Time Management Essay Example for Free

Time Management Essay Time Management skills are essential for successful people these are the practical techniques which have helped the leading people in business, sport and public service reach the pinnacles of their careers. The 80:20 Rule This is neatly summed up in the Pareto Principle, or the 80:20 Rule. This argues that typically 80% of unfocussed effort generates only 20% of results. The remaining 80% of results are achieved with only 20% of the effort. While the ratio is not always 80:20, this broad pattern of a small proportion of activity generating non-scalar returns recurs so frequently as to be the norm in many areas. If you work for an organization, calculate how much you cost it each year. Include your salary, payroll taxes, the cost of office space you occupy, equipment and facilities you use, expenses, administrative support, etc. If you are self-employed, work the annual running costs of your business. If you work normal hours, you will have approximately 200 productive days each year. If you work 7 ½ hours each day, this equates to 1,500 hours in a year. From these figures, calculate an hourly rate. This should give a reasonable estimate of how much your time is worth this may be a surprisingly large amount When you are deciding whether or not to take a task on, think about this value are you wasting your or your organizations resources on a low yield task? ________________________________________ Personal Time Management for Busy Managers by Gerard M Blair Time passes, quickly. This article looks at the basics of Personal Time Management and describes how the Manager can assume control of this basic resource. The Eff words The three Eff words are [concise OED]: †¢Effective having a definite or desired effect †¢Efficient productive with minimum waste or effort †¢Effortless   seemingly without effort; natural, easy Personal Time Management is about winning the Eff words: making them apply to you and your daily routines. What is Personal Time Management? Personal Time Management is about controlling the use of your most valuable (and undervalued) resource. Consider these two questions: what would happen if you spent company money with as few safeguards as you spend company time, when was the last time you scheduled a review of your time allocation? The absence of Personal Time Management is characterized by last minute rushes to meet dead-lines, meetings which are either double booked or achieve nothing, days which seem somehow to slip unproductively by, crises which loom unexpected from nowhere. This sort of environment leads to inordinate stress and degradation of performance: it must be stopped. Poor time management is often a symptom of over confidence: techniques which used to work with small projects and workloads are simply reused with large ones. But inefficiencies which were insignificant in the small role are ludicrous in the large. You can not drive a motor bike like a bicycle, nor can you manage a supermarket-chain like a market stall. The demands, the problems and the payoffs for increased efficiency are all larger as your responsibility grows; you must learn to apply proper techniques or be bettered by those who do. Possibly, the reason Time Management is poorly practised is that it so seldom forms a measured part of appraisal and performance review; what many fail to foresee, however, is how intimately it is connected to aspects which do. Personal Time Management has many facets. Most managers recognize a few, but few recognize them all. There is the simple concept of keeping a well ordered diary and the related idea of planned activity. But beyond these, it is a tool for the systematic ordering of your influence on events, it underpins many other managerial skills such as Effective Delegation and Project Planning. Personal Time Management is a set of tools which allow you to: eliminate wastage be prepared for meetings refuse excessive workloads monitor project progress allocate resource (time) appropriate to a tasks importance ensure that long term projects are not neglected plan each day efficiently plan each week effectively and to do so simply with a little self-discipline. Since Personal Time Management is a management process just like any other, it must be planned, monitored and regularly reviewed. In the following  sections, we will examine the basic methods and functions of Personal Time Management. Since true understanding depends upons experience, you will be asked to take part by looking at aspects of your own work. If you do not have time to this right now ask yourself: why not? Current Practice What this article is advocating is the adoption of certain practices which will give you greater control over the use and allocation of your primary resource: time. Before we start on the future, it is worth considering the present. This involves the simplistic task of keeping a note of how you spend your time for a suitably long period of time (say a week). I say simplistic since all you have to do is create a simple table, photocopy half-a-dozen copies and carry it around with you filling in a row every time you change activity. After one week, allocate time (start as you mean to go on) to reviewing this log. Waste Disposal We are not looking here to create new categories of work to enhance efficiency (that comes later) but simply to eliminate wastage in your current practice. The average IEE Chartered Engineer earns about 27,000 pounds per annum: about 12.50 pounds per hour, say 1 pound every 5 minutes; for how many 5 minute sections of your activity would you have paid a pound? The first step is a critical appraisal of how you spend your time and to question some of your habits. In your time log, identify periods of time which might have been better used. There are various sources of waste. The most common are social: telephone calls, friends dropping by, conversations around the coffee machine. It would be foolish to eliminate all non-work related activity (we all need a break) but if its a choice between chatting to Harry in the afternoon and meeting the next pay-related deadline Your time log will show you if this is a problem and you might like to do something about it before your boss does. In your time log, look at each work activity and decide objectively how much time each was worth to you, and compare that with the time you actually spent on it. An