan apart from any other character, especially Mr. Chow, who dresses in relatively the same attire every day, creating a very physical contrast between two characters who are emotionally similar. Not only does the costuming add emphasis to the film, but the lighting of most of the scenes adds another layer onto they already thick stylized coat of the film. Much of the film takes place on the very foreign and almost enigmatic streets of Hong Kong, usually during the night, and we are provided with not quite enough illumination to see everything perfectly. This adds a heightened level of mystery throughout the entire film, especially in the first half, before the characters really meet. The warm colors, in a sense, add quite a bit to the slow pacing of the film. These are not very cold, vivid, or fast colors, but rather ones that let the scenes take their time, in a place where conversations are not hurried and friendly games with neighbors last into the late hours of the night. The editing also does its part to slow down the movie, making the shifts between days seamless and slowing scenes down into slow motion to literally â€Å"juice† the magic out of them. However, much, if not all of the aforementioned material is simply technique none of the true bread and butter of movies is covered. This is simply because there hardly was any. Is the plot original? No, not really. Is the script solid? Well, considering there was no actual script to begin with, no. But is the way in which all of these, otherwise boring, elements filmed beautiful and interesting? Absolutely! It seems that the true core of this movie is missing, but who's to say that every movie has to follow a standard formula? THEMES TIME After reading some interviews I found that Kar-wai was very interested in the past, almost nostalgic for how Hong Kong was when he was growing up. He also finds interesting ways to show the passing of time in In the Mood for Love with the many beautiful dresses that Mrs. Chang wears. ISOLATION Another heavy theme in In the Mood for Love is isolation. In a couple of the interviews Kar-wai mentioned that people (like himself) fleeing Shanghai to Hong Kong basically had to cram into apartments. Kar-wai creates a limited visual space by having actors off-camera, shooting in narrow hallways. Even the character’s emotions seem to distance themselves. CINEMATOGRAPHY The way Wong Kar-wai and Chris Boyle go about shooting movies is the complete opposite from every other director we’ve studied this semester. Instead of taking a more professional approach of meticulously planning out every shot, they figure out what would be best determined by location, and it seems they act more like bumbling film students rather than award winning filmmakers. â€Å"Our styles come from the way we work; like in Fallen Angels we started working in a very small teahouse, and the only way we could shoot the scene was with a wide-angle lens. But I thought the wide-angle lens was too normal, so instead I preferred an extreme wide-angle. And the effect is stunning because it draws the characters very close to the camera but twists the perspective of the space so they seem far away. It became a contrast to Chungking Express, in which people are very far away from the camera but seem so close. Also, we work with very limited budgets and we don't have permits, so we have to work like CNN, you know, just breaking into some place and taking some shots. We often don't have time for setups, and sometimes when neighbors walk into the frames we have to cut them out, and that becomes a jump cut. I think 10 or 15 percent is preconceived. Most of it just happens. † –Wong Kar-wai This is all very surprising because the most notable features in In the Mood for Love is the look of the film, which is beautiful. It’s nice to know there are other ways to go about shooting a film, and that being meticulous doesn’t make you a better director. The way you take on the challenges of shooting a film to be as visually competent as possible makes you a director. WORKING WITH ACTORS Seeing how Kar-wai’s filming techniques are by the seat of your pants, it comes as no surprise that his directing of actors is just as spontaneous. During the filming of In the Mood for Love, Maggie Cheung said that the camera would be far away (because he’s shooting with a wide angle I’d assume) and that he would all of a sudden want to switch the shot to slow motion, without telling any of the actors. â€Å"He will see a shot and then suddenly he will picture it as a slow motion shot and he'll just say, let's try one of those, and then he'll just do it, without us even knowing. I’m not sure if this is the best way to go about directing an actor unless you are absolutely sure about what you’re doing. Wong Kar-wai seems to be a free spirit in the way he speaks, and directs. Plus he has a close relationship with many collaborators so everyone knows what is needed from them to complete his vision. Kar-wai seems to know the most ab out human emotions and how to properly show them on the screen so they’re believable. I remember there was an emotional scene where I was saying good-bye to Andy Lau at a bus stop. We had to retake that scene the next day because I was not very good. I thought I had been good because I had been crying and crying, but Wong Kar Wai said, â€Å"It is not about that. It is not about how many tears drop out of your eyes or how emotional you are. † I said, â€Å"No? But you ask me to cry and I am crying, why am I doing it wrong? † He said, â€Å"But when you cry you should try to hold back. Nobody cries just like that. The minute you feel the sting in your eyes your first reaction should be ‘I don’t want to cry,’ and to hold it back. † INFLUENCES Wong Kar-wai was born in Shanghai and moved to Hong Kong when he was five. Leaving his 40 or so cousins, he became an only child thanks to the Cultural Revolution. Leaving the lifestyle of a small village full of friends and family your own age, to a city full of adults must have been very impressionable on the young Kar-wai. His mother loved movies and luckily for them there were plenty of theaters around playing Western, European, and local films, â€Å"we spent almost every day in the cinemas because she doesn't have any friends or relatives in Hong Kong†. Days of Being Wild, In the Mood for Love, and 2046 all take place during the 1960’s in Hong Kong, with slight political undertones so this place and time was obviously very important to him. Wong Kar-wai also seems to be heavily influenced by the French New Wave, but who isn’t? Like The 400 Blows and Breathless, Kar-wai’s films come off as a love letter to their settings because of how beautifully detailed the shots are. You can tell that he is in love with Hong Kong and that it is his greatest influence.

Influence Of Globalization On Etl ( English Teaching...

Influence of Globalization on ETL (English Teaching Language) Introduction Defining globalization is a diverse and contested issue, for instance some define it as the worldwide social relations that are intensified and link distant localities in such a way that things that occur locally are shaped by events that are occurring miles away and vice versa. Another definition is that it is a process of expansion and internationalization of interactive structures, networks and discourse (Seidlhofer, 2012). Despite all this differences in the definitions, they are consistent with each other in that globalization can create a word without boundaries in which people from different parts of the world can communicate, interact and share resources effectively with one another. This is made possible via modern information technologies, transportation and communication. English has been supported and promoted globally specifically for economic and political reasons and thus this argument forms th e English linguistic imperialism. Imperialism is a type of relationship where by one society can dominate another society. It is evident by dominating the other society that it also comes with its language. As with English in the American and European imperialism thus globalization today has been spread by many languages but English is the most dominant. English today is vast and many people are conversant with it since it has its advantages and benefits a lot the individuals. This has led toShow MoreRelatedCurriculum Reform in Schools1686 Words   |  7 Pagesgreat impact on economic and social life. This growth has influence language specialists and teachers of ELT to have a different perspective on language learning and language use. The growing changes in standardized English ask for a curriculum reform and different ways for schools to meet the students’ needs. For those reasons I will critically review the following articles, â€Å"Opportunity and Diversity: The Handb ook for Teachers of English†, created by the British Council in 2009. The article â€Å"Towards