afternoon spent polishing an internal memo into a Pulitzer prize winning piece of provocative prose is waste; an hour spent debating the leaving present of a colleague is waste; a minute spent sorting out the paper-clips is waste (unless relaxation). This type of activity will be reduced naturally by  managing your own time since you will not allocate time to the trivial. Specifically, if you have a task to do, decide before hand how long it should take and work to that deadline then move on to the next task. Another common source of waste stems from delaying work which is unpleasant by finding distractions which are less important or unproductive. Check your log to see if any tasks are being delayed simply because they are dull or difficult. Time is often wasted in changing between activities. For this reason it is useful to group similar tasks together thus avoiding the start-up delay of each. The time log will show you where these savings can be made. You may want then to initiate a routine which deals with these on a fixed but regular basis. Doing Subordinates Work Having considered what is complete waste, we now turn to what is merely inappropriate. Often it is simpler to do the job yourself. Using the stamp machine to frank your own letters ensures they leave by the next post; writing the missing summary in the latest progress report from your junior is more pleasant than sending it back (and it lets you choose the emphasis). Rubbish! Large gains can be made by assigning secretarial duties to secretaries: they regularly catch the next post, they type a lot faster than you. Your subordinate should be told about the missing section and told how (and why) to slant it. If you have a task which could be done by a subordinate, use the next occasion to start training him/her to do it instead of doing it yourself you will need to spend some time monitoring the task thereafter, but far less that in doing it yourself. Doing the work of Others A major impact upon your work can be the tendency to help others with theirs. Now, in the spirit of an open and harmonious work environment it is obviously desirable that you should be willing to help out but check your work log and decide how much time you spend on your own work and how much you spend on others. For instance, if you spend a morning checking the grammar and spelling in the training material related to you last project, then that is waste. Publications should do the proofreading, that is their job, they are better at it than you are; you should deal at the technical level. The remaining problem is your manager. Consider what periods in your  work log were used to perform tasks that your manager either repeated or simply negated by ignoring it or redefining the task, too late. Making your manager efficient is a very difficult task, but where it impinges upon your work and performance you must take the bull by the horns (or whatever) and confront the issue. Managing your manager may seem a long way from Time Management but no one impacts upon your use of time more than your immediate superior. If a task is ill defined seek clarification (is that a one page summary or a ten page report?). If seemingly random alterations are asked in your deliverables, ask for the reasons and next time clarify these and similar points at the beginning. If the manager is difficult, try writing a small specification for each task before beginning it and have it agreed. While you can not tactfully hold your manager to this contract if he/she has a change of mind, it will at least cause him/her to consider the issues early on, before you waste your time on false assumptions. External Appointments The next stage of Personal Time Management is to start taking control of your time. The first problem is appointments. Start with a simple appointments diary. In this book you will have (or at least should have) a complete list of all your known appointments for the foreseeable future. If you have omitted your regular ones (since you remember them anyway) add them now. Your appointments constitute your interaction with other people; they are the agreed interface between your activities and those of others; they are determined by external obligation. They often fill the diary. Now, be ruthless and eliminate the unnecessary. There may be committees where you can not productively contribute or where a subordinate might be (better) able to participate. There may be long lunches which could be better run as short conference calls. There may be interviews which last three times as long as necessary because they are scheduled for a whole hour. Eliminate the wastage starting today. The next stage is to add to your diary lists of other, personal activity which will enhance your use of the available time. Consider: what is the most important type of activity to add to your diary? No:- stop reading for a moment and really, consider. The single most important type of activity is those which will save you time: allocate time to save time, a stitch in time saves days. And most importantly of all,  always allocate time to time management: at least five minutes each and every day. For each appointment left in the diary, consider what actions you might take to ensure that no time is wasted: plan to avoid work by being prepared. Thus, if you are going to a meeting where you will be asked to comment on some report, allocate time to read it so avoiding delays in the meeting and increasing your chances of making the right decision the first time. Consider what actions need to be done before AND what actions must be done to follow-up. Even if the latter is unclear before the event, you must still allocate time to review the outcome and to plan the resulting action. Simply mark in your diary the block of time necessary to do this and, when the time comes, do it. Scheduling Projects The most daunting external appointments are deadlines: often, the handover of deliverables. Do you leave the work too late? Is there commonly a final panic towards the end? Are the last few hectic hours often marred by errors? If so, use Personal Time Management. The basic idea is that your management of personal deadlines should be achieved with exactly the same techniques you would use in a large project: †¢check the specification are you sure that you agree on what is to be delivered †¢break the task down into small sections so that you can estimate the time needed for each, and monitor progress †¢schedule reviews of your progress (e.g. after each sub-task) so that you can respond quickly to difficulties Like most management ideas, this is common sense. Some people, however, refute it because in practise they find that it merely shows the lack of time for a project which must be done anyway. This is simply daft! If simple project planning and time management show that the task can not be done, then it will not be done but by knowing at the start, you have a chance to do something about it. An impossible deadline affects not only your success but also that of others. Suppose a product is scheduled for release too soon because you agree to deliver too early. Marketing and Sales will prepare customers to expect the product showing why they really need it but it will not arrive. The customers will be dissatisfied or even lost, the competition will have advanced warning, and all because you agreed to do the impossible. You can avoid this type of problem. By practising time management, you will always have a clear understanding of how you spend your time and what time is  unallocated. If a new task is thrust upon you, you can estimate whether it is practical. The project planning tells you how much time is needed and the time management tells you how much time is available. There are four ways to deal with impossible deadlines: †¢Get the deadline extended †¢Scream for more resources †¢Get the Deliverable redefined to something practical †¢State the position clearly so that your boss (and his/her boss) have fair warning If this simple approach seems unrealistic, consider the alternative. If you have an imposed, but unobtainable, deadline and you accept it; then the outcome is your assured failure. Of course, there is a fifth option: move to a company with realistic schedules. One defence tactic is to present your superior with a current list of your obligations indicating what impact the new task will have on these, and ask him/her to assign the priorities: I cant do them all, which should I slip?. Another tactic is to keep a data base of your time estimates and the actual time taken by each task. This will quickly develop into a source of valuable data and increase the accuracy of your planning predictions. There is no reason why you should respond only to externally imposed deadlines. The slightly shoddy product which you hand-over after the last minute rush (and normally have returned for correction the following week) could easily have been polished if only an extra day had been available so move your personal deadline forward and allow yourself the luxury of leisured review before the product is shipped. Taking this a step further, the same sort of review might be applied to the product at each stage of its development so that errors and rework time are reduced. Thus by allocating time to quality review, you save time in rework; and this is all part of project planning supported and monitored by your time management. Finally, for each activity you should estimate how much time it is worth and allocate only that amount. This critical appraisal may even suggest a different approach or method so that the time matches the tasks importance. Beware of perfection, it takes too long allocate time for fitness for purpose, then stop. Monitoring Staff Your Personal Time Management also affects other people, particularly your subordinates. Planning projects means not only allocating your time but also the distribution of tasks; and this should be done in the same planned, monitored and reviewed manner as your own scheduling. Any delegated task should be specified with an (agreed) end date. As a Manager, you are responsible for ensuring that the tasks allocated to your subordinates are completed successfully. Thus you should ensure that each task is concluded with a deliverable (for instance, a memo to confirm completion) you make an entry in your diary to check that this has arrived. Thus, if you agree the task for Tuesday, Wednesday should have an entry in your diary to check the deliverable. This simple device allows you to monitor progress and to initiate action as necessary. Long term Objectives There are many long term objectives which the good Manager must achieve, particularly with regard to the development, support and motivation of his/her work-team. Long term objectives have the problem of being important but not urgent; they do not have deadlines, they are distant and remote. For this reason, it is all too easy to ignore them in favour of the urgent and immediate. Clearly a balance must be struck. The beauty of Time Management is that the balance can be decided objectively (without influence from immediate deadlines) and self-imposed through the use of the diary. Simply, a manager might decide that one hour a week should be devoted to personnel issues and would then allocate a regular block of time to that activity. Of course if the factory is on fire, or World War III is declared, the manager may have to re-allocate this time in a particular week but barring such crises, this time should then become sacrosanct and always applied to the same, designated purpose. Similarly, time may be allocated to staff development and training. So if one afternoon a month is deemed to be a suitable allocation, then simply designate the second Thursday (say) of each month and delegate the choice of speakers. The actual time spent in managing this sort of long term objective is small, but without that deliberate planning it will not be achieved. Once you have implemented Personal Time Management, it is worth using some of that control to augment your own career. Some quiet weekend, you should sketch out your own long term objectives and plan a route to them. As you would any long term objective,  allocate time to the necessary sub-tasks and monitor your progress. If you do not plan where you want to go, you are unlikely to get there. Concluding Remarks. Personal Time Management is a systematic application of common sense strategies. It requires little effort, yet it promotes efficient work practices by highlighting wastage and it leads to effective use of time by focusing it on your chosen activities. Personal Time Management does not solve your problems; it reveals them, and provides a structure to implement and monitor solutions. It enables you to take control of your own time how you use it is then up to you.

Essay --

In the area of mathematics, it has been stated that Aristotle â€Å"is the real father of logic† (Thompson, 1975, p. 7) and although it may be a minor exaggeration, it is not far off the truth. Aristotle’s ideas on philosophy and logic were great advancers in Western culture, and are still being discussed and taught today. The ancient Greeks focused their mathematics on many areas, but one main question continuously asked by the Greeks was â€Å"what are good arguments?† (Marke & Mycielski, 2001, pg. 449). This question brought about the study of logic. Aristotle’s philosophy on the importance of logic was unique for his time as he believed that logic had to be considered in all disciplines, and that the aim of logic was to provide a system that allowed one to â€Å"investigate, classify, and evaluate good and bad forms of reasoning† (Groarke). Aristotle studied and contributed to various disciplines including philosophy, science, and astronomy, but his greatest influence was in the study of mathematical logic and more specifically, the introduction of syllogism. As Ulrich (1953) states, â€Å"any discussion of syllogism necessarily involves logic as it is the field that the syllogism plays a very important role† (p. 311). Aristotle’s ideas surrounding logic and syllogism are still being used in mathematics today, and over the course of history they have influenced many mathematicians’ areas of study. (Marek & Mycielski, 2001) Influence on Aristotelian Logic In order to understand Aristotle’s influence on mathematical logic, it is important to understand his life and the people that influenced his studies. Aristotle was born in 384 BCE in Stagira, which was an ancient city in Greece located on the Chalkidiki peninsula (Amadio & Kenny). In 367 B... ...ead of as an axiomization of a body of knowledge† (Andrade & Becerra, 2008, p. 310). Conclusion Aristotle’s philosophy of logic and syllogism introduced a system of formal thought. One in which emphasis was placed on answering logical questions through using proof, deduction and reasoning. This contribution to the field of logic allowed future academics to draw connections of previous unknowns in many areas of study, but most notably in the field of mathematics. Aristotle’s contribution to logic, by introducing a system of syllogism, became influential within many disciplines, and his ideas remained a great focal point for many centuries. Although Aristotle will forever be seen as a great philosopher, his influence of the syllogism was one that greatly advanced the area of mathematical logic and opened the gateway for many more mathematical discoveries and ideas.

Historical Context of the Remakes of The Phantom of the Opera Essay

The Phantom of the Opera has undergone subsequent remakes. This Hollywood film has undergone numerous remakes at different historical moments throughout the world. In Hollywood and the United Kingdom, it has spawned more than ten film and TV versions that differ significantly in selecting the settings for the horror-romance [Paris, New York and London] in accounting for the phantom’s disfiguration, in portraying the opera understudy, as well as Christine’s attitude toward the phantom. However, they all follow the male phantom-teacher and female opera-student structure so that heterosexual desire [manifested in two men’s competition for a woman] remains the prime move of the plot. My focus in this essay is Andrew Lloyd Webber’s version of the aforementioned text. My emphasis in this text will be how the phantom [including his image and voice] is represented within the film technology available at that time [in contradistinction to the manner in which the phantom’s image and voice is represented in different versions of the aforementioned text]. My working hypothesis is that since the phantom, by definition, exceeds visual representation in the silent and the sound versions, his voice, as a singer and a music teacher, emerges a primary site for representation and signification. To explore the representation and the significance of the phantom’s voice, I will focus on (1) how the phantom-teacher relates to his student through voice as well as visage, (2) how the teacher-student relationship differ from film to film [from Schumacher’s film in contradistinction to the other version of the film], (3) and how to read these relationships in allegorical terms, or in relation to their respective material-historical conditions. The last question leads me to map the teacher-student relationship onto the tension between an â€Å"original† film and its remake(s). In the end this paper will demonstrates the manner in which each remake strategizes its position vis-a-vis a historical moment and a prior film text hence it follows from this that each remake [specifically Schumacher’s remake] should not be subsumed into an echoing tradition in the corridor of the history. I start with the representation of phantom’s voice and its interplay with the shadow. The aural-visual dimension is crucial for our understanding of the issue of subaltern film remaking, which is ultimately an issue of power circulation and distribution. In the film diegeses, the phantom holds power over the student and other people for two reasons: (1) he eludes audio-visual representation and (2) he assumes the empowered teacher position. The 1925 version of The Phantom of the Opera centered upon the triangular tension between Erik, The Phantom (Lon Chaney); Christine (Mary Philbin), an understudy in the Paris Opera House whom the phantom has trained and elevated to the diva position; and Raoul (Norman Kerry), Christine’s fiance. As indicated above, the phantom, by definition, exceeds direct visual coding. The problematic of representation is further compounded by the fact that the film, being silent [that being the 1925 version], cannot represent the phantom’s voice except through the theatre orchestra’s performance. This means that the voice and other diegetic sounds the audience hear do not [seem to] emit from the screen. This representational dilemma is alleviated through the use of shadow [an image that signifies the fusion of absence and presence, thus most appropriate for the phantom figure]. More specifically, this silent film mobilizes venues of representation before Christine sees the phantom. The first is the shadow, proffered exclusively to the audience who, according to Michel Chion, is â€Å"deaf† and cannot hear the phantom’s voice (Chion 7). The other, the phantom’s â€Å"angelic voice,† is heard only by Christine and other characters. The differentiated knowledge distribution leads to two modes of spectatorship, one being exclusively visual, and the other exclusively aural. In both cases, the phantom is omnipotent when remaining a mere shadow or a disembodied voice (Chion 19). When lodged in a physical body, a process the power is lost. This takes place in The Phantom of the Opera when Christine’s fascination with the acousmatic phantom turns into dread and disgust once the voice is embodied in a visual image [i. e. , the skull head that she has unmasked]. Thus, the phantom’s deacousmatization depletes his magic power over Christine. Not only does his horrendous visage drive Christine to cover her face [which may implicitly mirror a female viewer’s typical response to a horror film]. It also forces the phantom himself to cover his face. The implication is that to maintain his power, he has to remain invisible. In the same manner, for a horror film to remain horrific, it must not be seen in unobstructed view. As Dennis Giles observes, the more [the viewer] stares, the more the terror will dissipate†¦ to the extent that the image of full horror will be revealed (unveiled) as more constructed, more artificial, more a fantasy, more a fiction than the fiction which prepares and exhibits it. To look the horror in the face for very long robs it of its power. (48) By covering his face, the phantom symbolizes the horror film’s attempt to block the viewer’s vision. In other words, the power of the phantom, and by extension, of the horror film, consists in deprivation of visual representation. The problematic of representing a phantom in a silent film thus finds resolution in a paradox, namely, the possibility and effectiveness of representation consists precisely in a lack of direct visual representation. Acousmetre is also crucial for maintaining the teacher student relationship. Once deacousmatized, this relationship comes to an end, which in turn de-legitimizes the phantom’s proposal to Christine. After a long sequence of suspense, sound and fury, during which Christine is salvaged from the Opera House’s underground catacomb, while the phantom chased to a dead end, the film [initial version of the film] closes with a double shot of Christine happily married with her aristocratic fiance. Instead of a beauty and the beast story, in which the beast is transformed into a handsome nobleman by the beauty’s kiss, the monster in this film remains a monster and the opera actress gets punished for her scopic and epistemological drive [a â€Å"monstrous† transgression she must redeem by betraying the monster] returning to humanity [defined as white heterosexual normality] and succumbing to a domesticating marriage. The containment of the female deviancy is built into the film producer’s plan to reinforce what they perceive as the audience’s wish: â€Å"a movie about the love life of Christine Daae† (MacQueen 40). The film thus ends with a triumph of a bourgeois fantasy premised on the domestication of women, and the destruction of the monster. Joel Schumacher’s remake of the original Phantom of the Opera, did not come as a surprise, given the frequent practice of borrowing and adapting at the time. Schumacher’s version retains the powerful phantom figure whose self-de-acousmatization again successfully captivates the student, Christine. Nevertheless, it also displays far more intense interactions between the phantom-teacher and the singer-student. Briefly speaking, their relationship goes through four successive steps: ventriloquism, reverse ventriloquism or excessive mimesis, performative reiteration, and finally, the Benjaminian â€Å"afterlife† [which delineate Christine’s gradual usurpation of the phantom’s power while also contributing to the dialectical image provided by the phantom-teacher and singer-student relationship]. The phantom begins with ventriloquizing Christine’s in the latter’s reenactment of the former’s masterpiece, now titled â€Å"Romeo and Juliet,† replacing â€Å"Hot Blood† in Song at Midnight. During the performance, Christine falters at a tenor note, but is undetected by the theatre audience, thanks to the phantom’s backstage â€Å"dubbing,† visually represented through cutaways. The camera first holds on Christine’s bending over the dead â€Å"Juliet† then closes up on his slightly opened mouth and bewilderment, and subsequently following Christine’s puzzled look, cuts to the cloaked phantom in profile, hidden behind a window curtain in the backstage, emotionally singing out the tenor notes. Cutting from the front stage to the back stage area also echoes. In the aforementioned scene, it is important to note that the moment of ventriloquism gradually gives way to Christine’s agency. Indeed, Christine’s centrality in the film is evidenced in the predominance of the perspective shots that mediate the off-screen audience’s knowledge and sensorial experiences. This viewing structure contrasts sharply with The Phantom of the Opera’s 1925 version. Whereas Christine deacousmatizes the phantom, the audience actually sees the disfigured face before she does. Similarly, Christine’s knowledge [regarding the phantom] is one step behind that of the audience who hear the phantom’s midnight singing and see an enlarged shadow cast on the wall at the opening of the film after the initial portrayal of the opera house’s condition after the fire. The contrast between the two aforementioned versions of The Phantom of the Opera suggests two different ways of constructing history. One is to hide away the past [embodied by the phantom] that has transformed beyond recognition so as to reproduce its old, familiar image in a present medium, or the student. The other is to acknowledge what the past has become, in order to re-suture it into the present without reducing the present into a mere mirror image of the past. Thus, Christine’s agency and the Phantom’s revival become interdependent. The teacher-student hierarchy, as argued previously, is analogous with the hierarchy between the master and the slave. Furthermore, it can also be mapped onto the tension-ridden relationship between a film and its remake(s). These interconnected, parallel relationships allow us to situate the cultural production of a film in a dynamic socio-political field (Gilloch 17). Following Gerard Genette’s definition of â€Å"hypertextuality,† which designates that a hypertext both overlays and evokes an anterior text, or hypotext (Genette 5), I argue that a remake occupies the student position, and that its very existence testifies to and evokes its â€Å"teacher† or â€Å"predecessor. As a form of cinematic doubling, how the â€Å"student† film situates itself vis-a-vis the â€Å"teacher† and its own historical moment determines possibilities of remaking (Smith 56). The major divergences between the two versions of The Phantom of the Opera mentioned above suggest two diametrically opposite agendas. Whereas the former prioritizes domesticating and suturing women into white-oriented heterosexuality, the latter historicizes and politicizes the hetero-erotic relationship between the teacher and student. There are several ways in which one may understand the aforementioned divergence. It is important to note that the text adapted by Schumacher for the construction of his version of the aforementioned film is in itself a divergence from the original. In comparison to Lon Channey’s version of the aforementioned film [which is an adaptation itself], Schumacher’s version discarded most of the horror version aspects which have been associated with the film [as well as the original text by Leroux]. Examples of these are evident if one considers Schumacher’s choice for the depiction of the phantom himself [as a disfigured individual as opposed to a skull hiding behind a mask]. In a way there are several ways in which such a depiction [the change of depiction] may be understood. Initially, one may state that such a shift stems as a result of the shift from the operatic version of the film as opposed to the â€Å"Beauty and the Beast† theme associated with the film. Second, in line with the initial claim of this paper, one may understand the shift [in terms of the phantom’s depiction] as a means of mirroring the historical conditions of the film’s production. The process of mirroring the initial work as a means of showing the teacher-student relationship [in relation to the silent film version and Schumacher’s version] may be understood as a means of employing the manner in which the student has transcended the master to the extent that such a transcendence enabled the initial freedom from the heterosexual archetypal relationships which enables the submission of the female to the norm [that being the norm of female submission towards the male]. It may indeed be argued that Schumacher’s version also enabled such a submission since Christine chose Raoul over the phantom. It is important to note, however, that such a choice may be understood differently in relation to the original silent film adaptation of the aforementioned text. Note for example the depiction [as well as the characterization] of the phantom in the initial version of the film. As was noted at the onset of the paper, the depiction of the phantom in the initial version [silent film version] presented a horrible figure [i. e. a skull for a face]. Such a presentation may be understood, in such a way, that the phantom is presented as the depiction of the deviance resulting from the inability to adhere to the norm. Deviance from the norm, in this sense, may be seen [and in fact understood] as a horrible act itself. Schumacher’s version [with its depiction of the phantom as figure with a face [a handsome one in fact despite its minor deformities] may be seen as mirroring the manner in which deviance from the norm [that of the adherence to the heterosexual and in a sense highly patriarchal relationship] is more acceptable within the current context of the film’s production (McQueen . Schumacher’s version begins with a reel from the 1919 occurrence at the Opera Populaire wherein the old Raoul is depicted as buying knickknacks that serve as the reminder of the occurrences that led to the aforementioned opera’s demise. What follow this scene is a reconstruction of the Opera Populaire resulting from the flashback of memories to those who where in it during 1819 thereby providing the spectator with the truth behind the masked lives of those who lived within the opera at that time. What is interesting to note in Schumacher’s version [in relation to the reconfiguration or rather redepiction of the phantom] is the manner in which one is now given a new manner of understanding the means in which Christine gains her agency. In fact, agency in Schumacher’s version of the film is depicted as a manner of choice and not as mere adherence to a prescribed norm [in comparison to the original adaption of Webber’s text]. Dramatically, the story hinges on a series of conflicts which continually redefine Christine’s position in relation to her surroundings [as well as to the individuals around her]. Webber’s version [as adapted by Schumacher] depicted this process through a series of musical themes, motifs, and textures which portray the development of characters, attitudes, and emotions. Note that the materials in each of the musical themes and motifs are rarely modified except through instances of fragmentation. Although fragmentation occurs, it is interesting to note that when considered together, these musical themes literally play out the drama involved within the play (Snelson 110). In summary, in this paper I argued that the â€Å"teacher† text does not simply crumble when the â€Å"student† text arises in resistance, but rather experiences a revival. This is because the remake cannot fulfil itself without simultaneously evoking [not â€Å"imitating†] the â€Å"afterlife† crystallized in its textual â€Å"predecessor† (Mignolo 112). A film remake re-presents its â€Å"hypotext† not by turning itself into a submissive double, which simply reifies the â€Å"hypotext,† but rather by revalorizing the unique historical position of the â€Å"hypotext,† paradoxically achieved by the remake’s stress on its own distinction. In this sense, the various adaptations of Webber’s The Phantom of the Opera may be understood in such a way that both versions [that stand in a teacher-student relationship] present a challenge of the archetypal heterosexual relationships which stand as the pervading theme of the various versions of Webber’s The Phantom of the Opera.

The Use of Specific Techniques in the Theme of Violence in Brazil Free Essay Example, 3250 words

The statement of the genre in Pixote as a documentary is followed with different techniques used throughout the film to give a realistic feel that portrays the violence of Sao Paulo, Brazil. The main concept is to show the aesthetics that are related to the violence as well as how this affects the viewer. The aesthetics are based on portraying the realities of violence while stimulating the bizarre ways in which these forms in the region. The use of creating attractive and repulsive features through the use of technique and highlighting the world through the story of the children involved in violence are not only used to display specific types of information in the documentary. There is also a sense of defining a reaction that responds to the corruption of the violence in Brazil from the aesthetics and techniques that are used throughout the film (Stam, 44: 1983). The first way in which Pixote depicts adolescent violence in Brazil is through the use of lighting. This feature is what creates the aesthetics of the film and which leads to a visual response from the different segments of the film. We will write a custom essay sample on The Use of Specific Techniques in the Theme of Violence in Brazil or any topic specifically for you Only $17.96 $11.86/page